FEBRUARY 1^7 Tll/U UURKT OUT ZIKF FROM CiTR TOL, FM _* ■^^T CANADA plus guests THE INBREDS FRIDAY, FEB. 7 VOGUE THEATRE with guests BIG RUDE JAKE MONDAY, FEB. IO A FEW TICKETS STILL AVAILABLE! TUESDAY, FEB. 11 ©IM SALE MOW. _JML-___®§. - «r_ UfAMBAZO: to 6^<g- Tuesday March 25 Vogue Theatre THE BEST IN WORLD BEAT! hnlWtf-foftfcllfcf LOCAL H SATURDAY FEBRUARY 1 TOWN PUMP I Greg jKeelpr with guest - John Borra Sunday, Feb. 2 FOLDS ,[»]:i»LYIMARCHMI ORPHEUM THEATRE 8PM rani Friday Feb. 7 -1TR T"te *"*a9e TICKETS AVAILABLE AT ALL TICKETMASTER OUTLETS OR CHARGE BY PHONE 280-4444^ •*B_an-___-_____«______H__^ Saddlesores Matthew Shipp Oranj Symphonette Pee Chees Hanson Brothers Dub Narcotic SubCuit. Part Two :;; editrix miko hottman art director kenny paul ad rep kevin pendergraft production manager barb yamazaki graphic design/layout atomos, ken paul, barb y production chris eng. erin hodge, alia hussey, ska-t, tristan winch photography/illustrations barb, paul clarke, lori kiessling, james liston, brad martin contributors andrea, barbara a, ken a, james b, james b, sara b, barb, brady c, brock c, chris c, christian, michael c, reuben c, christina, bryce d, jason d, kevin d, chris e, jovian f, karen f, gth, alia h, andy h, frank h, lee h, sophie h, sydney & heather h, robynn i, iono, anthony k, john I, sean I, lloyd, adam m. james m. janis bmc, siobnan mc, a'\ noah, nardwuar, jesse p, jason s, peter s, ska-t, dave t, iim v, brian w, tristan w, marlene y program guide namilco kunimoto charts megan Im datebook meeks distribution matt stettich us distribution megsie discorder on-line ben lai publisher linaa scholten 10 11 12 14 16 COLUMNS •■"' Cowshead Chronicles 4 Vancouver Special 5 Diary of Jonnie Loaf Boy 5 Interview Hell 6 Printed Matters 17 Basslines 18 Seven Inch 19 Between the Lines 19 Under Review 20 Real Live Action 23 Charts 25 On the Dial 26 February Datebook 27 CO V E R Yeah, so It's a thin one this month. And we're too poor to jazz it up with colour, but at least we're not ( insert local music rag of your choice here ) ... AND we've got a toasty cover, 'specially designed by the one and ONLY ATOMOSl e "DiSCORDER" 1997 by the Student Radio Society of I the Univ«r»i(y of British Columbia. All rights reserved. P Circulation 17, 500. Subscriptions, payable in advance, to Canadian resid. are $ 15 for one year, to residents of the USA are $ 1S US; I $34 CDN elsewhere. Single copies are $2 (to cover post- I age, of course). Please make checks or money on* payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the March issue is Febrw- I ary 12th. Ad space is available until February 19th and f can be booked by calling Kevin at (604) 822-3017 ext. 3. I Our rates are available upon request. DiSCORDER is not I responsible for loss, damage, or any other injury to un- I solicited manuscripts, unsolicited artwork (including but I not limited to drawings, photographs and transparen- I cies), or any other unsolicited material. Material can be I submitted on disc (Mac, preferably) or in type. As always, r English is preferred. From UBC to Langley and Squamish to Bellingham, CiTR I can be heard at 101.9 fM as well at through all major | cable systems in the Lower Mainland, except Shaw ir White Rock. Cal the CiTR DJ Sne at 822-2487, our office oi 822-3017 ext. 0, or our news and sports Rne. at 822-3017 | ext. 2. Fax us at 822-9364, e-mail us at: citrOunixg.ubc.c< visit our web site at http://www.an_.ubc.ca/media/cilr or I just pick up a goddamn pen and write #233-6138 SUB Blvd., I Vancouver, BC, CANADA V6T 1Z1. BIG YELLOW T WITH GUESTS TRUCI FRl, l^th THE MUSCLE BITCHES 10OO STAMPS HARVEY SWITCHED jA^^mE WITH SHAZZAM AND A.K.A. KNAME DROPPER NANCY WEISLER CD RELEASE WITH GUESTS FRI. 28th THE MAHOIMES WITH GUESTS SAT. 1st BENEFIT FOR SCOTT McLEOD BUGHOUSE FIVE, ROGUES GALLERY, G SLACK SAT. 8th .DEADCATS, YAL GRAND PRIX. FROM NORTH CAROLINA THE SQUIRREL IMUTZIPPERS WITH GUESTS THE COLORIFICS TIX: $12 IN ADVANCE AVAILABLE AT HOTEL 688-8701 *■— wmm EVERY SUNDAY <s pm-i_» am) THE SOUL. KITCHEN > THE FUNKY GROOVES OF THE WORKSHOP Nn EVERY MONDAY ^ST^iiTia^PM) R O UGH CUTS & ^MdJ^PSTP P E R S c° ""^HOSTED BY ART BERGMAIMINL NO COVER! EVE^Y TUESDAY NO COVER! THE BROWN DERBY INVITATIONAL JAZZ AND JAM FESTIVAL PLAYERS AND BAND INFO: 680-1250 ATIONAL FREAKY FUI JREENR Printed In Canada M^m<ff£mm THURSDAYS CUTTING EDGE NEW ROCK HOSTED BY GRAHAM SCOTT I Feb 6th: hHead' CD RELEASE PARTY FOR HIGHWAY FREAK TICKET BY DIVINE RIGHT & CD RELEASE FOR SILVERCHAIR & OFFSPRING Feb 13th: DIESEL CANDY, VIRGIN WHORES & CD RELEASE FOR RESSURRECTION MARY d_l_f«?»1.»^J=fJ $1.39 ALL WEEK, 4PIVI -6PIVI dears* 233-6138 SUB Blvd./ airhead OKAY, EVERYONE, LET'S ROCK FOR ... UH ... El? ... Dear DISCORDER, As co-organizer of ihe Rock For Choice show, I feel compelled lo respond lo the letter written by Andrea Fernandez in the lost issue. Although I agree wilh some of her points, I found others to be problematic. Point #1. The no alcohol clause. Point Taken. As an avid non-drinker and big supporter of the olkiges scene, I was disappointed to discover that a miscommunicalion between myself and the venue meant a compromise would be in the cards. An oversight. A drag. Agreed. Point #2. The women-actinglike-jerks clause. Point taken. But here's where it gets tricky. The actions of a few individuals (who obviously have watched too much Mucous Music), should not taint us all. The generalization that all women who enjoy moshing are simply emulating men is a dangerous statement. I have spent most of my life being persecuted for "emulating men" (i.e. shaving my head, wearing baggy dolhes, playing sports, listening to hardcore music), so I find this type of analogy question- able. I've organized lots of shows, (including 3 Grrrlapaloozas + 3 Rock For Choices) where there were positive oil-female mosh pits that were bolh respectful ond non-violent. None of the women I know who mosh at shows advocate vio ler 1 fact, i violence against women. I'm not against women having a safe place to watch bands ihey like, but I'm also not into those same women dictating what is appropriate for ihe rest of us. Jody of Team Dresch's suggestion to split the room in half and have moshers on one side and non- moshers on the other seemed like an adequate solution. The next day we both agreed that it was lame that it didn't get resolved in this way. I understand some of the philosophies of the church of anti-moshing, but it's my scene as much as it is Andrea's and I want to have the right to choose what I will and won't do wilh my own body. As long as I am not harming innocent bystanders, I ihink this is a positive choice. Anyways, I just wanted it to be known that the predominant feedback I got wos that it was the best show of the year in Vancouver. Oh yeah, and we raised a lot of money for fhe Everywoman's Health Centre. Wilh the to mosh or not mosh saga looming, one might have missed lhat this was actually the entire point of the show. Meegan Maultsaid Dear DiSCORDER, I don't usually write "response to" letters, but I was a little shocked by the missive from Andrea Fernandez in the last issue. It's not lhat I expected her to write an impartial version of the events at the Rock For Choice show, but considering her participation, maybe I didn't expect her version at all. Now, I was front row for the events, and yeah, during Team Dresch some people were dancing. Exuberantly, possibly, but not violently. Anyone near the front wos going to get bumped, but lhat's an occupational hazard at a gig. It was, however, at about this time that the erstwhile Ms. Fernandez (identified by myself and many others by the twenty-odd photos of her in her zine, sold there lhat night) decided to bring the situation in "Hey!!" she screams. "Would someone stop these straight, white girls (Ms. Fernandez is Latino) from moshing into me!" The show grinds to a halt. The band (now silent) is confused, and since no fists were flying, no one is really sure what the problem is. What had previously been a personal space issue, which would have been easily solved had she taken a few steps back, was now transformed into a race and sexuality issue. Not everyone in the pit was white, straight or female, but that's not the point. The point is lhat she labelled ihem lhat. I wonder if Ms. Fernandez would have had ihe same reaction had it been a Rock Against Racism show. And before Ms. Fernandez jumps all over me for being a straight male, I'd like to say that I am also the voice for everyone else I was wilh lhat night—dykes, fags, riot grrrls, and feminists. Some like moshing, some don't, but no one was offended by the dancing. Maybe we just like the idea of being in a crowd with a bunch of other people having fun. Yours Sincerely, Chris Eng • ^c^wshead chronicles) • part orm of a few instaH«fents "tonight i got nowhere to go ancfi thought that i would call you, to see if you were home/ i'm sorry but i'm pretty stoned, i hope i didn't scare you/ i hope to god you were alone" ("grudgefuck" by the scud mountain boys) dec. 24,1996 • 5:24 am dearlarry... i'm feeling a little out of sorts lately, like parts of my life are not my own. wandering around looking in store windows and thinking that one day i'll go in and actually buy something, but i couldn't today, things are my size but for some reason don't seem to fit right, in fact, i was in her store today and was going to buy something and then she pushed my buttons like only she knows how to and i had to leave, more to prove a point than anything, shit, she knows i still love her. i've started keeping track of things as well, when i do stuff, who i do it with, in my filofax. not really a journal but sort of. maybe i'm just losing it. having to keep track of everything, the door on my bedroom, the one i put my fist through, still hasn't been replaced and every night when i go to bed, because i like to have the door shut at night, i still go through the motion of shutting it. my casual nature ended yet another... maybe tomorrow ill tell you more, i need to get ahold of this winston consumption as well, i think i may have a crush on a woman who just moved to australia to be with some guy. someone's sister, i never even knew she had a sister, i usually pride myself on knowing what's up. i gotta go to bed. gth... jan. 3rd, 1997 • 4:30 pm dearlarry... i know to keep this thing up i should write you everyday, but sometimes i just can't, and today is really no better for me. i've been sending out mail everyday and i never get anything in return, ever heard the "skud mountain boys?" do yourself a favour, especially "grudgefuck". that bastard don had my copy of it for months, he finally bought me a new copy, i think, even though my crush on the gone to aussie woman still exists, i may have a thing for a waitress who works just down the way from me. she wanted to buy me breakfast the other day; i didn't let her. picked up jen at the airport today backed into a guy trying to find parking, it's a nightmare out there, i think i need to be alone for awhile, what do you think? spencer's back from holidays today, why am i home in the middle of the day? it just seems useless to even go downtown anymore, dropped a couple of letters in the mail today and if the shit hasn't hit by now it can't be long, if my phone's not ringing off the hook ina few days, ill know i was right all along, hate is so shallow, see ya tomorrow. fi**''* house.! i^ Come on «awn rnorA O - diA©K[ifr__< - ©©am - T-scHiopnrs Corey HAKt. : - STOIFlFi ■ '•\l^' * .^rha.ndpicked used *#•'■'* JSVp* ■'':■■ ■;. clothing •[ ' ••''' 'jMj, yon get. 10% >£± vheu yon bring ±n thi: little Wfaddie *waddie ra_m_H]_©_ **^' (PDD®m©_ (D"ff_3-S@@S bro&dvay S3 a SOUNDS ON SALE THIS MONTH: NIMROD lelMilli. (lib OnkWI^j!) $10.96 CD MANY MOODS OF MARLON MAGAS ^ IU7HrCiMfi_Mqfiea)...$3.94 7" MAN OR ASTROMANo Whff leMJRS kflrfe The tffdff*/e. $U.93 CD RAKE Intelligence Agent: 13003 (mwdrtwy iMKue!) $1193 CD BUGSKULL Crodc Sow_fnc_ (face, tmtt, face, _m_| $14.93 CD MUMMIES o Running On Imptj Vol. _ (uhfl, fr«Ji!j....$9.l7 l* TRANSAM r$mtaixltM,h,!m\mH $9.87 IP $14.92 CD JOHN DAVIS JJNlMeiifm|fkktterkltrMJipJMMM9.l7 l»i 14.93 8 nTINGSAIKERAIUaftMYMOimOlllir^ AWfee*yefM*<9ejL.$9.l7LP$12.93€D HI-FIVESo MUfUfoMndrl $10.96 IP $13.11 CD TAKE A RIDE ON THE TRANSSIBERIAN! Introdycin-g Vancouver's coolest new labd, Il Transsibenan Mouc Co«pany, and their first two adventurous releases: _ MANIFOLD • Novosibirsk CD $ ■ °'96 4 february 1997 Vancouver; a special ; 0<0i __ by dale sawyer & janis mckenzie II III I Hill I II A delightful Christmas present for me was Maximum Rabbit, the second Faceplant compilation lope. Faceplant is a recording sKidio/praclice space/sanitorium which, in its few years of existence, has built itself its own little scene whilst making a strong con- tribution to the Vancouver musicommunity. The stuff on Maximum Rabbit may be all over the rock map, but its varied smorgasbord of culting-edge bands is what gives itlhatodyssic appeal. Kicking off with "Kule Like Karla," Faceplant introduces the world to ihe "ambient punk with bloodcurdling screams" of ihe DIRTY HARRIETS. I know lhat bolh the Harriets and Faceplant are capable of higher (recording) fidelity, since this soon-to-be-monster cut is a Iwo-lrack room-mic take from a practice session. The fun is only beginning: the beer-drenched criminal insanity of the 4 FOOD GROUPS OF THE APOCALYPSE, the soulful Beck-influenced, folk-funk of JAMES DEAN IV, Ihe Rocky Horror S&M show that is REVULVA s aural assault, ihe "Bagpipe Gumbo* of » • • • •...»-• •-:.:•!■ -.ft-. HOUSE OF BUGS, and the elegant and ironic chatsongs by THE SPINE will make you rewind repeatedly with giddy glee. Tracks by ARTHUR ELUS, ASH WEDNESDAY, KENNY D., and BEN MAHONY have a real icing-on-the-cake feel imparled by their inventive arrangements and studio whimsy. The sad saliz some very fine songs were recorded by now-defunct or limbo- dwelling bands such as UNEVEN STEPS, FISHBURGER, and MOHAN. Ah well, plenty more where they come from, if the rest of Maximum Rabbit is any indication. GAZE has blazed back with a tape lhat will amaze. More glaze and less of K's lo-fi malaise, I'd be amazed if it doesn't faze they's of the laziest ways. "Shady" will daze, "Strike While It's Hot" will take days before it unflays itself from your grays, and "Preppy Villain" lays ya in yer chaise in a spaze-exploring haze. Having Rose from Tiger Trap on drums (and trays) really pays. Anyways, if you slays, Gaze will raise. Craze-y. e .e. e e e< e .• e e. e e .*,•..« frX::®:Mr;:bM;$ir:M The song "Freedom Drunk" from the LAMPS shows they're not just another bunch of shady guys. No dimbulbs here, these are actually a bright bunch of fellas. Epic, atmospheric guitar rock, like Pavement covering Verve. Plus bits where they rock out. When the massive crowd atthe Starfish on 1/16 (with Superdog and The Electrosonics) saw how hot the Lamps were, the same phrase was on everyone's lips: "The Lamps are onl" There's so much more I can't go into great detail about the actual music on the next few tapes (we actually hate lhat music stuff here at CiTR), so here's some sample lyric quotes from some recent tapes that I thought were absolutely excellent: "Oh, I love ihe Roxy/All those girlies in iheir bikinis/I really love them/ Yeah, I'm a preppie" (new wavers THE EH-TEAM with the five-song Tihe Quest for Sexx); "When I hold your hand you hold your nose (power-pop Descend- ents fans BUSTERENE's 12- songer); "Cut ihe Shit" (I KILLED MY CAT's three-song tape. ihough it could be J. Mascis on barbs, very late at night); "Just a hypocrite dipshit sister-dissing dick-talking zombie-walking number" (the Disturbed Company-like THIRD EYE TRIBE, featuring Kinnie Starr sideman Jacob Cino [K.S. gets on the mic a couple times on this 11-song cassette]); and " " (THE FALCONS' Live in London cassette, recorded at the Pipeline International Instro Convention in England and featuring cover art by Coal's Nicole Steen). So many demos, so little time. The latter is in such short supply lhat I can only passingly mention the jazz-lounge-funk-bop of CARROT REVOLUTION, the progressive trance of MATTHIAS (produced by Dave Malecot), the free freedom of ROOF BRAIN CHATTER {Live ot he Sugar Refinery), and the vintage '80s material of THE OCCUPANT (ahead of its time; still sounds weird today). Plus the new songs "Hero" and "Perfect" by BUG rock out, and "Johnny's Got a Problem' by PSYCHOMANIA is a knock-out. Cheers. • local cd reviews! This month, I've got three oil-boy bands for you, ranging from pensive pop to, well, the Dayglo Abortions. And just to let you know, I'm always looking for more local CDs to review here at Vancouver Special, so send them in (with bios) if you haven't already! THE EMPTYS MeaHockerfannolse (Bang On) Even if you've never seen ihem live (okay, neither have I), you may have heard their demo tape in rotation at CiTR, "Opportunist's Holiday," which is probably the catchiest song of the 15 on this CD. Ralher than a slick pop sound, the emptys have recorded this live, and gone for a spare, stripped down arrangement of reedy vocals, very basic bass and drums, and a guitarist who only rarely reaches for the effects pedals. While for the most part this makes for a fairly uniform toned- down, introspective sound, there are standout moments, such as the rockin' hillbilly psychokiller ditty, "Oyster Bay Road," that clocks in at a mere 1:48, and "Salvation Today," where the effects on the guitar make for a positively (well, relatively) lush effect. Wilh the exception of a few perhaps-noK-uite-necessary guitar noodles (as in "Last Train Leaving"), this is a pretty darn tasteful entry from what I can only assume is a pretty young band. SPACE KID Cereal (Humongous) After a year or so of their demo tape, "Molly Ringwald," hovering around DiSCORDER'* charts, Space Kid has finally released the song (and 12 others) on this thoroughly enjoyable CD. Loaded with pop-culture refer ences from childhood (like The Six Million Dollar Man, to name just one), wry humour, leen-angsty introspection, and irvjokes, this moves between tricky and dreamy, sincere and ironic, buzzy and straight-ahead, hard- driving pop. Postmodern boypop lhat isn't (dare I say?) afraid to rock. DAYGLO ABORTIONS Corporate Whore (A&R) Last, but certainly not least, is this latest release by our no- punches-pulled friends from Victoria. First of all, who would dare write anything against them? As they say in their liner notes, to someone who did have the nerve to mess with them (in this case, to steal their gear): "Don't quit your day jobs cause we haven't even started with you fucks." Yikes! This humble reviewer will only confirm what you probably already suspect — that after all these years (10? more?), the Dayglos still play harder and faster than just about any body, are still pissed off, and still seem to have controversial opinions about plenty of different things. Go ahead, scare your parents, and yourself, and listen to the Dayglos pound their way tirelessly through 15 songs about masturbation, urinal pucks, incest, welfare bums, hiding drugs in one's rectum, large breasts, and more masturbation. Whewl* ,e eee.ee e.e.e e ■ iarv • eeeeee.eeeeeeeeeee teeeeeeeeeeeeeeeeeee Jon 1st ■'••*> boded' I SiS^ Las'night I was *»* m°^-*cdndb Tipton i2'"9 wf,a' ° few ^'T^irimen'OS'UCkbe^nycur ; gap i hi* feifh r ^ ^"'^ abo"< *e large <; idea wha^fe^'non° °'US had °"Y porty olso wanted to ™h h'P$terS a' ffle '"', ond now ^eelVr;?0'6 In 'he con" : : •*• become inlaid tit ^ S'a'ion ^the7Wins^^°trHi9^'' ? ^in/W/ fe_r thnl l n fav°."-ites to ^^gloca,(ofhJcf^Murray fhis tad grumpy, and wn„WK ' he Wos a :' orfwrpeople'» pbdriiiusirnl? 7 ? ^^ <* of j o n n i e loaf boy Jan 6th ed Points are going down the toi- ine actually had Leora Komfeld on her show. They were having some call-in-rhingy about CBC budget cuts and stuff, arid frankly, itwas nauseating. I called up and asked DJ Dinette what she was doing with Leora. "Aren't you worried about your Indie Cred?" I asked. "Aren't you worried that the hipsters will snicker behind your back? Aren't you worried about whisperings in the CiTR lounge?" We all know the only reason to hobnob with CBC hacks is to get ahead in the industry. Can DJ Dinette really be considering a career in mainstream radio? I never pegged her for a shmoozer, but I tell you, the whole thing stank. "You can't buy, trade or sell Indie Cred Points," I told them. "Indie Cred Points are not refundable!" Leora did not take kindly to my concern. She took offense when I called her the man. I don't care. Budget cuts or no budget cuts, if you're hosting a show on the CBC, you are the man. She thinks that just 'cause she hosts a show for angst-ridden alternateens that she's got Indie Cred. She's chatted up Kurt Cobain, so she thinks she knows what indie rock is. No wayl This is real life, Leora, not MuchMusic I Leora did not take my comments with her usual good humour. She called me a campus radio purist. Is that supposed to be a crime? She said, "I interviewed Sammy Hogar. Slick that in your indie pipe and smoke it." I'm like, "Who's Sammy Hagar?" She said, "What rock do you live under, you campus radio puristl" Apparently Sammy Hagar became the lead singer of Van Halen after they ditched David Lee Roth. Van Holen is the band thot song that "Jump" song. Score me two Indie Cred Potftlsl I take pride in my ignorance of mainstream culture. Jan 10th DJ Dinette refuses to talk, to me, and shoots me vicious glares at every opportunity. The Indie Cred Judges penalized her ten points for inviting Leora onto her show. I should never have called in. She shouldn't feel so bad though. The Editrix go* penalized five points just for talking to David Wisdom in a record store. All this has done little to improve my relationship with DJ Dinette. She had almost forgiven me for the CRTC incident, and now I have muddled things up again. She is due to go before a CRTC panel in less than a month, so ? imagine our relation ship wiH only^inl*? hjier^toohliyion.: [- h<-ri'■■<■■ , Jan 13th Wrote the following* message hastily to Patti Schmidt on one- of those GAP postcards you get find in*? cafes: My Dearest Patti, In case you have heard exaggerated reports of my discussion with Ms. Komfeld on a radio phone-in show, let me just say that I did not mean to imply that all CBC hosts are the man. I regret any emotional harm my comments may have caused. You, of course, have more Indie Cred than a defunct record label. Love, Jonnie P.S. Did you like the CMstmc sent? Jart 22nd - Dalff the Demo:Quy has re- .iected: the. Witchdoctor BH^hballSympbonyiThat fedstwd will >pay fee £is cowardice. I asked tlje lack of understanding of contemporary new^usiG-: IrheyiMedeldyfedtheHe- ciiidn/ pending o Ml,jrv„ q^iry into my alleged thett of intellectual prppetty. Apparently ,WM^d«c|or Highball wav.Mau? V*™* he found ouMMJ had,: taped his snores without his prior consent. 1 wilt haw to sit down with'Kim:and explain *$ .pHnqipj^b* hind fair uWs ■•*:•■*..: A coupleo|days ago I al*> got a nofekpm the Poetry Vix and Vixen regarding m submission. It readme a/n't no P06^ you should know if/sHcj* yourtape/ ayourmdie ■ -Wand-mok^ft.Oucnl ^:|f.brwthin_i*a:b«3 rejected 5 n^^gimiiaa Another Joe Who are you (names, ages, instruments played)? Jon, vocals, guitar; Alison, bass; John, drums (not present for the interview). What's it like being on Positive Records? What is Positive Records? What else is on Positive Records? Jon: Positive is an independent label based out of Langley lhat Tom from gob started up about Iwo years ago to release the first gob album. Since then. Another Joe is the only other band to release a CD on Positive and I couldn't be happier. Alison: It's nice being on Positive because it's independent; it makes the production of things get done a lot easier 'cause it's not just the label, but the band also to see it through. Jon, (a) why don't you cliff jump? (b) Why don't you ride skateboard ramps? (c) Why pee against the wind? Jon: [laughs] I do diff dive and ride skate ramps; apporenlry, Toni has been spreading rumours. I went wilh gob and ihe Ripcords to Nelson for a show lhat was at a skate ranch, and I wouldn't drop into ihe ramps because my roommate broke his ankle the weekend before lhat al a bowl, and I had visions of lhat happening to me also. But hat's history, so 'Hey, Tom! I'll go ramp riding with you any day, pall' Alison: I haven't tried peeing against the wind yet, but Jon tells me it's a lot of fun. Which gob girlfriend is in Another Joe? Jon: I think Theo from gob and drummer John are seeing each oiier, but I don't know how serious it is. Alison: Ahh ... young love. What do you think about gob not being on Mint, anymore? Alison: I think it's good. This way, gob can move in a direction that's better for them. Jon: Yeah, Mint did a lot of good things for gob and I'm sure they appreciate lhat, but I don't think Mint is really suited for them. Tell us about life in your hometown. What's it like to be punks [there]? Alison: Langley has had a great punk scene wilh a lot of support from ihe kids. There's a lot of bands playing and a lot of those bands also put their own shows on independently. Jon: Richmond doesn't have lhat huge of a scene, but its growing, which is kinda cool to see. Is it true that for Another Joe funny things usually happen only out of town? Any interesting 'tour' anecdotes from your California and Alberta jaunts? Jon: I don't have any anecdotes for tour — I'm actually kinda hoping someone is going to give us some. Alison: The only thing I can say is you can't lake your band too seriously or you hove to ignore them, 'cause I'm usually the one lhat gels ihe most abuse from the Jons. Compare the differences between Club Paradise and the New York Theatre. Jon: Club Paradise is heavy metal central with a bunch of drunk, long-haired, muscle shirt guys running around, and the New York Theatre was the best all-ages venue in Vancouver, but now it's closed. What type of car do you imagine Moist drives? Jon: They don't drive, ihey're chauffeured. Alison: I think ihey share a car with Bif Naked, 'cause she's ihe token video girl for Moist. Ask yourself TWO questions and answer them. Alison: Jon, what do you think about having a girl in ihe band? : PMS. : Alison, what do you think about being in a band with guys? -V-_y Alison: Hair loss. Xjr Anything else to add? Jon: Keep your eye out for our split CD with gob, that's gonna be released in February 1997. Alison: It's called Ass Seen on TV. Discography: Pee Against Ihe Wind CD (Positive) forthcoming: Ass Seen on TV CD (Landspeed) Contact name and address: Another Joe, c/o PO 63061, 6020 Steveston Hwy, Richmond, BC, V7E 2K0. (or for bookings call: 604.889.6470) Who are you (names, ages, instrument played)? Marc Godfrey: Psychomania is Jason Solyom, 22, on the drums. Ben Wildeman, 22, on bass. John "Woodsie" Wood on various moog synths and you know who I am and what I do. I'm God's gift to Vancouver rock 'n' roll. If it wasn't for me, everyone in this city would sound like those wankers, Moist — all the cool bands in ihis cily have already ripped me off. How does Psychomania differ from other Marc Manhattan projects such as Big Can of Dogfood, The Valentinos or, say, The Sissy Boys? Those previous projects were fuck bands. Psychomania is a fucking band. And our 10" is available in Sweden ond Denmark and none of Psychomania's fanmail is in English. Speaking of record labels, is Psychomania's label, Tonic Records, associated with Vancouver band The Tonics? No, it's associated wilh the drink, gin ond Ionic, which label president Kate Wattie is always soused up on. She's a young lady who prides herself on being able to drink her own weight in booze. How does it make you feel that former Psychomania member Joel is now answering phones at the Viper Room? 6 february 1997 I'm glad Joel of the Rattled Roosters has finally found a job he's good at — smoking cigarettes, talking on ihe phone and silting on his ass all day. And when in Hollywood, I can go straight in the club without standing in line wilh Drew Barrymore. What was it like to tour with the Forgotten Rebels, to of all places, Whistler, BC? Did your 'high heels' make out very well on the ice? I haven't worn high heels in a while. • * The Forgotten Rebels are a sw< bunch of guys. Mickey De Sadist's favourite Psychomania song is "Robot Bride 2-B" and they let us carry their equipment. The Whistler show was pandemonium - a lot of drunk Australians. Itwas impossible to score drugs and in Victoria, drugs are twice the price. The whole experience made me realize how I take Vancouver for granted; dope is cheap and con be delivered to one's home quicker lhan ordering pizza. You guys have played the Penthouse Cabaret quite a few times. Please describe "An Evening with Psychomania at the Penthouse." Please? Of I-AT IMA SHOWtS HEIA TOTMt THMI CH--0MN' The club was originally designed to a< music (Sammy Davis Jr. ployed there) and I felt it was kind of wasted as just a strip joint. I started throwing special events there becouse of ihe Irashy atmosphere and neon. We brought in Flash Bastard, El Ballistico, The Fiends, played Music West, etc. They put in a catwalk, which kind of ruins the feel. In your humble opinion, who represents the Vancouver Old Skool? Who represents the Vancouver New Skool scene? Where does Psychomania fit in? Psychomania are G-rockers. Our album is part of the natural progression follow-up to ihe work pioneered by bands like the Modernettes and ihe Pointed Slicks. The album actually has a sound rooted in Vancouver, not some generic dlema-grunge- city crap. I don't care about 'skool.' We're not concerned wilh following trends, we're concerned wilh starting ihem. Over all, Vancouver is a dead cily full of tosspots. My album is the best album » *ou -° come °°t of this city in years — I feel w*»Y sony for anyone who hasn't heard it. in jail, where he died. Reich's confiscated research has leaked out onto the Internet — the government banned his work in the '50s. The Irirt- ity test and all the early work on the atomic bomb happened in New Mexico. The Kern gate is down there. Whatever happened in Roswell could very well have been the military screwing around, and the US military has never been concerned wilh keeping the public informed about their endeavours. What's the punchline to your favourite joke? 'Where else am I supposed to park my bike?' Discography: The Rebel Set CD (Tonic) Back in Ihe Jungle 10" EP (Tonic)« JOHN (TO MIMSttf) I'W 5om-tf roh my _*»». I OOP*'7 WANT TO SO TMIM." Would Psychomania ever vear baggy pants? |f I'm wearing baggy pants now. Ask yourself two questions and answer them. Q: Psychomania played the Christmas party for the cast and crew of the X-Files. Did aliens really crash in Roswell, in 1947? At To the best of my knowledge, it was a weather balloon ... but then again, a lot of odd stuff was occurring in New Mexico and Arizona in the late '40s and early '50s. Wilhelm Reich was out there in the desert cloud busting, experimenting wilh orgone and, apparently, studying U.F.O. activity. It was the book of research he compiled which landed him j_S It's tougher than SATAN It's smoother | than SATIN It's Thunderbird Radio\1 heard every Thursday from 9-11 p.m. on CiTR 101.9 f M. Playing their own brand of cow-punk music, Vancouver's Saddlesores are starting to make some hay in this city. Mere days after they won Shindig 1996, I interviewed the band on-air and found these cowboys to hold their cow-tongues firmly in cheek. DISCORDERt Is there a word that describes how winning Shindig feels? Tony: There's really no word in English that describes how this Feels. Is there a word, in some other language, that does describe it? Tony: It's kind of an Inuit throat-clicking thing. Listen closely on our song, there's a hidden track of it. Have you ever considered entering other Battle of the Bands contests? Tony: Well, if we'd considered Demolisten, we'd meet The Fox. He's kind of mangy, but he's And what would you have gotten from Shindig? Billy: We got hookers that night, supplied to us from CiTR. Myself, I didn't partake in it, but Pinto ... Tony: That takes care of all the women who were listening. Billy: So we've completely destroyed one half of our market — no, I'm completely kidding. It was something our manager suggested. We had a really good time: the crowd was really receptive and the other bands were really great. When it came down to the finals, we played first and I thought for sure we were sunk. We thought, 'Who ore the judges, we're gonna go buy them drinks!' because we thought we were gonna lose ... Tony: ... And it turned out we didn't even need that big plate of Rice Krispie squares that we were gonna give ta them. There was a big accident: we ale them all ... What were you doing before the Saddlesores? Tony: [wilh a hint of sarcasm] Waiting for this moment [laughs]. We played in some bands. I was actually in a band lhat lost in ihe first round of Shindig in 1985 called the Soreheads. A shout out to my homies in the Soreheads, who are now called Lozenge) We lost to a country band — so lhat's so karmic, doncha think? Billy: I've been trying ta pursue a music career n the top, since I moved up here from down south. Believe it or not, I was actually born in Texas. When my mother and father divorced, I spent some time in California and now I do reside in Vancouver. I've been playing music in the cily for a while, heavy metal kind of stuff, and I think lhat's where my influence comes in. Rhinestone: I've been working on the farm chopping those chickens' heads off... Billy: ... There goes our chicken market — great! Rhinestone: ... Played a bit of punk rock in the past wilh Billy here. We were in a band called Sludgepump — a few people might have heard of lhat. Tony: Not to be confused with Sludgepump UK. Rhinestone: Or Sludgepump X. Pinto: I had a brilliant career playing mouth harp in front of liquor stores making 1500 bucks a week. You make more than that now, right? Pinto: Well, there's not much money in this, but I get to wear a hat now. There is a Saddlesore motifl Pinto: Ifs a dress code: Western glam. Tony: You can't tell on the radio, but\ ing the most incredible outfits — e* Man, oh man I Billy: It's glitter, it's flash, it's leather surface and underneath — and cowboy hats. Who came up with the idea of the Saddlesores? Tony: In one word, Pinto. In eight words, Pinto Pinto Pinto Pinto Pinto Pinto Pinto Pinto. Is there a grand scheme, a plan if you will? Have you already got the first videos designed, the image, the look, the name of the record and everything that fits in? Pinto: Absolutely. Everything's written out, everything's ready to go. We're feeding the horses, running ihem every day, ond getting them ready for the videos. Tony: We've been in some marketing meetings. When someone comes up wilh a good ideo, one of the executives says, 'Whose baby is lhat? I like lhat a lot! Whose baby is that? Yeeohl' Have you guys ever considered touring? Billy: As long as we could get a vehicle wilh a Pinto: Or a lot of toilet paper. Rhinestone: We'd actually like to head out to the Calgary Stampede next summer. Tony: If Ace of Base needs an opening act, we're there! Describe your dream bill, if you could have your own personal Lollapalooza. Tony: Johnny Cash, Stompin' Tom ... Billy: For personal reasons, I'd have to say David Bowie, but we'll leave the olher boys out of thot... Tony: ... And I didn't see [the movie] Rhinestone, but Sylvester Stallone ond Dolly Porton doing a duet ... Did you hear that Sylvester Stallone isn't a hat and he rules the world. He's the perfect mix of going to do action movies any more? Tony: That's why we're all wearing black. We saddened and upset by lhat, but good luck to hi Shouts out to Sly Stallone! Tell u% about Garth Brooks. Tony: He's six feet tall, he's got a head: James Taylor and Kiss. If you could wear wireless headset-microphones on-stage, would you? Tony: We would, except people would keep ordering french fries during the show, and it would sort of disrupt the whole thing.* Mint Records, Inc. • PO Box 3613, MPO, Vancouver, BC Canada V6B 3Y6 b (604) 669-MINT • UiiM«is_-_-_-_i-_-_-_-_i--*s_ By Michael Chouinard Photography by Barb Yamazaki At 36, Matthew Shipp is quickly becoming one of the more exciting, young jazz pianists around. In last August's Downbeat critics' poll, he placed seventh in the "talent deserving wider recognition" category, alongside players like Geri Allen, Marilyn Crispell, and Jacky Terrason. Cadence reviewer Michael Rosenstein described his playing as dazzling — densely abstract but with bluesy and lyrical touches. The reviewer also said pointblank that Shipp is "one ofthe masters of his generation." Born and raised in Wilmington, Delaware, Shipp started playing when he was five. Mainly self-taught, he did take some lessons with private teachers and spent much of his youth playing with people in his hometown, before moving to New York in 1984. There he began working with such artists as saxophonists David S. Ware and the Art Ensemble of Chicago's Roscoe Mitchell. As well, he has recorded seven albums on his own, including his first solo recital, Symbol Systems. Future projects include more recordings with Ware anjj Mitchell, as well as more projects as a leader, including a string trio album coming out on Hat Art in March. Shipp brought his trio, consisting of drummer Susie Ibarra and free jazz bass legend William Parker, to the Glass Slipper on Friday, December 13. (Sadly, it was the last show I'd see there because arsonists torched the performance space just over a week later.) DiSCORDER-. What influenced you to start playing? Shipp: A church organist in my parents' church — Episcopalian Church. There was one anthem she used to play that I really, really liked. What was it? I don't know the name of it. It was a Gregorian chant type of thing. But anyway, I wanted to play that piece, so I asked her for organ lessons. She said [to] start piano lessons first, so I started studying with her. Did you ever take up the organ? Yeah. A little at a much later date. Miles Davis, I think, had boxing and painting aspirations. Were there any others you had? Boxing [laughs]. Funny you should say that. I wanted to be a boxer. I'm a big boxing fan. What did you think about the Holyfield-Tyson fight? Oh, Holyfield's my boy. I love Holyfield. I've been saying for ten years — I've been telling people that I thought he actually could have beaten [Tyson] as a cruiserweight. I really believe that. I've been waiting for this for ten years. Twelve years actually. People don't give him credit. He knows what he's doing. Did you ever take any boxing? Oh, yeah, yeah. I boxed a little. How does leading your own group compare to playing with David S. Ware or Roscoe Mitchell? I play with the same people. There's an ongoing vocabulary that's organically developing between all of our music because there are people that play in William [Parker's] group that I play with in other contexts. So it's like a big family. There are differences. I get to structure the performance on my own whim even though I make this kind of a collective. I do set outlines for things. The big difference is that David has a very specific gestural way of leading the band. He does his thing — I don't want to say we have to follow him but there's a very set type of way performances evolve in [Ware's] quartet. I think the ebb-and-flow is a little different with the trio or duo where he's not in front. And also there tends to be a lot more of exploring different types of dynamics because we don't have the big sound in front of us. I do have a distinct compositional vision from David's. I definitely aim for different things, even though it's related. What about Roscoe Mitchell? That's a whole different ball game altogether. The big difference is David hired us specifically for what we do. William's been playing with David for years. And he heard my trio. He heard Circular Temple. Whereas Roscoe has basically been evolving the same concepts he's been evolving with his group and we had to adjust to that ... he has a different compositional vision too. You look at bebop. Monk had a compositional vision. Charlie Parker had a certain thing. They all were very different people with different music despite the fact that they would play together. And it's the same with us. We're very different people with different music and different aims. One of your albums came out on Henry Rollins' label. Well, he has two labels and I'm on both labels. On Infinite Zero, which is a reissue label, he reissued Circular Temple, which is a trio album. On 2.13.61 Records I now have two records out on that label: Critical Mass, a quartet, and 21, a duet album with Roscoe Mitchell. How did that come about? I read an article in a magazine about Henry where he was talking about some jazz musicians. And I knew the guy that wrote the article, so I was talking to him and said I didn't know that guy was into jazz. He goes, 'Yeah, you should send him your stuff. He'd probably like it. He likes Charles Gayle.' So I sent him a package and he wrote me back. We just got a dialogue going from there, and he signed me. That's really basically it. You were surprised? Yeah. I didn't know much about him. I mean, I knew Black Flag, and I saw articles about it. I just happened to read this one and he was talking about jazz. I thought, 'Wow, I didn't know the guy from Black Flag liked jazz.' I was reading a review in Cadence which described your playing as a synthesis between Andrew Hill and Cecil Taylor. I would put Paul Bley in there, too, and Andrew and Cecil and Monk and Bud Powell. Those are the people I feel closest to. Are there other musicians specifically on other instruments who would influence you? Coltrane. Who else? The painters Jackson Pollack and Mark Rothko. So many people ... The list goes on and on. Jimi Hendrix, African drum music, African drum choir music of all types. Who are some of the up-and-coming musicians that excite you? I don't really listen to what anybody's doing, now that I'm too busy trying to make a living. I like Rodney Kendricks. I don't know if you know him —the pianist. But I really haven't kept up. There's a band in Europe called All the Dimensions of Music that really excites me. William's in it and there's an alto player, Danny Carter, Roy Campbell on trumpet and Rashid Bakar on drums. That's a band that really excites me. I already asked what other influences there are on your music. Abstract Expressionist painters and boxing. I really have a whole correlation between boxing and jazz that I pursue. Can you elaborate on that? I have a piece I wrote for a magazine called Cake, this fanzine out of Minneapolis. I wrote a piece on boxing and jazz. It'd be hard for me to go into it right now. There's the same very fast transference of signals. There's the very complex type of pattern action that's generally, you know, its own space-time. The boxing match evolves second by second. There's the same mixture of improvisation and discipline ... but the unknown is being unfolded at really fast rates. What do you think the challenges of a jazz musician are now? To survive. First and foremost? [laughs] You should get this job. You'll see. It's almost impossible to make it. Then, if you do, it's a very hard life. [Surviving] is the major thing. It's very difficult.• Matthew Shipp Discography: Points (Silkheart) Circular Temple (Infinite Zero) Dao with David S. Ware (Homestead) This Dance is for Steve McCall with Roscoe Mitchell (Black Saint) THE MATTHEW SHIPP TRIO Friday, December 13, 1996 Glass Slipper This is certainly a review of personal firsts. My first review, my first time at the Glass Slipper, and my first time seeing the Matthew Shipp Trio. The Glass Slipper was obviously designed for listening. The elegantly simple, subtly lit stage made it clear this was not going to be a visual show, but a musical one. The trio took to the stage unceremoniously and simply began to play. Two sets, each about 60 minutes, of musical fluidity. The amazing range of sounds and rhythms generated by the band heaved and crashed up to frantic crescendos which left one gasping. Then they mercifully allowed the audience to briefly catch its breath during ephemeral, melodic lulls. Shipp adroitly ripped his fingers, hand over hand, up and down the helpless keyboard 'til it seemed exhausted. Bassist William Parker's mixed attacks and caresses of his double bass were remarkable, occasionally producing eastern sounding riffs mixed seamlessly with bowed and plucked sequences. Anchoring all of this was percussionist Suzie Ibarra, masterfully utilizing the simple drum kit augmented by numerous stick types, maracas, bells, and other assorted percussional toys. Both sets held the captive audience spellbound and we left smiling, as though awakening from a pleasant dream. Although this was an evening of firsts for me, judging from the comments I overheard upon leaving, I wouldn't be the only one going back for seconds. 8 february 1997 THE PIT PUB • IN THE BASEMENT OF THE STUDENTUN10N BUILDING, 6138 SUB BLVD. • 604-822-651 I The Oranj Symphonette is a San Francisco Bay area group that is making a name for itself, I playing radically rearranged tunes by film/TV ^Mcomposer Henry Mancini. Members Matt Brubeck, I Ralph Carney, Joe Gore, Scott Amendola and Rob I Burger have played with a variety of artists over ^P the years, including Tom Waits, Bill Frisell and PJ ^^r Harvey. You can hear th/s diverse background in their y^ sound, which can switch at any moment from swing to punk to f surf to free jazz. They've been gaining much attention since the release of their debut album on Gramavision. The group will be doing a _ six-date West Coast tour in mid-February, including a stop here at the Starfish Room on February 20th. DiSCORDER spoke to bassist- cellist Brubeck — son of jazz legend Dave — on the phone from Berkeley, California. oranj symDhonette Michael Chouinard DiSCORDER: Why'Oranj?' Brubeck: The main reason is that it's the colour one associates with the pop iconography of that era. There's actually a couple of Mancini greatest hits albums [with] orange backdrops. So it just kind of fit. And originally we were called The Oranj Mancinis, and we just retained the orange part. I didn't know if it was a secret or something. No, there's no particular secret. It is a particularly lurid colour, though. It's actually coming back.We started a trend. The band obviously has a lot of influences. There's of course theTom Waits' connection. And I saw Rob Burger with Bill Frisell a couple of years ago.What else would be on the Oranj Symphonette resume? Let's start out with Joe [Gore]. Of course, he spent most of 1995 touring with PJ Harvey. He's done a lot of different things — most tably the last few Waits' albums and Waits' recent live shows. And Joe has his own band called Action Plus which is playing quite a bit — pretty much weekly in San Francisco. there [laughs]. I really don't know. I'm not really an expert.This is the only, quote, loungy band I play in, and I don't think it's a loungy band. I think it has a repertoire that people associate [with lounge]. I guess of Mancini. There's something cocktail-ish about Mancini. One phrase we kind of coined is the improv secessionists from the 'cocktail nation.' 'Cause basically we are more sort of an improv band really more than anything else. If someone wants to associate [us] with lounge then they can do that.That's fine. I don't want to stop them. It's just as mysterious [to ask] as to just what bin do you put this in in a record store. What attracted you to Henry Mancini's music? I realty was not a huge fan or any sort of expert. The inspiration of the band came from my wife. She had a lot of Mancini records in her collection. And she would play them for me, and she would say,'You know this stuff is really good. Someone should do something with it.' And a few months later, this Radio Valencia [club] gig came up. We just decided to make Mancini the organizing principle of that improv gig.We could have gone in there and done anything. But that's what we decided to do. And it was actually so successful that we decided to stick with it. The Downbeat article I was reading said some critics thought Mancini was too schmaltzy. Was there really much criticism? I think the criticism was more [that] people thought we were jumping on some sort of lounge bandwagon or being opportunistic.You know there are songs out there that are just raw material. And you work with them or you don't. We do Mancini not because it's trendy. We do [it] because it's really good music to work with. Yeah, I know Naked City used it. Sun Ra used it. Yeah, it's funny. I wasn't aware until we played Radio Valencia that 'A Shot in the Dark' had been done by Zorn. It's a really funny story. My wife heard someone at the table at Radio Valencia say to someone else when we were 'You know there are songs out there that are just raw material. And you work with them or you don't. L We do Mancini not because it's trendy. We do [it] ^. because it's really good music to work with." You guys seem to shift from one style to another really easily. [Do] these arrangements happen organically or does someone come into the rehearsal with a set idea like,'We want to do a cha-cha version of "Moon River?'" [laughs] Usually in rehearsals what has happened is if anyone comes in with an idea it got warped pretty fast.Traditionally, I have done the arranging in terms of bringing in the piece of paper that everyone, quote, learns the tune with. But it's really a group process. So in that sense, yeah, it is very organic. And, actually, we often perform things quite differently than as on the record. Some of our local lounge community were out for your last show. But I wouldn't exactly limit you guys by calling you a neo-lounge act.What is your take on the whole lounge scene? Well, there is no one lounge scene. I think lounge means something pretty different up playing it/Isn't that a John Zorn song?' I thought. Wow, we've really come full circle.' I guess people dont have any memory ... Downbeat said the next project will probably move beyond Mancini. Do you have any clues as to where? All of us are especially intrigued by film music. And I think there are a lot of good film music themes out there that would be a lot of fun to resurrect back into the public consciousness. And we could keep doing some Mancini stuff. We can put Henry in there in good company with some other people. To tell you the truth, we really haven't decided what we're going to do. We've never really discussed being an original music band. Let's put it this way: if someone asked us to score a movie, we would do original music.And I'm sure we would do it just brilliantly [laughs]. But I think we'd like to take other material and work with it. By other composers. It's not in our charter or anything [laughs].* 10 february 1997 We met Oakland, CA's Pee Chees in a room in f the St. James Community Square which was decorated for pre-school kids. There were multicoloured rainbows, teddy bears and stars made of paper everywhere. We were all incredibly wet and exhausted as we sat on the floor talking and listening to the hip-hop bass drones coming from the next room. BY JIM VAN DER MEER. LDRIKIESSLING AND OUR FRIEND FROM THE STREET NAMED ERIN. PHOTOS BY LORI. Molly: So what do you have to do to get on the cover of DiSCORDER! We saw Sleater-Kinney on the cover. Jim: Urn, I don't know. I think the choice is random. Molly: Damn it. Jim: How did you guys get the band together considering that you are or were in bands from other places? Molly: We were friend* so we just decided to do a project together. Carlos and Rob lived in San Diego and I lived in Oakland, so Chris and I went down for a weekend to practice wilh them for somelhing fun to do. We ended up writing four or five songs and it was really good. We just came up wilh songs on the weekends for a while, recording ihem and doing whatever, and finally we ended up living in ihe same place and started putting out records. Jim: You said that the first few songs came together well. Did you have a concept in mind or did you just jam until you came up 'with something? Carlos: When we first played together, we tried out different combinations of playing instruments and one of the songs was done in the configuration lhat we are in now and that seemed lo be the best. We didn't have any preconceived ideas, it was just based on character, because we liked each other as friends and thought lhat it would be cool because of what we knew of one another. Erin: What is going on in Oakland these days? Chris: There are a lot of young bands, but it's kind of hard to talk about because it is really competitive. All of the bands that we are friends with are singular unto themselves. There's not really a scene where people get enthusiastic about ihe other bands. Jim: I've never heard of a competitive Molly: You haven't? Carlos: Believe me, it will get to Canada soon. Jim: What do you think about it? Carlos: It's ihe death of punk. Jim: So is it difficult to get a gig together? Is there animosity? Molly: I don't think it's like lhat. I've been in communities where you just couldn't wait lo see each other's bands and in Oakland it seems that there's just ambivalence towards other bands. I don't think it's ihe point to dwell on. It's not the over-riding sense of whal our community is like. I ihink every musk scene goes through lhat. Chris: I've lived in Oakland longer lhan the [others] and it has always been lhat way. There has definitely been a scene in ihe area and everyone is friends, but it seems to me lhat the social aspects of a music scene were always one thing but they aren't really separated from the bands. In that sense, people would go see their friends' bands play, but they're always Irying to one-up them. Molly: That kind of thing can be good, as long as you're always Irying lo get better. Carlos: The scene lhat me and Rob were a part of in San Diego was dose-knit and itwas like a package deal wherever we went. It wasn't like bands would go places, but ihe whole entourage would go. I met a lot of people lhal way and thought it was awesome rather than ihe competitive thing. Playing Victoria last night was a lot like playing San Diego a long time ago where it was just, like, kids who were inlo music and just were excited to get out and see a show on a Friday night. Jim: When was your first performance as the Pee Chees? Carlos: May 4lh. Chris: We played a skate park and in between bands there was a screen they would roll down and show videos of snowboarding and surfing and play really fast punk rock. Carlos: They wanted us to play while ihey were skating but we wouldn't do it so ihey booed us. Jim: Do any of you engage in arts other than music? Carlos: I am a salsero [sic]. A salsa dancer. Jim: Is that an aspect of your stage presence? Carlos: Not really. Molly: He is a karaoke performer loo. Jim: Whafs your favourite song to perform in karaoke? Carlos: 'Bossa Nova Baby' and 'Hard to Handle.' Jim: Were there any gigs you saw a long time ago that gave you the initiative to do it yourself? Carlos: End of the Line from San Diego. Chris: For me it's Rice [band that Molly was in], which is kind of weird. Erin: Isn't that the band that only sings about rice? Chris: Yeah. Carlos: Those idiots. Paughs] Chris: I tend to not remember ihose influential bands so much because they're not ihe ones lhat are really obvious. There were the big shows lhat I looked forward lo and gol really excited aboul and ihere were the olher shows lhat I remember as magical and transcendental but were totally unexpected. Jim: How did you learn to play? Carlos: I look guitar lessons in junior high school, which was the breaking point between me and my friends. I don't know if it's like this here, but where I come from there is a major gong problem. As my friends were putting their skateboards away and grabbing guns, I was pulling away and grabbing a guitar and Dead Kennedys records. So I learned in school and carried my guitar around being called a fag and stuff. Jim: I wouldn't say that we have a gang problem as much as a faux-gang problem. Carlos: Yeah, here it is amazing. You guys don't have any social problems compored to completely fascinated by this itry like this.* San Diego. I country; I've never been in c Check It Out At\fir$* TRANS AM Surrender To The Night MEG1ST iimn.ni matto • moves • multimedia- mok ROBSON AND BURRARD 604.669.2289 VIRGIN MEGASTORE How do you interview a bunch of goons Hke the Hansons? One misconstrued question and it's off with the gloves, goodnight interviewer. Unlike local nice-guy bond Nomeansno — whose checkered run-ins wih the Hansons have become almost legendary — these guys play dirty with a vengeance (itwas his some game ethic that propelled their cousins and the Chariestown Chiefs to notoriety). So it wos with minor trepidation that I set out for the Town Pump before heir Nov. 15th show, unsure and anxious as to who heir publicist would place in front of me. Would it be Hockey's answer to Friday the 13th, Robbie Hanson? Their volatile leader, Johnny Hanson? The chimpJike Tommy? The monosyllabic Kenny? Or God forbid, some riotous combination (ihe Hansons fight with each olher almost os much as they do wilh their opponents). Fortunately, I wos greeted by an unmasked and relatively articulate Robbie Hanson, who thankfully managed to keep the gloves on for the duration ofthe interview. So here ya go, the results of my one-on-one wilh he Hanson Brothers. by Jason Stinson The Hansons - Offside at the Commodore Ballroom. PUCK ROCK. Photo by Paul Clarice. DiSCORDER: How do you guys spend your time during the off-season? Do the Hansons have day jobs? Robbie Hanson: [loughs] Yeah, we work in a brewery. We get paid in beer. Good gig. Recently you've become affiliated with your cousins, the 'other' Hansons. How did that come about? Uh, ihey're Irying to get on ihe bandwagon, ihose scumbags, they're trying to ride our coat-tails to stardom [laughs]. That's alright, it's all in the family. We love 'em. Any jealousy there, seeing as how they're still playing the great game of hockey professionally? Well, uh, I could have been a great hockey player too, except for the fact that I can't skate — lhat was ihe only thing that held me back — otherwise I'd have been a star. But I get my own back on stage, so I don't worry too much about it. So how's the drive to get Tiger Williams into the Hockey Hall of Fame going? Thousands of ballots have come back. It's zing. Thousands of ballots. People have sent their own petitions. People have faxed, like, 20, 30- name petitions. People have been xeroxing their ballots lhaf come out of the CD to get ten of Ihem and get olher people to sign 'em. Touched 0 real nerve there, which is great. I don't know if it'll ever amount to anything, but if the one thing that happens out of all this ridiculousness is that we might get Tiger considered for the Hall of Fame, that will moke it all worth it. That'd be great. The majors have passed you punk rock Hansons over, but have you ever been approached to play by the Vancouver Voodoos? No, and I don't know ... There's something candy-ass obout that, that roller-blade hockey. 1 mean, c'mon, get out there at 40 below and use the buffalo chips for a puck ... But we're approachable by anyone, as long as they're willing to put up with us and pay us a lot of money [laughs]. On that note, how's Virgin been treating you? Well, we're taking them for the ride of their lives [laughs]. Their cheque book is gonna be sore by the time ihey're finished with us. It's been fun, J hope ihey're having fun. That's what we're in it for, and if we can get them to pay for all the expenses, fine. Of course, our coach, Laurie Mercer, is into bilking ihe big boys. What do you think of GM Place anyway? It sucks, but it's the only ploce lo see the Canucks. The Pocific Coliseum wos way louder, way grittier, woy better. It's like, y'know, being on an airplane, watching the movie. But, still good hockey. Good hockey's good hockey in any stinkin' environment. So where's the best place in Vancouver to watch a game? 1 will sometimes watch games at ihe local pub in New Westminster where I live. I wish that we would get a minor league, a WHL, or a kinda league like that — go back to the Pacific Coliseum or out to Queen's Park in New West where the Bruins used to play. That would be really neat. I mean, I love NHL hockey 'cause it's the best, but the other stuff is even more fun. We used to watch ihe Cougars all the time at Memorial Arena in Victoria — and thatwas hilarious, because it went from being totally exciting to being so bad, it was unbelievablel And you'd have, like, 2000 people there, and it's usually crazies who've come to every game since 1946, right? It just went on, and the characters lhat hung around [were] amazing. Do you remember the first time you ever heard a Ramones song? I do indeed. It's when I first bought the album. I saw a full page ad in Rolling Stone and it said The Ramones' and there they were standing up against ihis wall and I said. They don't look like brothers.' [laughs] So I bought it, and I heard 'Blitzkrieg Hops,' and then kinda sat there stunned for ihe whole album and played it again. Then I played it about 40 times after lhat until I had no friends in my own age group anymore. They all thought I was insane. Tommy does the best Dee Dee I have ever heard. Does he have any ambition to embark on a solo rap career? [laughs] Only if you can get ihe dribble somehow to come through on the vinyl. Thot would be interesting. It would be sorta like Dee Dee's rap career. That is one of the most hilarious albums I have ever heard. Poor Dee Dee. Aside from renting Youngblood, what advice can you give to youngsters who want to toughen up? Get out and play on every street corner. Play, play, play. Same with musicians — you wanna do it? Then just go out and do it. Do it really, really hard. You may not get any good, but you'll hove a lot of fun. Odgick vs. Oglethorpe: who's goin' down? Ob, Oggie ond Odgick. I think Oggie would win (hot one. Oggie's o classic. I'm talkin' about his prime years. These days he might not be much of a problem. But on a red note, the Brashear and Odjkk combination on the Canucks — that's lookin' good. I'm lookfn' forward to seein' diem kick some real serious Canadiens' butt. Predictions on score? I don't know. It'll be a high scoring game. I'd soy, toss up, five something for the winner [final score: Canucks:! Canadiens: 6]. Have you had any problems with American promoters trying to incorporate 'puck-tracking' technology into your live [laughs] American promoters have nevef tried to put us off the stage, ihey've never tried to help us or abet us in any way, shape or form. We're goin' down there ihough, so screw 'em. We're gonna Iry and tie into the IHL, blue-collar kinda hockey crowd, wilh the help of ihe real Hanson Brothers. I'm hoping we hit most of the major hockey towns in Ihe Slates. The big news is: you guys are doing a video?l? I think we are, actually, but again, this depends on someone else's ability to pay for it. I despise videos, but the Hanson Brothers will go to any lengths to propagate their vicious mentality. Again, it's part of ihe fun. If we can get our noses onto these — these stupid video programs — that would be hilarious. And you're doing a video project with the 'old-time' Hansons... I hope so. They're into it. They're making a video themselves, sort of a rock 'em sock 'em Hansons video, that's in production and ihey're gonna get us to do ihe soundtrack. [Johnny Hanson walks in.] What does the eight-ball say about the Canucks' chances this season? [Right on cue, Johnny pulls out a magic eight-ball from his equipment bag.] Johnny: Just a sec ... The guy has an eight-ball! Johnny: What is the specific question that you'd like me to answer? Uh, will the Canucks win the Stanley Cup this season? Johnny: Will the Canucks win the Staniby Cup this season? pohnny shakes the magic orb and waits for an answer]. The pressure mounts ... It's reluctant to answer a question ... 'Most likely.' The eigh^ball never lies. One last question for Johnny: do you remember the first time you ever heard a Ramones song? Johnny: Uh ... God. Well, the first Hme I heard a Ramones song I hated it. [Robbie laughs.] Johnny: That was in my mom's living room in probably 1978, I guess, or '77. But then I went and saw D.O.A. and realized this wos my music, these were my people ocoand uh, went and saw Roclc ond Roll High School when it came to the theatre ond knew then lhat the Ramones were the gods of Rock ond Roll. Robbie: But he got drunk and passed out in the middle of it. And with that I hightailed it outto there, feeling pretty damn rockin' to still hove oH of my teeth. The Hansons are a local institution for all of us Ramones-lovin', rink rat goombahs. Not since "Nomeansno Clones the Ramones" has Vancouver punk been so ridiculously dumb. Viva Los Hansons! • Hanson Brothers Discography: "We're Bad" (Written by the Hansons, "stolen" by Nomeansno) Jello Bhfro with Nomeansno LP/Alternative Tentacles) "My Girlfriend's a Robot" {Blobs Vol. 1 7"/Way Out Records) Sasquoten; ifie Man, Ae Myth, he Compilation 7" (Kirbdog Records) Gross Misconduct \? (Alternative Tentacles) v/a Johnny Hanson Presents Puck Rock Vol. 1 (Wrong Records) Sudden Deah LP (Essential Noise) "The Hockey Song b/w "The Enemy" 7" (Essential Noise) 12 february 1997 DiSCORDER spoke to (K) label-chief/pop star/youthquaker/impresario/heartthrob Calvin Johnson via the miracle of telecommunica Narcotic, Dub Narcotic Sound System, Louisville USA,' Dub Narcotic Sound System's latest remixes EP with Lois, Dub Narcotic Sow A.J.: Can you explain the difference between Dub Narcotic and Dub Narcotic Sound System? Calvin: Oh, well ... Dub Narcotic studio is where the action is, and Dub Narcotic Sound System is [LONG pause] more, uh ... it's not really anything. It's more an idea. Dub Narcotic is a place. Whereabouts is Dub Narcotic, the studio, located? Here in Olympia. I've heard rumours that it's located in a basement below where you live — is that correct? [eating food] Yeah. What was the first thing that got done there? The Mukilteo Fairies. Or, no, I'm sorry, not the Mukilteo Fairies ... wait, I got confused ... goddamnit! It's the ... I'm totally spacing out... Yeah, the Mukilteo Fairies. They were the very first thing. Actually, they were the first thing and I think they were the second thing too, because they came back and did some more. Two of the people from that band are in Behead The Prophet No Lord Shall Live — I think they played up there at one of Nardwuar's shows. So they were the first ones to christen the studio... I think so ... Yeah, they were great. In fact, their set list is on my wall, still here at the studio. So when people come here for the first time they always look at it and then they say. What is that?' because it has these great song titles like 'Holy Leighton Boys,' 'We're Not Your Entertainers,' 'We're Enough For You,' Who's Been Fornicating in My Bed,' 'Making Plans For Confrontation' ... People are always like, 'What is that?' Are you always behind the controls anytime something is recorded at Dub Narcotic, or do you sometimes hand over the reins? Sometimes other people work there. Such as? Diana [part of Dub Narcotic Sound System's Soot Party crew] and Phil Eck worked on the Halo Benders album there. Where's he based? Seattle ... [loud, distorted voice] SEATTLE. What was that? Nothing. Unfortunately, I don't think that's going to be transcribed too well because it's a print interview — but it was entertaining nonetheless ... So, Dub Narcotic Sound System — how did it get started? Was it started as just a hobby or did you always realize that it would have a life of its own? So you consider most ofthe things I do 'not a hobby?' What do you mean? Everything I do is a hobby. fi OK, fair enough ... Your first release as Dub Narcotic Sound System was just entitled Dub Narcotic — is that correct? [grunts] Ungh! . Yes? $, Uh huh. At the time that you released that single, was Dub Narcotic an established project at that time? Sure. No, I was like, 'Yeahhhhh!' I mean, "f have you ever heard of Bo Diddley? He did * a single called Bo Diddley, and the very first single by Public Image [Ltd.] is called Public Image and, urn, there's probably some other examples ... Yeah, there's plenty of other examples ... Well, I thought, 'The first single I want to be called Dub Narcotic' Who helped you out on the first Dub ! Narcotic single? Nobody. 14 february 1997 Was it just you? Oh, wait, Tae [of Kicking Giant fame] played some bongos on it. How many different incarnations of Dub Narcotic have there been now? Well, a lot of different people have come and gone. So is Dub Narcotic Sound System always going to be that kind of a project — constantly metamorphosing? It seems like we've got a lot of different things to do. A lot of stuff to work on, you know? What about ail the different people that are on Boot Party — how do you know them? How are you acquainted with them? Urn, let's see ... 'Cause there's a lot of names I'm not familiar with, from other K projects and otherwise ... So what do you want to know? How did you hook up with, say, DJ Sayeed, or Todd Runslow, or Larry Butler, or ... DJ Sayeed, he's in a group called Black Anger. They did a record on K, and they've got another one coming out really soon Well, I said I wanted to from the very first time I heard any of it, but it takes a while to get there — 'cause I don't just sit down and say, 'Hey, let's do a reggae song!' That isn't how I usually work. So it kind of seeps in as you learn how to make songs in one way, and then you realize, 'Wow, I could also make them up this way!' And so then they start coming out this other way — I'm not the kind of a musician who can just play anything, and I'm glad, because I don't want to — and then I'm working with people like Todd and Larry and Brian who [speak] that language. So, you know. Heather [Lewis, of Beat Happening] lis- ten[ed] to R&B all the time, but that wasn't is from Stax — his name is William Brown. He was a singer at Stax in a group called the Mad Lads. Who were amazing. And he's also engineered tons — like all the Bar-Kays albums, and tons of other people. He's worked with everybody. He's a really great guy, so he did both our sessions at Royal. What sessions were those? We did an EPthat was called Ridin' Shotgun that was recorded there — and there's a new EPcoming out in February called Bone Dry. What can we expect to see on that? / Four songs. One of them is called/ Don t Be Shy: A Valentine s Suggestion and he's from Taco Well, there's this Presidents that we before, and they'i Anger and Brian w and so was Todd, sc ma, which is where ... group called Dead d done a record with e friends with Black as in Dead Presidents , we kind of met them that way. And Larry, the drummer, who plays drums and all that, he was an old friend of theirs from high school. So, you know, just friends, and friends of friends ... When did you get interested in recording in areas such as dub, and funk, and hip-hop — all of which are part of the quilt that is Dub Narcotic Sound System? As soon as I heard it. OK, but from your other projects — Beat Happening and the Halo Benders — with the exception of a couple of remixes, there wasn't much of a hint that there was an interest in those styles of music and there never really seemed to be an attempt to move into those areas. So, when did you decide that you wanted a project that would move into those areas? [huge pause] Well, those projects are just doing what comes naturally, the same as this one — just because ... You're kind of making an assumption that if we're making music that sounds like Beat Happening then we're listening to music that sounds like Beat Happening and there isn't any music that sounds like Beat Happening, so why wouldn't [the inspiration] have come from the first Kool and the Gang album as [much as from] the first Half Japanese, you know? 'Cause if you listen to the first Half Japanese, he was covering James Brown on the very first recordings, and it seems like a lot of people who ask those kinds of questions, they have a very naive view on music and race. Like, 'There's 'black' music and 'white' music' — and there's a lot of music that has lots of different kinds of backgrounds, and I don't think it's that surprising that I'm interested in something that isn't 'white' — and I don't think that it's that surprising that those influences might seep into my work. I'm not 'surprised' by it in the least; the only thing I'm trying to get at is when you realized that you might want to DO a project in that area. the way that she played music, and I always thought that that was too bad — because that's all she listened to. Do you think that some of it has to do with growing familiarity with the recording process? [mumbles] It's your own process. Things change ... Yeah, but there must be things that you're able to do in the studio that surely you couldn't do a number of years ago — and that must influence your work. There's things that I can hear in the studio that I couldn't a couple of years ago — of course, there's a lot that I can't hear now, that I couldn't hear ten years ago either [?], that has more to do with damage than learning. But the thing is, that doesnt mean that there weren't those influences starting from the first day, even obviously. I think we incorporated a lot of ideas that Dub Narcotic are doing in an obvious way, were incorporated into Beat Happening and the Halo Benders and the Go Team — but maybe the style of music doesn't suggest it. I would agree with that; in terms of categorizing music, I'm not real interested in keeping things in neat little packages. I have a show that's billed as a 'blues/punk musical revue' that explicitly tries to break down musical compartmentalization. I think it [musical preference, in my case] has a lot more to do with 'passion' than with musical styles. Yeah ... I've been reading a lot of books about Memphis, because Memphis is home to a whole bunch of great music that I like — and it's somewhere that we've gone to record a couple of times and we've been able to meet some of the people that made some of that music ... Who's gone to record there? Dub Narcotic Sound System. We did some recording in a studio called Royal Recording, and that's a studio run by Willie Mitchell — he worked at a label called Hi Records, and he had a band in the '50s and '60s — he was a band leader and played a lot of clubs and put out a lot of records and produced ... He worked with Al Green, didn't he? Yeah, Al Green and Ann Peebles and lots of other people — the engineer we work with 'Bass ... [?];' we got to work with\ some horn players in Memphis, which was really great. We worked\ with Ben Colley who was one of the orig-v inal Bar-Kays, he's a trumpet player So, is that whole musical network still going on in Memphis? Yeah, the thing is that it's really quiet there. I mean, things are pretty slow and pretty dispersed — there was this quote, something like: 'Nothing ever happens here, but it happens all the time,' or something like that — it's just a place where it seems like nothing is ever going on, but things are going on all the time there. You know, we'd go there and there'd be ten people at our show, and people would say, 'Yeah, nobody ever goes to shows here blah blah blah,' and then we'd meet Luther Dickinson whose father is Jim Dickinson, who played on tons of records, and he'd say, 'Yeah, I'm in five bands and I play, like, six nights a week and ...' And I'd say. Wow, where do you play?' You know, it's happening if you know where to look. I got that sensation when I passed through there a few years ago — it seemed like you had to scratch beneath the surface a lot more than you might have to in some other cities. Yeah. But it seemed like there was a hell of a lot going on. Well, if you ever go there, there's a record store [and label] called Shangri-la and they publish something called The Low-Life Guide to Memphis — it costs like a buck, or something — but it tells you all the ... historically, where everything is that ever happened, plus it tells you the places to go to now, that are pretty cool. The woman who works there, Andrea, she set up our show, and there was this guy called Lucky Carter, who's an old blues guy that was on Hi Records. He's in his 70's probably, but he was playing a show and she took us over to see him, and she's "Like, There*. white1 music1 - of music t differei backgroun thiniV surprisi inter someti isn't tons from his headquarters in Olympia, WA. We discussed Dub ' System's upcoming and Memphis horns-backed Bone Dry EP, etc., etc. just pretty connected ... But, yeah, just the whole Memphis idea of it being this crossroads where lots of different things came together, it's really interesting to me ... Have you read Last Train to Memphis! Is that one of the books that you've read? I haven't read that one yet. Thafs that Peter Guralnick one thafs a bio — well, ifs supposedly a bio of Elvis' early years but... Oh, yeah. But ifs really sweeping, and you really get .an amazing sense of what was going on in ^Memphis in the late '40s to late '50s. sj've read a couple of other books by \him: Sweet Soul Music has got a lot settling, and coming there for different reasons, and then it was settled before the advent of mass transportation and rapid transit you had really different cultures in Alabama than you did in Louisiana. Whereas you get 200-300 miles away from here and it's basically the same. You can thank cable TV for that. Yeah, so it's definitely got a whole different feel to it — that area — and it still, even with the advent of cable TV and the automobile, it still retains a lot of that rural flavour. So how's [the Ship to Shore EP] doing? 'Cause ifs amazing — ifs really good. Thanks, yeah ... well, we did that song for the album and everyone seemed to really like it record store. But they each have a really different approach ... Is Lois going to be the next Tracy Thome? Um, I don't know ... she's always gotten that comparison. Is she going to have a 'drum-n-bass' outing next? I don't know. We're really excited to work with her some more, but she's got other projects. Whenever she's ready, we're happy to do stuff with her. What kind of other projects does she have7 Well, thafs kind of off-topic... She had gone off on tour for a while and she'd been to Japan. Right now, she's the manager of the Capitol Theatre in Olympia, which is a venue that shows films four nights a week and has other events. Including gigs. And so she's taking that over, and she's kind of taking that on as her one big art project, because she wants to have other kinds of events there besides music. So I think she's developing some ideas for that space, and that's what she's putting all of her energy into right now. I know she's playing music with a bunch of people, and I know she's going to be going out on tour again to the East Coast for a two week stint. So, yeah, she's got a lot of stuff going on right now. from Calvin Johnson of Dub Narcotic by a.i. SYSTH. 'of Memphis in it, and so does Feel 'Like Going Home. And I have that book Last Train to Memphis, but I haven't read it yet. What are the books that you've read [on Memphis]? I read those two Peter Guralnick books, and there's one by Peter Gordon called It Came From Memphis. Thafs a pretty recent book, right? Yeah ... It's got a forward by Peter Guralnick, actually. This book is great, though, because it really talks about the underground history — it crosses over into people like Booker T, and these people, but mostly as they relate ... They're from Memphis, and they grew up there. It sort of talks about native Memphis people, and how they discover music and how different things influence their lives. It sort of traces the underground history from the '40s all the way into the '90s — it's really, really cool. Of course it was all inextricably linked with the politics and what was going on in society at the time — there were all kinds of reasons why Memphis was just bubbling over with talent and aspiration in the '40s and '50s — ifs really fascinating, I think ... Yeah, I read the book by Carl Perkins, which is pretty corny, but it gives you — like what you're saying — a lot of the social background of what was going on then, especially in terms of race. And Memphis had the ability to ted in draw people from so many differ- , ent locations. People were coming ig that Up from Mississippi, and Louisiana, "JiLViitP1"' ant" Arkansas, and wherever, just to be "/rme in Memphis. It's interesting that because that area had been settled so early, it had a richness to it that we don't have here in the West, because there's nothing here that's more than 140 years old; the culture here is pretty homogeneous, as compared to somewhere in the South where there's been several different groups of people coming and going, and dack1 music and and there's a lot it has lots of kinds of and I don1t jjfs that that Im — especially Larry, Todd, and Brian, because they'd recorded that as just a bassline, with just bass, drums, guitars — and then I said, 'Hey, Lois, wanna write a song?' and she said, 'Yeah,' so it was recorded before she even wrote the song. She recorded that and when they heard it — they thought it was just a throwaway [their original bass line] — I was like, 'No, this is a great something — I don't know what it is, but it's great — it's going to be something great' and they were like, 'Yeah, whatever,' but then when they heard her voice on it they were like, 'Wow! She can sing! This is great!' I mean, they had seen her play before, but somehow ... I mean, they were kind of in awe of her in a way, just because she had records out and stuff. But then when they heard this they were like, 'Wow! She's really good' and they wanted to do more work with her, and so we got a tape of her new album. Infinity Plus. Which is also excellent. Yeah, and so we said, 'Why don't we do one of these songs?' and 'Rougher' seemed like a really good choice — and so we asked her if that would be all right and she said, 'Sure!' So who were the people who worked on the remixes? Oh, the remixes? Well, we have a guy that we work with a lot in Seattle and he was really into that song. He said, 'You know, you should really get some remixes going.' So he — his name's George Orlanzic [sic] — and he's an old friend of mine who used to work at KAOS [Evergreen State College's radio station] down here, and stuff, and he sort of does our distribution up there. So he was really into the idea of getting some remixes done. He kinda came up with the idea of getting some Seattle djs. So they're all Seattle-based? All three of them are, yeah — and I actually had known Riz and Massa [sic] but I didn't known Nathan before. Who's 'Nathan?' Is that 'DJ Dervish?' Yeah. I'd never met DJ Riz, but I was aware of him — he'd done work down in Olympia before and stuff — so I just thought, 'Hey, that'd be an interesting experiment, let's give it a try and see what they can do.' I'd known Massa for a long, long time because he used to work at Sub Pop and he used to run a How extensively did [Dub Narcotic Sound System tour last fall?] Two months around the US, which is really nothing, compared to, like. Beck who goes on tour for six months at a time. Being on tour for two months is really not that big of a deal ... How many cities did you hit? We played every night for two months, so, like, 60 shows. Did you make it up to Canada at all? Yeah, we played in Montreal, and Ottawa, and we played Toronto. Any chance of you coming up to Vancouver any time soon? Well, we're not really doing any shows for a while. We're taking a couple of months off and I don't know what we're going to do after that. But the Halo Benders, we're working on a new record, which is what I've been working on. I haven't really been working on Dub Narcotic for a while. OK, I've got a question for you: were you ever a go-go dancer for Lync? That would have been great, but I don't think I ever made that spot. Really? 'Cause ifs funny, I saw Lync back in D.C. a couple of years ago and it was at the Black Cat [club] and I was pretty far away from the stage and there was someone who was go-go dancing during their set, who was just amazing and it kind of looked like you. Oh, it must have been somebody else [obviously lying]. I wonder who that was? I wonder, because, honestly, he was really talented — he was doing this whole pantomime routine as he was go-go dancing, acting out daily routines, and stuff, and it was very effective. So you're pretty sure it wasn't you? Yeah. That was in '94. Yeah, well, think about it I wasn't in D.C. then. Oh, really? Not at all in '94?*r"'5r~: Not in the summer [?] So when Dub Narcotic wants to really get loose, who do you guys listen to7 Kool and the Gang, and we've got all kinds of Donny Hathaway and Vicky Anderson and Barbara Whitney. Ann Peebles? Not really. We haven't really listened to her much in the van ... a lot of other soul and R&B, and there's some weird jazzy shit that I'm not that into ... Such as what? Oh, I don't even know. You just block it out of your mind. Yeah, it doesn't really interest me. So, you know, just whatever — a lot of soul, and we've got a lot of Memphis compilations that we listen to. Massive Attack has also become a favourite on tour ... Well, thafs pretty much all I have for you, so do you have any New Year's wishes for our readers, or any Valentine's Day suggestions? Valentine's Day? My only Valentine's Day suggestion is: don't be shy. [p.s.] And do you have a regimen for maintaining your voice? No. You don't smoke a pack of 'Kool's a day? Constant abuse seems to be the only regimen. Do you have a throat lozenge of preference? No. Do you have any suggestions? . Well, I hear that Jonathan Richman uses Zand brand throat lozenges. Yeah, but he's got a really great voice, so he's got something worth protecting. Ah, c'mon... If I was Jonathan Richman, I'd be worried about it too — he should get insurance, or something, on that thing. Like Mary Harf s legs, or something. Yeah. Well, thanks very much. Well, thank you.* ijj Calvin singin1 in Beat Happening. 15 Ei^gauisffi IT'S STILL NO dull WEAR. H 0 1st month, Paul ( han's Punk Planet article The Kids lAren't Alrit; ifferenee in the age _ of multinational capitalism was presented, summarized briefly, partially critiqued and expanded upon (predictably, "talment picks up w^res! left off). Chan's main con- is with examining the passible, contemporary condi- jyailable for attempting farms of resistance to dominate social structures (specifically, capitalism). In this respect, Chan is particularly interested in "punk style" (although I've used his arguments to engage a broader critique of style based sub- cultural rebellion more generally). Chan argues that punk "music and culture have always existed resisting and opposing virtually any and all dominant forms of ideology, culture, and commodity production." Chan suggests that"... it is precisely that opposition or "difference" which makes Punk, under the aegis of Alternative music, marketable." With this Chan is only examining the commodification of punk subculture by large capitalists, citing the usual concern over co-option of style. Curiously, Chan does not examine the internal high level of self-commodification within punk subculture itself. In this respect, the ease with which punk subcultural style was (and is) taken advantage of was, in part, a result of its existence as a marginal part of the marketplace. Although this area of the market may promote different value systems symbolically attached to its choice of desirable style, it is otherwise not structurally dissimilar in its operation. As such, there is an intrinsic connection that is being under-examined here: the exchange relations of items which display the symbolic currency of style. This connection is ultimately tied together through the commodification of style—and any style- based subculture. This conflict introduces the argument that the contemporary use of style as a vehicle for critical activism may no longer be a sufficient way to challenge the dynamic nature of advanced capitalism. A similar position is argued by Tom Frank, the editor of The Boffifer (another fine Chicago magazine). In an article titled Dark Age: why lohnny can't dissent, Frank claims that our present popular notions of rebellion are based on outdated models. Frank warns that contemporary ideas and behaviours of exercising or displaying rebellion correspond far too closely to the model of the ideal contemporary consumer: social agents who seek out individuality and pleasure through commodities and thus the marketplace. Social agents who use, in other words, the manipulation of goods to symboli- cally represent identity and difference through style. In this | context, a more active, critical engagement would seem cru- : cial, necessarily involving all "us" social agents. It would seem that a specific examination of the growing diversity and complexity of businesses (and their technique^pfipjperation) within the culture industry needs continued critical attention. Critical attention shostld examine the changing ways with which the culture industry reports "our" culture b_ck# "us." It should also investigate* trie tec hniques of encouragement for continued public participation. As well, it should examine the way that options are limited to the degree that participation is unavoidable. Indeed, what is particularly necessary is an examination of the blurry boundaries of what constitutes the "culture industry." It would seem that a dialectical (see last month) involvement in the culture industry is presently supported by our participation with the market-place through our prioritization of the expressive qualities of consumer goods through style. Critical attention is generously paid to expressive potential and validity within style itself, but stops short of seriously expanding into the network of connections beyond the realm of style — the structures of capitalism. What is also important to explore is the degree to which capitalists are increasingly focusing on the "personalized" level of individual choice. Certainly, freedom, democracy and consumer choice have long been confused as synonymous, in this respect. This focus operates in tandem with a trend towards allowing individual choices to be made to seem as "private" as possible. That suggests that capitalists are attempting to operate at a scale of business that closely addresses and corresponds to the personalized "needs" of the private individual... and by helping create those needs if necessary. This is done, in part, in order to take advantage of the choices that are made with the attempt to establish a sense of personal identity (insofar as choice of goods is involved). This is consciously planned for and attempted, it is standard procedure. There are many developments in information-capture and distribution technology (for example, Pay-per-View, the Interac system and the Internet) that help enable this type of development to continue. Generally speaking, if culture is a medium for self expression and exploration, then the degree to which the commodity form establishes itself as the nature of cultural expression, assisted by a biased technical hegemony, is the degree to which our participation has become secured. This is not a new concern, and it is not simply a conspiracy. It is not just being FREE PIERCINGS With a jewellry purchase you receive a free piercing by Canada's most experienced piercers MACK'S LEATHERS 1043 GRANVILLE STREET 688-6225 THE EXPERIENCED PIERCERS done to "us," it is something that we are choosing to do. Therefore, questions of priorities, responsibility and complicity ultimately arise. Movements within style cultures, particularly those which push boundaries of acceptability, have helped capitalism develop into its contemporary form. The hard and important work of breaking new ground, opening up new dialogues, etc. easily becomes further market exploration, unfortunately. This is not to suggest a simplistic economic determinism, where all cultural developments grow out from the structure of the economy. Or to surrender to some helpless, self-limiting and relativis- tic fatalism. Rather, it is to highlight the way that our relationship with style culture has be- T WHAT E S T L Y come increasingly interconnected with the market — such is trie nature of tie-dialectic, "fftis r_lationship4iais largely disabled style as a viable option for attempting any systematic, progressive change within any realm but the symbolic. More is opened up in thisgiea, but the expansion hgs taken place within capitalist relaffms, established in part tithe accepting generosity of die commodity form. Capitalism is based on the continued exploitation of markets as th§y develop. The marketplace is significantly turning towards the profitability of information, and especially, to culture as a basis and medium for commercial exchange (with profit in mind). Chan's article was useful in drawing attention to the flexibility that is found within the symbolic realm of style. It also brings attention to the reality that a great deal of personal value can be obtained through an active, private and self- reflective involvement with consumer goods as they may relate to the activity of identity formation. Indeed this positive aspect also expands into culture more generally (and has aided in some valuable changes). Obviously, goods can be used symbolically to creatively assert a sense of private difference (used in what ever way) — but not without the problems stated above. This capacity of human psychology — the abstract and symbolic creation and manipulation of meaning — is not the concern of the present analysis however. The real issue is what Chan's argument proposes but incompletely attempts: a critical investigation ofthe complex interconnections that are formed within the dialectical relationship we all share within our cultural/political/economic system (currently based on capitalist relations and harsh structured inequality). While the dialectic is responsive to movement from many directions, a bias of economic power, technological cost and ownership does cast some serious constraint on its development — and therefore on us all. Yet there is enormous potential within the dialectical form, waiting to be attempted. While it is presumptuous to assume that all subculture interest in style need be politicized, or that there is a popular interest in critiquing capitalism, it is always useful to examine the nature of our present culture, nonetheless. Critical attention can be insightful and potentially empowering from whatever personal perspective it is attempted. But sides must sometimes be drawn, and issues challenged head on (as troublesome as it may be to fairly, accurately and comprehensively conceive of "problems"). The present analysis is concerned about "the state of the world," with the unequal categorization and distribution of "reasonable means of survival," and with gross, glorified consumption and over- commodification. As such, it has attempted to illustrate that a more thorough, popular critique, beyond the possibilities offered by style, needs to be developed and attempted for the sake of establishing a truer participatory democracy. This critique would require a diverse and committed level of imminent critical involvement, that examines the whole of the cultural/political/economic context and its history of development. This will not be easy, there is much to be concerned with: culture is a hugely elusive category. Social and economic structures are abstract, minute as well as distantly removed. And history is never conclusive, it is confusingly dialectical. All this may seem a lot to demand of subcultures, or anyone, but it is an important task to attempt, especially by those who are dissatisfied — and angry — with the structured inequality present and encouraged by capitalism. The positive aspects of style that were achieved, and are continuing to be developed, need also be involved — all advantages and opportunities are encouraged — but the romantic myth of the rebellious subculture needs to be overturned (or looked at carefully). While collective action is ideally required for this type of active critique, the first step, and stage, is ultimately personal. Hang on ... Kitty Poulin 16 february BURY ME STANDING Isabel Fonseca (Knopf/Vintage) "Bury me standing, I've been on my knees all my life." Sounds like a blues tune, and so does much of this book. Bury Me Standing is the story of Europe's perpetual outsiders: the The book K ■ I **•*•** begins by explaining why the Roma (as the Gypsies call n| themselves) m have been ha- || bitual fringe || dwellers since I they first drifted f out of the Middle East almost a millennium ago, but it realty begins to kick it out when Fonseca's writing loses its academic dust and picks up an edge of righteous anger. The words on the page are raw and bloody as she describes centuries-old tragedies that the Roma themselves have forgotten. Her anger is as palpable for the ancient dead as for the modern gypsies burned out of their homes; an anger that twists into frustration in the last part of the book as she describes the Roma's futile attempts at unity. A bitter reality j emerges with the re- I alisation that to re- | main true to their !| heritage is to re- || main true to a j legacy of victimi- g| sation. In light of this realisation the dilemma becomes clear: how can those that define themselves as outsiders become part of the system without destroying themselves? Though this is a work of non- fiction, Fonseca creates a new image in attempting to dispel the mythical gypsy and replace the phantom with a flesh and blood creature—one that is likely to be as potent as the old. With empathy and compassion, she paints a race of antiheroes, a people that cannot save themselves and yet cannot be saved. In Fonseca's view, the defence of the Roma is Europe's test — they have begun with failure, but the hope of redemption remains. FUGITIVE PIECES Anne Michaels (McClelland and Stewart/Knopf) Fugitive Pieces is a sensualist's dream. Reading the book is like lying naked on silk sheets while eating Haagen-Daas. The language is so powerfully physical that your body responds to the imagery, sweating in the hot Greek sun, shivering in the frozen Polish mud. UNCHAIN YOUR MIND. THINK INDEPENDENT. With a bizarre sense of displacement, you feel as if you have become one of the ghosts that young Jacob is obsessed with. You follow his life from Poland to Greece, to Toronto. You feel, not only Jacob's joy but the joy of his ghosts, as he finally learns to live the life he has been given. Michaels' gift for language creates the impression that the physical world is a reflection; each geological description is a simile for a more tangible emotional reality. With Fugitive Pieces, Anne Michaels has captured one of those unspeakably vivid and living moments, the kind that make your fingers tingle and has stretched it and shaped it into a novel of compelling grace. When virtual reality is this good, I'll buy it. tions. The Bone's voice-over musings illuminate the burnt out interior of a society where the most that those at the bottom of the food chain can hope for is to be ignored. An impossible dream. His lack of power and his ignorance are so complete that his voice has the objectivity of a camera. He reports the bizarreness surrounding him in the clear, flat tones of innocence. In brutal detail, the story flows through their eyes as turbulent, pounding waves, shaping and tinting the clear lenses with grinding experience. Eventually, he loses the innocent objectivity of the camera in exchange for the power of judgment. The Rule ofthe RULE OF THE BONE H ^/; o 1 d Russell Banks ||f B s t o r v (Harper-Collins/ __H_|l W carbon Vintage) **W8^ ated with Rule of the Bone is * ■ '"r'^f If enough the law of the jun- OSt Il modern nu- gle. Bank's novel is M0P •;•' ances and an eyewitness ac * light-hearted count of a culture kicks and that eats its young in gory and pranks to re- terrifying rituals of self-obses mind us that though sion. The eye, in this case, be growing jp may not longs to the Bone, poor white change, the world in which trash of stereotypical propor- it happens is now crazy enough to provide an entirely new twist. ASHTRAYS Lukas Tomin (Twisted Spoon Press) This book is fine. The book itself, I mean, with its textured cover, thick, lush paper and wonderful etchings surprisingly tucked into the margin or at the bottom of the page. Unexpectedly, Tomin's writing exceeds the decadent promise of the book's production. The novel — which could be construed as a long prose- poem — is unique in its vehemence and exotic rhythms. Tomin, a Czech writer living in Paris and writing in English, imbues the language with a vitality and a reality that equals the intensity that the best of the beat school has to offer. Like the beats, Tomin strives to describe the book's events in all their living splendour, showing us the beauty of the sweat-stained shirt or tobacco stained teeth. The unusual focus and stream of consciousness prose create a hallucinatory effect that oddly heightens, rather than detracts from, the unflinching realism of the story. This book looks, tastes and feels like 12 year old scotch, and will have a similar effect on your nervous system. 2742 WEST 4TH AVENUE! ALL EVENTS ARE FREE! LUCKY'S CARDS MUSIC COMICS 19)4 MAIN STREET (@ 2IRD) VANCOUVER 875-9858 Hours of Operation: Monday-Saturday 11:00 AM to 6:00 PM Sunday noon to 4:00 PM Hello readers. Your parents called and told us to tell you to come to Lucky's. Meet: Tammy! Wednesdays and Saturdays. Mr. Max! Tue.& Th. 2:00 to 6:00,Sundays. Gabe! Mon.,Tue.& Th. mornings,Fri.,Sat. You can buy stuff at Lucky's if you want to. We sell new and used compact discs and records, | comic books, 'zines and magazines, gaming cards (Star Wars, Magic, etc.), and assorted novelty items that may be of interest to you. We have low prices and we are simple, friendly people. Pretty soon July Fourth Toilet will play in the store. You and your entire family are invited. New music in now/coming soon: Venice Shoreline Chris, ManorAstro-Man?, Hi-Fives, Boss Martians, Thorsen, Trans Am, June of 44, Pavement, Lois, DJ Spooky, Punch the Clown, and lots more. basslines o by dj noah (d)noah@cyberstore.ca) Sometimes it is easier to follow the crowd rather than lead your own path, and no where is this more prevalent than in music. It is so unique that it can unite thousands under one roof, and yet can also divide the best of friends. In the last month I have heard well-produced music, as well as songs that bulldoze through the barriers of dance music and put fear in the hearts of closed minded individuals. ECLECTRO is the title of a compilation on Anti Static Records that features the likes of T. Power, Blim, Interference (Keith Le Blanc), and others. The agenda of the Anti Static label is to bring down the barriers of dance music, and the Eclectro compilation is a perfect example of the bonding of a plethora of styles in "a gregarious celebration of modern musical mayhem." Available as a double vinyl or CD package, this mixture is so smokin' that you will never look at music the same way again. The T. Power (S.O.U.R. USA) single bears only a slight resemblance to structures dance music. "Symbiosis" is a powerful mix of ambient waves, drums and bass rhythms, and funky electro keyboards that are enough to stimulate even the most stubborn of minds. On the flip side, "Complexification" is as the title suggests. The funk/jazz horn stabs weave their way through one of the fattest breakbeats I have ever heard, while the recurring keyboards constantly change octaves and pitch, all of which combine to form a "complex" sound that is equal to none. Also due out soon on S.O.U.R. is a double CD of Techsteppin' along with T. Power's "Waveform." The next four artists are all on the Harthouse/Eye Q label. First up is "Hommage a N o i r " by R A L F HINDENBEUTEL. This single is taken from the 45 minute documentary of the same name that Ralf wrote the soundtrack to. It was shot in Camaroon and focusses on the day-today activities of the local people. With no dialogue or plot, the music was influenced in part by local sounds; it is a powerful and moving piece that won Ralf an award at the New York Film Festival for "Best Documentary Sountrack." The second release for Rich and Julie (of Los Angeles' DIMENSION 23) is on Harthouse and it displays their diversity. The title track, "12 000 Ravers," is going to make West Coast ravers go crazy for a while, but the dated sound will cause this song to die out quickly. Of a more lasting quality are the two cuts on side B, "Mini- mizer" and "D.D.S." These songs are more along the lines of trance and have a familiar Harthouse sound that will give them a little more staying power with deejays. MIR's latest 12" consists of four distinctively different mixes of their cover version of The Church's "Under the Milky Way." The Cygnus X mix will fit in to any trance or techno set, and the E.H.R. mix is perfect for house fans. As for the Space Ride and 120 BPM mixes, they are only for the truly experimental dance floors where only the strong survive. Last, the remixes of "Beavis at Bat" by HARDFLOOR. Dave Angel's mix is so close to the original that it's hard to tell them apart, but sadly the original is better. The "funk mix" by Patrick Lindsey is atypical of his sound, yet is a brilliant reworking of the original. It's almost like he injected some soul into the otherwise mechanical original mix. Also worth mentioning is the Swag mix which still maintains that "bouncy" feel, but somehow manages to sound more electronic and less robotic. In the coming months from the Harthouse/eye Q/Recy- cle or Die family will be releases from Freddie Fresh, Yokota, MIR, and the first domestically released Recycle or Die compilation (Backlash), which will feature some of the artists on the ambientexperi- mental label.* i i i i i i i iand °F course' r FEBRUARY ^ DIS-CREW MOO-ZIC • SOFTIES • SONE • SEAM • LOW • DU NARCOTIC • LOIS • REBECCA WEST • DESCENDENTS • BILL | DIN6 • SIT *r sriN • SUPERCONDUCTOR ELEVENTH DREAM D Y | • LUSH • DJ FOOD • JALE • HEAVENLY • MOCKET • SANRIO MIXED TAPE (tOOD STUFF!) • V/A PAT 0 | COLLECTION VOL. 2 • 6THS • SMUGGLERS • BARB'S SINGALONB | FAVE: BIKINI KILL • MIKO'S SIN6AL0N6 FAVE (TIL TRISTAN KILLED IT): ZUMPANO | • KEN'S TOE-TAPPIN", HAND-CLAPPIN' FAVE: V/A HERE COMES THE SUMMER • TRISTAN DOESN'T HAVE A FA E | • OH, YES HE DOES: HEOSTATICS • TOP 103 +THREE NEW WORLD AFRICAN MUSIC THIS MONTH SINGLES CHART LAST MONTH I.R0»AAtMCH0_A1BK_ COMING AGAIN SO SOON PT I + 2 CRYSTAL ROSE 10 2. ANTHONY B FIRE PON ROME GREENSLEEVES 4 3. CIMNE WILLIAMS WCEYOU UGHH/HOPEFULY IT WON'T HAfffN YO MAMA (UK) I 4. AU OWE W00D50N PEOPLE GET READY (PAUL JACKSON JR.] BLUE NOTE 12 S.INDIA LOVE ME RMM 16 6.H0WUDXHtC0N_GRJVHY WAY'CROSS GEORGIA VERVE 31 7. SOLAR SYSTEM S.GMUNE 9. HORACE SILVER 10. BCARDOliMVOtMAIONA 10C0 YIRI YIRI BON MOPIATA jo 11. An*hony Hill Prayer Did II Pi. 1 + 2 k-lersound 27 l2.RayCharles Strong Love Affair/ AH She Wants To Do WB 47 13. Phorez Whirled ADifWertKiidOflm^AnyfimAiiyvlitre Moiazz 15 14. Cocoa Tea Rastaman/Repatrialion VP(Jom) 5 15. Raymond Myies Someday VfcllAl 3. Free/learning To Is* Honey Darling 1 !6.GoryBarte And He Called HimsJf A Merger Aiantic 17 i 7. Culture I Tried/Roslaman A Come RAS 9 It. Tib Puente/Basie/k*dia What A Difference A Day Mo<W*w RMM 23 19. The Gen* Harris Quart.* Summertime Concord 73 tO. Friends From Rio Os Grilos Far Out 26 !1. Keith Sweat & Athena Cage ShowMeThe Wby/Nobody 0-Jdra 82 2. Mod Cobra Big long John EMI 54 [3. Jimmy Pender The Creator Has A Master Han Muse 62 !4. Ray BarreMo No Hoy ProkJema (No Problem) Owl 3 15. Cutty Ranks/Barringkxi Levy MyVfcman Priority 40 10. Lee McCain Bat Yam/Someday We'll Meet Again Musianaslers 7 !7.bfc*tbria»SouVGeoi5ehK« You Can Do It Baby (Mow Mixes) Giant Step 12" 21 11. David Rudder Ues From Strange Laid/No Rrtidion on Fridion Lypsoland 36 !9. Frank Vignola Organized Conksion Concord Vista 50 ». Monly Alexander Low Notes/Exodus bl. Jam. Jazz 13 -.".BobbyMntosAf. Gib. Jazz Ensb. flamenco Ain't Bad/Recuerdos Ubiquity 41 O.Jeffbiber Catherine/Cat Paws \brw 42 (3. lonnie Smi-h/Midiael Fronti Mow Your Hand (Remix) Blue Note 39 M.Negrocan African Bird/Superst-hon Deep Sou*! (UK) 22 IS.AnnNesby let Old Memories Be Perspective 70 16. Louis Hurry King Luis Icescream 5B 17. Tania Maria Bluesilian/Oxala TKM 60 Return Of The Mack I. Mark Morrison I. Leroy Mafia I. Ernest Ranglin I. Holland Tunnel Project '.Black/Not. I. Ian Gogle & Globd Fusion I. The N. F. L Homs i. The Quiet Boys/C. Hinds ». Glenn lbmer . Curtis Mayfield . Rodney Mannsfield 54/46/Cone bl.Jam.J Rescue/Feel the Way Liquid EP Allergic Reaction/Double Indemnity Impulse! AfroBlue Cymelob Manwa (Subway Mix) Intanolass Ewyt»dtl£»T_'«Hlm|0l.-O_M_) Thin Air 1 I Need A lover For Myself CDJ 12" Back To Living Again/No One Knows... WB NoWay/LeTMeKnaw|lMlyMix) Expansion Barbados/Nubia Ifs All About You /Use You r Heart ce In My Head _N• MUSIC • Oo^'MANkiMfc SUNDAYS 7-9 Pn ;jv8 wmArvj [0 •Pt^V'pGH^OU'QOH 71. Cissy Houslon 72. Joshua Redman 73. Paqu'iloD'Rrwra 74. Ch«w"eFron_yn 75. Robert Perera 76. Jason Miles 77. Colorado Mass Choir 78. George Howard 79. Chantoy Savage HO. Monifoh 81.koUlHamio.Mt.b_ls 82. David Sea 83. Eddie Henderson M.TodVOo FEBRUARY 1997 BL TOPO BL PEBZ 1.MYSTB80US CARGO PHAREZ WHTTED MOJAZZ 2. JAZZIN- TITO PUENTE/INDIA/COUNT BASE OROt RMM 3. JEREMY M/INPOCT SAME TELARC 4.SKARAVAN JAZZ JAM1ACA RYKODISC 5. THE MGHT IS STU YOUNG AU>HONSE MOUZON TENACIOUS MOLE DEE OLDEES •* QUILOMBOO EL NEGRO JOHN COLTRANE UKE SOMEONE IN LOVE ERIC MERCURY WHATS USUAL SEEMS NATR'L JAMES BOOKER DERRICK MORGAN A 92. Shirley Scolt 93. diaries Fambrough 94. NoTenshun 95. AITariq 96. Uw Tropical Fish 97. Sergio Mendes 98. PhJVfcods 99. Angela Bofill 100. W. C. dark 101.Tf.CA.ProJKlFel.RMA 102. MCLyte 103. Me'Sh J Ndegeocello LiHle Black Samba/When Oct. Comes \ UfebReal I Lefs Dance/Sunday [ Knighttime E Was It Somelhing I Did?/Just In Case 1 A.C. Especiol/NM-lch The Ride [ Hot Bean Strut I Song For Bilboa I Dreaming Of You I Yesterdays I Banderas I Samba Da Zona/Feijao Com Arroz \ Dytll 1 Horn, Is WW. He Haired Is (Prog* T.Y. Mix) I HowSweetltls I Hide And Seek 1 Mariana/Song To My Son < Rub It Here, Rub ft There/From A Sister I Place In The Sun I Jesus Is Low/I Miss You (Remix) HeCares/Wbnderful My Baby Dawning Dance/Cerulean Blue My low b Here For You PPark/lhe Thinker Maw Latin Blues NoWomanNoCrylRemix) Ihe dock/Midnight In Memphis Trisle TheHunl/Delores Capehom/Cantina Rio De Janeiro Dois Pro La/No da Sera Camo Antes Soul Of Mine Reminiscing Past-Spaced Out Remix Cold Rock A Party (Bad Boy Remix) Male Me Wanna Hotr/A W & A Srri 18 february 1997 After nearly two months of eerie silence, I have a working record player again. I realize how petty and bourgeois I look when my biggest articulated complaint is a broken turntable, but there is no use in pretending that my priorities lie elsewhere. I suppose I resemble Bertrand Russell's "aristocratic rebel" who, "since he has enough to eat, must have other causes of discontent." Music is my primary preoccupation. When my access to music is denied, I become restless and likely to revolt. A steady diet of it keeps me quiet and contented. Now that I am hooked back up to my fix, the rulers of the world need quiver in their beds no longer. PARTY OF ONE's 7" manages to be catchy and cute without being nauseating. The chorus of "Alanna Ubach," a song apparently about some obscure TV star, is still in my head as I write this. "Windup Machine" features violin, keyboard, and the same weird, oscillating vocals as its counterpart. (Prospective Records, PO Box 6425, MPLS, MN, 55406 'The Sal Paradise Delegation" by the LORD HIGH FIXERS frightened me the first time I played it. You see, that particular song speeds up and sbws down a few times in a very disconcerting way. My first thought upon hearing this uncalled-for velocity shift was that my beautiful new turntable was possessed by demons, and my second thought was that my beautiful new turntable was broken. Fortu nately for my immortal soul (not to mention my decidedly mortal gear), it was just the Lord High Fixers being silly. "Soul Music In Action" is in a similar vein of jumpy pop- punk, with gravelly vocals that remind me of a certain Thirlwell "I Need Your Love" is wacked-out doo-wop complete with agonized screams. The Fixers' single is called Soul Parry, and it is great energetic fun. (Scooch Pooch Records, 323 Broadway Avenue East, #405 Seattle, WA, 98102) Slampt is one of my favourite labels, partly because it and the people behind it are so spunky and independent- minded, but mostly because it puts out a lot of really neat music. Slampt's 4-Track compilation is aptly named: four bands, four songs, all recorded on four-track machines. I'M BEING GOOD make a bizarre, sludgy mess of "Killick Versus Pye," a song which defies all categorization SMALL BLACK PIG, featuring Ms. C of International Strike Force on vocals, hit a slow groove with the very cool 'Vampire Lover." DELICATE VOMITs contribution, "Mr. Potatohead," is not as good as their song on the Elastic Jet Mission compilation LP, but it has a really neat ray- gun keyboard solo. And DEATHSTAR, the only band on this 7" that I hadn't heard of when I bought it, do sweet and scary experimental pop. (Slampt Underground Organization, PO Box 54 Heaton, Newcastle-Upon-Tyne, NE6 5YW, UK) According to the 10 page, 3-D booklet that comes with the,r7" VINNIEANDTHE STARDUSTERS managed to generate quite a bit of notoriety in their hometown of Minneapolis. The reading material, which is full of (what I assume to be) Minneapolis in- jokes about (Soul Asylum's) Dave Pirner, souped-up Archie comics, and band history tidbits, is amusing in that it's so excessive. Who needs songs when you've got 3-D glasses and Vinnie and the Stardusters trading cards? I think there's a point being made here, and I think I may have missed it. As for the music — well, I don't know, but the lyrics to "Quesadilla," a deadpan rewriting of "Que Sera Sera," made me laugh my head off. (Ultramodern/ Prospective, 2217 Nicollet Avenue South, Minneapolis, MN, 55404) "Daisy," by the BUTTERFLIES, sounds like a deranged waltz being danced by a pair of giant mutant slugs. "Come On In My *g»iWi4 Kitchen," on the B- side, is an old Robert Johnson tune being pummelled into the ground by a barrage of off-key harmonica and big, $ messy guitars. (Ng Records, 622 Broadway #3A, New York, NY, 10012) YUM YUM TREE'S vocalist, if the rather faint photograph on the sleeve of Riot Up Your Ass is accurate, bears a frightening resemblance to a friend I had in elementary school. She and the rest of the band make pretty standard punk with angrily wailed vocals. It's refreshing to see a group of peopie who are equally scornful of hypocrisy and conformity among punks as among "normals." My favourite lyric: "I'd rather wear a Birkenstock/than suck the dick of indie rock!" (Vital Music Records, PO Box 210, New York, NY, 10276) ELLIOT SMITH'S mild voice and quiet, introspective music go quite well together. His latest single on Kill Rock Stars has three songs: "Speed Trials," "Angeles," and "I Don't Think I'm Ever Gonna Figure It Out." The second two, surprisingly, have a slightly countrified feel to them. Elliot's appeal lies in his sincerity, a value rare even among indie rockers. (Kill Rock Stars, 120 NE State Avenue #418, Olympia, WA, 98501)- between by"a n 3reg & cHirjsti ncj, __H> ESftW* 93A3Rnf After writing this column for three months, I feel the need to once again state what I had felt was an obvious fact. Seeing as people do not seem to get the hint, I will try to go about explaining our review policy in a different manner. Andrea and I are very busy people. Andrea worb full time in a very stressful job in order to support herself. I go to high school and do not even have a lunch hour. As well as those daily commitments, we both spend time doing other things like art, reading, writing, and having social lives. As a result, we do not have all the time in the world. Neither of us are indie rock kids, nor are heavily involved in punk rock. Therefore, neither of us wants to spend our precious free time reading indie/punk rock culture zines. We have said a multitude of times that we will not review such zines; however, every time we go to UBC to check our mail, we are swamped with the blasted things. I will be blunt: we do not care about whatever the hot band du jour is. We do not even read the music/ funzines you send us beyond a short skim. There are papers like Factsheet Five and Terminal City who relate to what you are saying in your zines and will gladly review them. I would think that it would be logical to send them to such places where you will receive the praise that you deserve, rather than to us who will in no way acknowledge their arrival. Happy Valentine's Day. HANDS OFF #4/ RECLAIMING MY NAME #7 (32 pages, half size) This is a split issue of two of my favourite zines. In both zines, the authors are writing about their mental health. This zine puts a face and history on the label "crazy," which is lines not a common thing. The subject of mental health carries so much stigma, even in the supposed "open" world of zines. Both authors describe their experiences with abuse and how it has factored into their mental health as a means of coping. Also, the fear and emotion accompanied by mental illness is powerfully portrayed here — an especially important factor to this zine. We live in a culture that glamorizes mental illness while stigmatizing it as well. On one hand, it is "cool" to be crazy — Kurt Cobain and his depression/suicidal tendency made him an icon. On the other hand, if you are crazy you are treated as though you are carrying a plague. What seems to be missing from our conditioned treatment of those with mental illness is a middle ground where we can be equally compassionate to those with mental illness as to our fellow non- "crazy" human beings—with out glamorizing the issue. I feel that the best way to work towards finding that balance is to understand the experiences of those who have mental illness issues as well as you can through educating and empathizing. This is an important resource; it gives the background, thoughts and feelings of two women dealing with mental health issues in an articulate, but not overly medical manner. Send $2 to PO Box 33, 345 E. Broadway, Vancouver, BC,V5T4G5. SOY NOT "Oil" (113 pages, half size) This is a huge vegan cookzine assembled by the "hippycore krew" and described as including "over 100 recipes designed to destroy the government." This is by far the most complete vegan cookzine that I have ever come across. Although I J? haven't yet :fj read the entire thing, the editors seem to have found a vegan recipe for everything. As well as supplying a myriad of vegan recipes, there is a huge list of lesser known animal-derived additives, some of which I was not previously aware of. I must complain, however, about the part about vegan beer. I do not care how DIY it is to make your own beer, it is not a "punk rock" thing to do. Just because one is not directly supporting corporations through buying their beer, it doesn't necessarily mean that going out and getting drunk is "fucking with the system more than straight-edge kids [and] Nancy Reagan morals do." If you a re out-of-your- mind drunk it does n o t matter where you got your beer, you are still emotionally weakened and apathetic during that time. That doesn't seem very punk to me. I would have to say that sXe (straightedge) bashing is a bit immature and that if you have to do it, at least do it well. Other than that little issue (by the way, I am not even sXe) this was really amazing! Even if you are not vegan, these recipes will leave you drooling. Send a few dollars to Profane Existence, PO Box 8722, Minneapolis, MN, 55408. MY LIFE WITH EVAN DANDO POPSTAR (36 pages, quarter size) Okay, so you say that you can't find any of Kathleen Hanna's fanzines? Well, look no further because Riot Grrrl Press Canada carries the infamous Ms. Hanna's work. "He earns his money the good old fashioned way. He takes it from sexually repressed little kids ... in return for their allowances, he fills their heads with meaning - popsongs. Yeah." My Life with Evan Dando Popstar is a look at misogyny through letters to Evan Dando. Read and learn. Send a buck to Riot Grrrl Press, PO Box 33, 345 E. Broadway, Vancouver, BC, V5T4G5. • 19 E^g5S!E___i under review THE AQUAVELVETS Nomad (Mesa) My enlhusiasm for rock instrumental music is often lukewarm — current genres are too pure or restrictive, unlike surf music of the '50s and '60s, which had a large vocal component. The Aquavelvets' last CD, Surfmania, however, grew on me in time; carefully crafted and full of evocative shadings inducing imagery of tiki lounges, tropical beaches, and Mexican rooftop sunsets, it remains a cut above most contemporary surf releases, with perhaps the exception of the more campy Tiki Tones' Idol Pleasures. Nomad has not quite endeared itself to me as much as Surfmania, despite a neat cover and a series of intriguing song names (for example, "Shrunken Head" or "Surf Nouveau*). Having given Nomad time to grow on me, Surfmania is still my flavoured effort by this band. J. Boltd AUTOMATIC 7 Automatic 7 (BYO) Get out the Prozac and hide the razor blades, 'cause this one will depress the hell out of you. It's great music, but every song hos this underlying tone of failure ond despair. So if you're feeling good and you don't think it's justified, pop this baby in and you'll be feeling gloomy and confused in no time. Other than that, it's just straightforward punk rock in the BYO tradition. Dave Tolnai THE BELMONT PLAYBOYS Wolf Patrol (Teen Rebel) I saw this North Carolina outfit perform at a British rockabilly festival a few years back. That gig was sort of lacklustre ond uninspired (maybe they had jet-lag). I was hoping this releose would find them in better form and it does, but not overly so. Nine of Ihe 14 tracks here are covers (which bodes ill for the "originality" score). Some of the covers are of Link Wray's "Wild One" (played well here), Boyd Bennet's "My Boy Flat Top," the Otis Blackwell- penned and Presley-popularized "Paralyzed," and Duke Ellington's "Caravan" (check out the Ventures version). Luckily the band plays these selections in a style of their own. The self-penned tunes here are Fairly decent but the brand of rockin' blues the band exhibits leaves me a little cold. A lot of guitar playing owes more to Stevie Ray Vaughan than Muddy Waters. These guys sound like they should be playing some roadhouse stage with one of those neon Budweiser signs behind them. Wolf Patrol is good, but not essential. Sean Law PETER BLEGVAD Just Woke Up (ESD) Once upon a time, there was Henry Cow. This Henry Cow was not a person. Henry was, in fact, a group of people who made up one of the most influential bands in the progressive, experimental scene in the 1970s. They combined jazz, classical, rock and other neat things in this wonderful mishmash that was all their own. And most importantly, the music was the end itself, not just a means for showing off flashy chops. Of course, all things must pass and old Henry Cow was no different. Peter Blegvad was one of these fortunate souls who passed through the ranks, but his album, Just Woke Up, shows he wants to do somelhing quite different from the past. Teaming up with former Henry Cow-hands, John Greaves and Chris Cutler as the rhythm section, he's put together a smart, adult-oriented pop album. Musically, itcould fall somewhere between XTC and American Music Club — less jaunty lhan the former but a bit more up-tempo than the latter. And while Blegvad won't make anyone forget Cole Porter or Randy Newman's lyrics, he can turn a phrase. He seems especially at home when writing about very ordinary day to-day things. In the best tune, "Daughter," he comes up with some very playful rhyme schemes: "Everything I say/she takes to heart. Everything she takes/she lakes apart. That's my daughter in the water/every time she fell I caught her. Every time she fell." Just Woke Up isn't exactly a classic and I doubt it's trendy enough to merit a video on the nation's music station. There aren't any throwaway songs either, and the whole thing does manage to make for a pleasant enough hour's worlh of music. Michael Chouinard DOWNLOAD The Eyes of Stanley Pain (Nettwerk) With Skinny Puppy cc-founder cEvin Key at the helm. Download inevitably draws comparisons to thot now-defunct group. On this disc, Key and partner Mark Spybey create many a dark mood, utilizing a few trademark Puppy synth sounds. But where Skinny Puppy layered samples and noise over ever-changing beats to create dense soundscopes, Download, for the most part, prefers a stripped-down't-pproach, eschewing the guitars Puppy began to favour for purely electronic sounds. Simplicity and repetition are key elements in Download's aesthetic. At times, The Eyes of Stanley Pain sounds more like a particularly brooding techno disc than an industrial album. What Download succeeds at best is the creation of moods. The disc's tide track is a drifting, ambient piece with sampled voices floating in and out of the mix. It's a very quiet song but it's damn unsettling; it sounds like the soundtrack to a nightmare. Genesis P. Orridge (Throbbing Gristle, Psychic TV) contributes some detached, spoken vocals that come across like phone calls from another dimension. He has the uncanny ability to make you wonder, "Did I realty hear that, or was it a hallucination?* I just wish there was more of that. There are plenty of interesting beats and sounds here but what's missing, ultimately, is the human element. Skinny Puppy was so successful because, even when he was completely indecipherable (which was most of the Hme) Ogre's vocals provided the band with a focal point. With Download, there's very little for the listener to connect wilh. Overall, ihough, I would call The Eyes of Stanley Pain a success, if for no other reason lhan the fact lhat it scares ihe bejeezus out of me. John Lucas ELVEZ G.I. Ay Ayl Blues (Big Pop) "If there is any hope for a Revolution, it lies in Elvis Presley becoming Che Guevara." Viva la Revolution! El Vex is back in full effect, ripping off tunes of many (Queen, Elvis, BTO, Andrew Lloyd Webber ...) and twisting them to further the cause of the common people. Join the revolution as well as get some real fun music with G.I. Ay, Ayl Blues. El Vez is he hope! Missing out would be a bummer. Rev. Norman THE FLAMINGOES Plastic Jewels (Big Pop/Pandemonium) Never having heard ihem before, my first thought when I opened The Flamingoes' (yes, with an "e") CD jacket was, "Well... ihey credited Echobelly, ihey can't be hat bad." And truly, I can't say that they are. They really Iry. Two of the three boys, Jude and James, have an adult-con temporary-cheese meets British-pop look about them. Neither of them seems to possess a last name, but what is unclear is whether they aspire to follow in the footsteps of Morrissey or Madonna. Their drummer, Kevin Matthews, has satisfactory talent, but apparently serves the sole purpose of boosting the band's image. Methinks he would be happier hanging out in Suede's "Trash" video. And while I'm on subject, really, I think these guys could benefit from a Brett Anderson-esque vocalist. James' voice is closer to the generic nasal Brit sound that they seem to be striving for, but he and Kevin should slop humouring Jude by letting his dry husk lake up half of ihe album. It simply doesn't match ihe music. Although some of the tracks spiral into unquestionably cheesy guitar solos, and the ballads leave a bit to be desired, the foster songs show great potential for the Flamingoes to become yet another British pop band. "Disappointed," "Teenage Emergency," and "Scenester" are undoubtedly the highlights of the album. Their attempt at clever lyrics is cute, but they could benefit from reading a book or two before they embark on their next project. While Plastic Jewels is mediocre at best, there were times when I couldn't help bobbing my head up and down in a muppet- like fashion. Definitely a good sign. Claps to the Flamingoes for the effort. Alia Hussey FUTURE SOUND OF LONDON Dead Cities (Astralwerks) The new FSOL starts off wilh a funky, apocalyptic recreation of a Run/DMC song that'll make even the most gloomy of butts start shakin', and the album goes off into superfreaked space from then on. If you thought iheir album ISDN blew your mind, ond Lifeforms screwed it, then you'll probably think Dead Cities is good enough to buy. I wouldn't say lhat this one is quite as much of a mindfuck, but it's fun. You could even spend an extra 20 bucks or so and get the deluxe package with even more of their amateurish computer graphics if you so desired. The hit song, "My Kingdom," is FSOL doing dub with weird Middle Eastern samples and is a good accompaniment to your next hit of acid. "Max," with its sleepy piano, will make you feel like you're floating in milk. "Quagmire" is FSOL's try at doing the jungle thing, which won't work on fhe dance floor, but might make sweeping your kitchen a whole lot more fun. On the downside, the song "Dead Cities" sounds like a bad Renegade Soundwave song, and "In a State of Permanent Abyss" would have sounded good on a Jean Michel Jarre album in 1982, but now it sounds a bit ste- pid. And the final track, "First Death in the Family," sounds like music for David Lynch's Dune, but lhat was more than ten years ago! Retro electronic music? I don't know. lee Henderson HAYDEN Moving Careful (Hardwood/Sonic Unyon) The new album from this ever-touring Ontario 23 year old boasts distinctive, musically and emotionally catchy tunes. Like fellow one-man-band Beck, Hayden is experimental and original without forgetting the past. The sardonic "Old Fashioned Way" criticizes modern society's frustrating paranoia. It "was written the day I was refused a wet shave ... because of AIDS." These classic songs initially sound depressing, but once delved into (easily done) they encaptivate wilh their ironic humour. Simple but poignant lines like in "Stride" ("You and I Rely on Little Things to Get By") are reminiscent of Sebadoh. Like Lou Barlow, Hayden relates specific events and their effect on him. "Half For Me" bemoans his girlfriend being pinched by his best friend: "They were the only smokers so they'd meet outside every 20 minutes when we all used to hang out." Simple, but effective, and very true to life. James Bainbridge HEAVENLY Operation Heavenly (K) My immediate reaction to hearing this album was to start dancing. I'm serious. I couldn't help myself. This was one of the best albums of '96. It is consistently good and 100% Heavenly. If you like ihe way Lush has gotten out of their sad, ambient rut, or you wish that Elastica would just mellow out a bit more, then this album is probably for you. Sadly, before the album was released, their drummer committed suicide. All we can hope for is that they will be able to recover from the loss and continue to record, because right now they are one of the most talented bands in the pop scene. Plus, ihey have a song called "Space Manatee." Mr. Chris LOIS Infinity Plus (K) For some reason, I'd never really loved Lois Maffeo's songwriting — I liked it, admired it, respected it. It's that weird state of knowing how you want to feel, how you think you should be feeling, but not being able to do a thing to achieve it. And goddammit, I wanted to love it— honest— but there was something missing for Her songs are always lovely, full of simple (but not boring), catchy (but not familiar), and intelligent (but not pretentious) folk- punk elements. I own much of her material, including solo albums, her work in Courtney Love with Yo Yo studioman Pat Maley, and her more current work in her band, The Lois. This new album continues her progression towards fuller, lusher, more complicated song structures, with musical and production help from mega-stars Alan Sparhawk (Low), Heather Dunn (Tiger Trap), Brendan Canty (Fugazi), Elliot Smith, Ryan Boldoz, and Steve Fisk. "Not Funny, Ha-Ha," which is perhaps ihe best song on Infinity Plus, is also on her previous EP, Snapshot Radio, but as a different version. This one is even more slow and melancholic and beautiful, as are the words "you don't make me feel funny anymore ..." There are more upbeat numbers on here as well — if you ain't tappin' yer toes to "Sunrise Semester" and "Capital A," there might be something wrong with you. In the Olympia, WA punk rock scene, Lois is legendary — her place in ihe (next to D.C.) DIY capital of America is ultimately move me every time I listen. Maybe before, I just didn't listen miko 99 Ninety -Nine (Endearing/Patsy) 99 is Laura (formerly Lora) MacFarlane, ex-drummer of Sleater-Kinney (she was their first). Recorded mainly in Melbourne, Australia (her home), wilh Iwo cuts recorded in Portland, Oregon (one of Sleater- Kinney's stomping grounds), Ninety-Nine shows off Laura's talents as a multi-instrumentalist (drums, guitar, keyboards, viola, xylophone) and singer/song- Writer. Laura had her moments wilh Sleater-Kinney as a singer/songwriter as well as a formidable drummer ("Lora's Song" is at times Sleater-Kinney's highlight for me), but 99 expands upon those songs she penned for her former band. 99 is looser and more diverse than Sleater- Kinney's work thusfar, but consequently it's also not as focussed and intense. Laura's vocals aren't nearly as confrontational as Corin's and her material tends to avoid those kinds of extremes and searches for clever hooks and turns of phrases instead — nonetheless, there's a similarly gripping affinity with turbulence (emo tional and otherwise), and 99 is similarly infectious. pepe le moko NEOTROPIC 15 Levels of Magnification (ntone) Riz Maslen, the mastermind behind Nootropic (also Phreak and Small Fish with Spine), presents ihe most interesting material yet to rise from the NinjaTune stables. Beating the Coldcut/DJ Food/Hex boys at their own game, / 5 Levels of Magnification is soaked to the gills with electro-jazziness, hazy ambiance, and funky beats. From the hyper-kinetic rhythmic 20 february 1997 wonkiness of the tide Irack to ihe spooky olher-worldly atmosphere of "It's Your Turn to Wash Up" and "CCTV," Riz provides a soundtrack for an open mind. Obviously so full of ideas, she never lets any of the 16 tracks run on for very long and that's a shame. Just as the music is about to absorb you, she hits stop and moves onto something else. As such, 15 Levels... may take a few listens to fully appreciate. Jovian Froncey THE NEW GRAND The New Grand (Sonic Unyon) This disc reminds me of a show I once attended at the Anza Club. I don't know why. It might be because it sounds like some generic, well-tuned, welfoiled, boy pop. Kinda Local Rabbit-ish, in a good manner, that is. Having all 12 Iracks repeat in a 24 hour fashion (eg. #13=#1,#14=#2, et cetera) on the CD version causes the listener to become fatigued by Irack 15 (wilh the impression lhat I've already heard this before). Then again, having a CD cramped full of two minute tracks would drive people insane ... So it's at least a way of fillin' the unused portion of the 74- minute media. twinch OVAL 94diskont (Thrill Jockey) Difficult to categorize, Oval's latest release is a sublimely fascinating album. This electro-instrumental music is a relaxing melange of randomness and repetition — almost ambient, but not in the soundscape sense of the word. There are no overwhelming intensities or schizophrenic changes here, yet the music retains a completely unpredictable nature. Sometimes sounding like a radio flickering between overlapping channels, this album has its own built-in multi-linear phase shifter. 94diskont bleeps blamelessly and it will make you very smart if you listen to it. Kevin Dimples RAILROAD JERK The Third Rail (Matador) The Third Rail is another fine release from those New York Cily boys, Railroad Jerk. The always suave Marcellus Hall provides his fine illustrations far each of the album's songs. BassistTony Lee and guitarist Alec Stephen take lead vocal duty on a song each. The Third Rail has no real stinkers, just good ol' down home rock V roll. Maximum listening pleasure for those who like to get dirty once in a while: "I wanna see your anatomy, baby!" Miss 'LaLa" Little Twin Stars REX C WALTZ iP (Southern) "Please use this record for long drives, lazy Saturday afternoons and reminiscing about your past* (liner notes, c). Rex is Curtis Harvey (guitar/ vocals), Phil Spirito (bass/vocals) and Doug Scharin (drums). A^ though technically they've been in existence since the late '80s, they were more or less defunct for a number of years, mainly due to the fact lhat Doug Scharin was a part of Codeine. Since Codeine's demise, Rex has been back in action, in full-swing. As indicated above, the Rex experience is meditative in nature. Unlike drone specialists like Bardo Pond, th' Faith Healers (r.i.p.), Stereolab and others, Rex opts for a somewhat less driv- ing, linear sound and instead deals mainly in the undulations of sonic swells, sometimes gentle, other times crashing. Rex tends towards the lengthy (nine min. songs are nof uncommon, and c "weighs in" at nearly 70 mins.), but their material never gets dull (on c, at least). Waltz is a four-song EP lhat was apparently inspired by someone's suggestion lhat ihey record a collection of songs in 4/4 waltz time. It comes in a lovely faux- 78rpm binding — appropriately enough, with a lovely letter- pressed cover. "High School Dance Hit" (the opener) is the first "sour note" that I've heard from Rex, but the remaining three songs are all very strong — particularly their version of the standard "Willow Garden" ond side B's "Sorry, Blue Eyes You're Not." Not Surprisingly, the 4/4 time restricts Dough Scharin's playing, but the songs (wilh one exception) hold up nicely in spite of this. eddie, he plague SCREECHING WEASEL Bark Uke a Dog (Fat Wreck Chords) That's it. I've had enough of your shit, Ben Weasel. I accepted your last (and supposedly final) breakup. I laughed at your stupid "I'm a punk and this is how j act, so should you" columns. I stuck up for you when people called you a sellout. I looked forward to hearing your new album. And what do you do? You create a pile of shit. You stick this piece of crap album in front of me and expect me to buy it just because it has the Screeching Weasel name on it, just so you can afford to live your dreamy Punk Rock lifestyle. You surround four or five good songs wilh a bunch of cheesy knockoffs about girls and summer and shit like lhat. You should have ended it. How to Make Enemies and Irritate People was good. This is not. Dove Tolnai SEEFEEL (CH-VOX) (Rephlex) In this city, you hove to really like Seefeel to buy their albums, because they cost more lhan cold caps for your teeth. I thought Seefeel had called it quits and Mark Clifford had gone on to do Disjecta, but Seefeel are back with this new album. Maybe it's post-humous, I don't know. It's a short album, ihough (just over 30 minutes), and very sombre. It is in some ways quite a departure from where Seefeel hod ended up on the last album Succour, ond then again, not really. The album starts off, in fact, with "Ulreat," which is on Succour, but now in its complete farm on (CH-VOX). The album ignores the word "song" completely and opts instead to slowly go through different acoustic tone bursts, as though the listener is walking in the basement of a giant hospital listening to a lunatic who is 400 feet away, but getting closer, while banging and running on big iron pipes. The effect is rather disturbing, and makes these rainy days seem that much more oppressive. If you're into really minimal ambient stuff, like Sulpher or Zoviet France, then you'll like the whole thing enough to skip getting your buck teeth gold- plated. lee Henderson MATTHEW SHIPP Symbol Systems (No More) A reviewer for the jazz journal Cadence recently referred to pianist Matthew Shipp as a master of his generation. This kind of praise from the jazz intelligentsia usually makes me skeptical because I could rattle off a list of at least a dozen young geniuses whose music betrays a desire to do nothing more than revive the sounds of the old Blue Note or Prestige classics of the '50s. Shipp, however, is a definite exception among young players. As his first solo recital. Symbol Systems, shows, he has developed a very personal voice on his instrument that even a layman like me can distinguish and appreciate. He credits Andrew Hill, Cecil Taylor, Paul Bley, Thelonious Monk and Bud Powell as his major influences. And it's Taylor who seems, at first, to have the biggest hold on Shipp. But for too many pianists who play any atonal music get pigeonholed as Taylor imitators; the late Don Pullen rightfully fought the tag for years. Certainly, on pieces like "Harmonic Oscillator," Shipp's style is coolly abstract like Taylor's. Sometimes he seems to pound at the lower register keys with enough intensity to move the Richter scale. He has a flair for contrast and space without cluttering his play ing at all. Instead, he prefers to sustain notes, giving the listener time to let them all sink in. A composition like "Frame" is rather bluesy, yet it is executed with a refinement suited to chamber music. The Bley influence is clear here. On other pieces, like "Bop Abyss," Shipp deconstructs the sound of older jazz as the title should indicate. It starts out like it should be a Monk tune, but it quickly stops, gets up, does a little dance and takes off in a direction Thelonious probably couldn't even have foreseen. In short, Shipp makes every note count. He creates new music, rather lhan solo through jazz standards. And ihough his influences are clear, his playing and composing sound like Matthew Shipp, not anyone else. I might even call him a master. Michael Chouinard BOB WISEMAN Accidentally Acquired Beliefs (WEA) I've said it before, and I'll say it again: Bob Wiseman is one of Canada's most inventive and talented musicians. His live shows are overwhelming and his previous albums have been marvellous. Unfortunately, I just don't find that his Accidentally Acquired Beliefs inspires such glowing superlatives. It's not lhat the songs on the album aren'tgood — Wiseman's live performances of "10 000 Miles" and "Stay Untraceable" are great. This album is simply not as adventurous os previous triumphs such as "Lake Michigan Soda" or "City of Wood." The songs are overproduced, excessively mixed — curiously, by Wiseman himself. The album is slick and radio-friendly, ond maybe ihis is the central problem, i'd like to Ihink lhat this all happened because Wseman has opted for major label distribution and was compelled to temper his creativity by some dull corporate automaton. Certainly, WEA's lawyers refused to sanction the inclusion on Ihe album of ihe full version of "My Cousin Dave," a hilariously acerbic song in which Wiseman lambastes David Geffen for his unethical business practices all the while asking for a major label deal. He has performed this song to an enthusiastic reception every time I've seen him live — and yet only the first half-chorus makes it onto this album. Oh well. Adam Monahan VARIOUS ARTISTS Crookfyn Dub Consortium (Wordsound) I find great pleasure in listening to the very sweet tracks on this CD. This is it, an album to acquire and keep dose. This is the premium dope! As is said by ihe Lord Gimp Order of the Crooked Knights, "We present Certified Dope Vol. 2, lhat exotic, erotic, raw-type shit ripe from the rotting corpse (the Rotten Apple) of an empire." All the pieces are good by those who give themselves ihe labels of Spectre vs. Scoldy Ward, Unitone HiFi, Dr. Israel, The Mystic, Bill Laswell, No Seeka, Scarab, Torture, OHM Megabyte, The Count of Monte Cristo and Him! VARIOUS ARTISTS The Electronic Phunk Phone Presents: Phuturistic Phunk (Tekhed/LIquid Sky/ Caroline) VARIOUS ARTISTS Cup of Tea: a Compilation (Cup of Tea/Quango/Island) Bolh of these albums might be described as dance music compilations, but doing so would onfy turn the page for more reviews "...underground culture is something most people would rather not think about. Space is confined, it's black, it stinks, and it can be dangerous." «DIGCINC CHTHONIC CULTURE: AN ARCHAEOLOGY OF THE UNDERGROUND, CA. I997» PRESENTS R NIGHT OF UNDERGROUND PROGRAM #1 (7:30): LOST BOOK FOUND by JEM COHEN EASTERN AVENUE by PETER METTLER INSTALL and RED SHIFTby MIKE HOOLROOM PROGRAM #2 (9:30): HALF-COCKED by M. GAUNSKY and S. HAWLEY (featuring music by Smog, The Grifters, Freakwater, Rodan, Slant 6, Retsin, Kicking Giant, etc.) FRIDAY, FEBRUARY 14th, 1997 THEATRE E 254 E. HASTINGS TICKETS: $4 each/ $6 both & I NIGHT OF UNDERGROUND POP & PERFORMANCE MECCA NORMAL [MATADOR/K] LOIS [K] REFECT/REFECT [KILL ROCK STARS] MOCKET [PUNK IN VOUR VITAMINS] GAZE [THE RECORD] SATURDAY, FEBRUARY 15, 1997 THE ANZA CLUB 3 W. 8th AVE. DOORS-8 P.M./SHOW--8:30 P.M. (NO ONE UNDER 19 ADMITTED--BRING YOUR I.D.) TICKETS: $8 (AVAILABLE AT SCRATCH, TRACK & ZULU) demonstrate how broad the definition of dance music has become. One album is full of vocals, dubby bass, and sampled beats. The other is almost exclusively electronic, embracing a starkly minimalist, machine-bred aesthetic. Phulurstik Phunk is, unfortunately, not a collection of break- dancing tracks as I'd hoped. It is, instead, a very smooth collection of music from Germany paying homage to (impersonating?) dear old Kraftwerk and their proteges in Detroit. "Aufraumenl" by Triple R & Walker perfectly captures the old "Autobahn" vibe, while any motor city pioneer would be proud to have written Silent Movie's "Silent Movie — Part 2." Even if it is too trance-inducing to moonwalk to, this is a quirky album of new music for fans of things retro-electro. Cup of Tea draws its influences from jazz, hip-hop and reggae, but mostly it's the kind of album you want to call trip hop ('cause it's, you know, from Bristol). All the elements are in place, even down to the helium- infused Tricky impersonation on Monk & Cantapella's "This Time is Different." Apart from the opening track by Barcode, which has a dull, warmed-over early Massive Attack feel, there are no other duds on this album. Some of the off-key vocals might not be appreciated by less adventurous listeners, but dissonance adds just the right amount of bitterness to the brew. It's surprising how good both these compilations are. The trocks have been chosen for quality rather than name recognition and this makes for albums lhat can be listened to indefinitely without worrying about the invisible expiration date stamped on "hit" compilations. Jovian Froncey VARIOUS ARTISTS Incursions Into lllblent (Asphodel) Wilh a Kile like lhat, I assumed that this was a feoturelte for ambient industrial bands, music for those who like it clanky and rainy, perfect for kung-fu video game soundtracks or movies by early '80s, Ridley Scott wannabees. But noi Featuring Sub Dub, (everyone's flav of the month) DJ Spooky, We and Byzar, this is an album that feature artists into the "almost trance=ambient yet borderline gabba-reggae" genre that Bill Laswell so clearly defined. At the first listen, you're probably thinking: "Wait, what is this? Is this Mad Professor gone psycho or has Scorn cheered up? Whatever it is, it's time to get more wattage for my speakers, for they've been blown out nowl" And that's a fact, so if you're not too fond of your fillings, listen to this one. Brought to you by the archfriend of SpaceHme Continuum, Naut Humon (oh, what a clever name), and published by those who think the Cleopatra label has class. The standout would actually be Sub Dub. Byzar Iry to sound like Autechre loo much. And, hey man, no one is allowed to sound like Autechre except Autechre! This is cool for those nights when the lights are down, the streets are quiet, the mood is lazy and yet sensual, and you just realized lhat, hey, you forgot to pay your eleclric bill. Christian VARIOUS ARTISTS Papernet One (Independent) This very DIY cassette compilation is put together by a guy named James who appears to be based in Porksville, BC. I, for one, would like to express how glad I am lhat experimental and electronic artists are networking and promoting one another — it's about bloody time. There's lots of great, surreal stuff on this tape: Hermit and Puc's spacey guitar noodling, M.O.T.U.'s freaky electro splicing of He-Man samples and video game noises, and Al Barrett's long hypnotic "Ask Yourself...," whose muttered vocals and creepy noises bring to mind 7wenry Jazz Funk Greats- era Throbbing Gristle. If you're interested in getting hold of a copy of Papernet One, or if you want to submit some of your own music for the next issue, you can write to James Volen, c/o Papernet, 465 Craig Street, Parksville, BC, V9P 1L2. Barbara VARIOUS ARTISTS The Patio Collection, Vol. 2 (Smilex) Indie pop heaven from California. You got yer Pavement- powered Old Hickory, Timonium and The Snow Queen (speaking of which, are the boys behind Smilex Records). Add in the essential girl guitar-governed Sissy Bar, Longstocking and Sweetcream USA. Throw in a little nebulous noise, rockabilly rooted riffs, bluesy bits and a creepy conversation, and you've got the perfect mix of lo-fi (most of the time) musical genres for any finicky fellow. arabraB VARIOUS ARTISTS Roots, Branch and Stem (Stubborn) When's the last time you heard a compilation and didn't have to skip past any Iracks? R,B & S takes the best of what ska is from what ska was from its beginnings. Comprised mostly of US bands, (and two Canadian! — The Skanksters and Venice Shoreline Chris) and one from Holland (The Regulators) this disc will keep traditional fans smiling and new listeners wanting more. My favourites include Oregon's Franceska, NY's Dunia & Django with the Stable Boys, and of course The Slackers! SkaJ VARIOUS ARTISTS Shreds Vol. 3 (Shredder) Here's the third volume of Shredder Records' favourite 7"ers of '95, and interestingly enough, the Canadian content has grown since the last compilation. Five bands get ihe nod, including Victoria's (now defunct) M-Blanket, Glengarry, Ontario's the Stand GT and Vancouver's own, The McRackins and Gob. Other standouts are Kentucky's pop-punk heroes. The Connie Dungs, The Parasites, Tullycraft, mod-punks The Strike, and the short V sweet ska sound of Round Nine. A worthwhile venture for those who don'l want to spend the lime or the money searching for the individual bands themselves or for those adventurous enough to check out loads of new talent. Bryce Dunn VARIOUS ARTISTS YAKUZA *8 (zine) Why We Came Together: A Yak'ux'a Compilation This is the first zine lhat I have ever owned. You know what? I kinda like it. Yak'uz'a is a mish mash of "dumb" stories, diary excerpts, true stories, health tips and loads more. One of the best "dumb" stories has to do with Andy Duvall, the drummer of Zen Guerilla. In the form of a letter, Duvall explains to a friend how he barfed up a black substance whilst receiving back surgery. He also describes his dream-come-true encounter with Howard Stern in a Virgin Megastore which is also accompanied with a blurry snapshot of himself waving near a bored looking Stern. Duvall's story is so dumb that it has to be funny. Lee Ranaldo's journal is one of the Iwo diary excerpts in this zine. I'm usually a patient reader. but Lee Ranaldo's journal excerpts were super boring. Ranaldo describes his journey to Morocco with such intense detail that it becomes hard to read. After a while, I didn't care about the colour of bricks and the taste of Moroccan joints which he raved about so much. The only good parts of his journal were those dealing wilh ancient Moroccan music. On Ihe serious side, Nicole Panler (former manager of The Germs) writes about her days of being a reckless and pregnant teenager. Her honesty is very refreshing. Finally, Yak'uz'a also offers advice on making inexpensive films and health tips for asthma sufferers (lhat's me!) So, yeah, check Ihis out. (PO Box 26039, Wilmington, DE, 19899-6039) I have mixed feelings about the CD which accompanies the zine. There are some nifty tunes and some stinky tunes. First of all, unlike Andy Duvall's story, Zen Guerilla is not at all entertaining. The hardcore song "Lipstick" is glued together wilh indecipherable lyrics and noisy guitars — not my cup of lea. The Refrigerator track, "Misguided Airplanes," is a big disappointment. I was expecting somelhing cool and energetic, like stuff from their Shrimper tapes, but this song just dragged on for too long without any real direction. On the other hand, Cobra Verde's "Never My Love" is a lovely song with austere guitar work and drumming. Caterpillar's "Nappy" also wins my heart with its catchiness and poppiness. There is also spoken word by Nicole Panter. 'Fuck You Punk Rock/1977" is a powerful piece about her escape from pain through finding punk rock. Lee Ranaldo's "Enroule" and "Loose Heat" and Loren MazzaCane Connors' "Why We Came Together" also point in the direction of spoken word. These songs have spoken word overlapped wilh the sound of guitars and other little noises. Connors' piece is for more creative than Ranaldo's because his piece is actually a conversation between a man and a woman. Other artists worth checking out on this compilation include The Matthew Shipp Trio and Cotillion. The rest is not so good. Marlene realliveaction ROCK FOR CHOICE Friday, November 15,1996 Vancouver East Cultural Centre Rock For Choice is an annual musical event in its third year of operation, organized to raise funds to help maintain the right for women to control their own bodies. The vast majority of people in Canada believe that a woman has the right to an abortion, but such support is passive — Ihe battle is still being fought on the front lines. Women need legal and safe access to abortion clinics, which keeps pro-life protesters at bay; oftentimes, a Four performances already and barely a dent in the evening. Who else? Vancouver's veterans Mecca Normal performed an energetic and haunting set in a way only Mecca Normal can. Backed by ihe most close-to-perfect guitar around, Jean Smith's lyrics of empowerment were memorably reinforced by a vocal and literal circumnavigation of bolh floors of ihe Vancouver East Cultural Centre: 'I walk alone/lhis city's my home/I'm not done. "An evening favourite for sure. Next up was Sparkmarker, introduced as Meegan's favourite Vancouver bond. In addition always liked their noisy and intense tunes. At this gig they seemed a lot tighter lhan they were before. Behead the Prophet is a scary bond from somewhere in Washington slate. Basically, they were psychotic. The singer some-- how managed to blow out the microphone three or four times wilh his screaming and gyrating. They had a fiddler in their band who looked to be at least 100 years old. The audience seemed to enjoy (hem, or at least laugh at their antics. I'd heard good things about The Pee Chees but crying after being forced to wear Ihe red vest. Okay, maybe I lied about the kid crying, but all the rest was true. Chris C. MUSCLE BITCHES FACEPULLER DAK ATTACK Friday, December 6, 1996 Magick Theatre Enter the first band of the night, Dak Attack, a local four piece band with a lot of kick to their noise. Dak were originally scheduled to play with their grassroots counterparts The Mandelbrot Set for the opening show acts, but were forced to go it alone after a last- minute emergency cancellation by The Mandelbrots. Actually, all things considered. Dak Attack made good use of their lime in ihe limelight. I noticed for the first time just how intricate and layered their music is, and how well it all blends together, be it guitars, bass or lead singer Clay' clarinet j ' seven?!?) piece band didn'tseem to care. No wonder ihey were so wonderfully chaotic. Jomes Mayer JONATHAN RICHMAN Wednesday, December 11, 1996 St. James Hall First heard him a few years back when I started listening to The Modern Lovers. I love that band. Jonathan's laughably honest song writing style and the group's Velvet Underground- getting-CHiiceiackrub-from-that- gorgeous-flamencc-dancerwho- can-stuff-a-full-sized-dishrag-in- each-cheek jam-out flavour, made them kings of the early good- noise movement. Well, now Jon is at lhat age lhat seems to destroy so many rock heroes, reducing them and their music to a state that reminds me of processed cheese — not Kraft, but the discount variety, bright orange and pungent after a few weeks under the couch. But praise the Maker, Where ihe pulpit might hove once been sits a five-piece rock drum kit, the glitter job throwing tight beams of orange and lime coloured light in a million directions. And in place of the altar is a big vintage tube amp and a sunburst Gretzch-style hollowbody leaning casually. Enter Jon and ex-Modern Lovers drummer Johnny Avila; instantly the hall bursts in ta a 90 decibel eruption of applause. And the two slam right into ihe first number. And the applause dies, and we all hold our breath, straining to hear the music. They're quiet. So damn quiet. People are giggling. Not in contempt ihough. Jon and John are rocking the hardest, yet are barely audible, and one can't help but feel giddy and happily nervous. "... He's such a little rock 'n' roll drummer, so skinny ond frail ..." Yeah, buddy plays the treats. And he's always played the blues. For the younger among us, it is somewhat disturbing ta woman faces ihe heckling, intimidation, imposition of beliefs and violent actions which all act as barriers to choice. And that's what this night was all about: active support for all the brave people who work to keep abortion legal and safe in Canada. The evening began with a nervous Nathan Dilon on acoustic guitar, whose sweet voice and acoustic charm overpowered his stage fright. Dilon then joined the second act, Puncture, with the admittedly tired but ever-inspirational Meegan Maultsaid on vocals. Meegan was also a major organizer of the event and we'd just like to take this moment to say lhat she is just so fucking wicked. Puncture's politics are reflected in their lyrics and energy: "I will fight back ... Fuck you, hands off ... I will fight for my beliefs," matched by an energetic stage presence. Unfortunately, a long evening required a falafel break for us, which resulted in sacrificing seeing Joe Keithley from DOA But who belter to digest to lhan Kinnie Starr — her poetry which spoke of her own personal experience with abortion added an interesting and important perspective to the evening. Alone on guitar and her jazzy voice, she took us on her sometimes heavy, sometimes funny trip trough recovery. to flooding the tiny dance floor with bouncing bodies for a rock-out set, Sparkmarker's presence at the event was a reassuring reminder of the need for male allies in ihe fight to keep abortion safe and legal in Canada. A reminder that men, too, have mothers, sisters and girlfriends. And the moment we'd all been waiting for ... Team Dresch, all the way from Portland, Oregon. The hilarious lead singer Jodi ond the kick-ass music were a fine cap to a solid evening. The brash and irreverent "politits" (lhat's Jodi's word) of Team Dresch were complemented by such moments as the reading of a lovely haiku written in the van on the long trek to Vancouver: I a leaf/ You a droplet/ I cupped the waiting/ For your round wet kisses. If you didn't come to Rock For Choice '96, you ere silly because it was so much km, itwas exhausting. Sydney ond Heaher Hermant THE EVAPORATORS THE PEE CHEES BEHEAD THE PROPHET SUBMISSION HOLD Saturday, November 30th, 1996 St. James Community Square Up first at this show was Submission Hold. I've seen them quite a few times now, and I've ally heard them before this show. By the time iheir set was finished, Iwas officially a fan. They kind of reminded me of Rocket from the Crypt (only without the horns) because of the fleshy guitar sound, but at any rate, they shook up the crowd into a garage rock frenzy and left us all gasping for air. Brilliant, I say. Brilliant. Next came a surprise appear- once by the mysterious organ and drums duo. Thee Goblins. They played a couple of tunes, and then brought out a hom and guitar, who proclaimed themselves Thee SkabRns. Who are fcese masked men? Will we ever know? Moments later, The Evaporators took to the stage. Everyone at this show got into the action of their set because of the amount of audience participation lhat Nardwuar required of us. The Human Serviette has obviously done a few too many glam rock band interviews because a tacky, vinyl leather vest was his clothing accessory of the evening. Nardwuar brought crowd members on stage a number of times during songs to don the vest—sometimes against their will. By the time they were done, the St. James Community Square was left in a mess. Nardwuar's organ-stand was destroyed, a large rock was smashed on the floor by a drunken man, and a little boy was Nice job, boys; [ get a stage act together, and you'll kick some serious butt. Facepuller was the next band to take ihe stage, and from momenta uno ihey demonstrated what if is lhat makes ihem o great band. From iheir trashy but audible set, featuring "dassic" hits like "Homey* and "B.O.R.N.," to Brent's suave comments ("looks like a gathering of the intelligent punks here tonight"), right down to the way ihey can adapt themselves to any venue they're playing in, they're awesome. However, Facepuller's extensive ten-plus years of experience shine through live in the most important of ways: no matter where they play, with whom, or however big a crowd, they always have fun. The Muscle Bitches were the grand finale of the evening. Sporting every kind of stage attire imaginable, (from the barest jockstrap only to the funkiest of glam metal outfits) the Bitches proceeded to teach the crowd a iesson on how to make the most of limited space in a venue. Never mind what they were singing about; most people were diving for cover as they came teor- ing into the audience flailing their miniature instruments at whoever happened to be in the way. Who says the Magick Theatre has a limited stage size? The six (or our boy has managed to do things with class once again. Thanks to an unusual venue, mixed-nub crowd, and Jonathan's gentle sense of humour and wisdom, most of us walked away quite satisfied. So it should be for $20 a ticket. Walk into the St. James Hall, an ex-church about the size of an elementary school gym. Sit down on highly uncomfortable church benches, especially designed to keep the congregation alert and focused. The middle-aged M.O.R./A.OR. crowd, many sportin' baseball caps and toddlers and a healthy attitude, mull about. The candlelightcasts playful shadows, drawing the eye straight ahead to the sanctuary, the stage area of a church. hear his lyrics now modified ta include the words "ex-wife* and "middle-age,* but to be honest, one would have to be within arm's reach for him to appear a day over 25. The rhythm is a locomotive, the rumble echoing from a distant valley. And the guitar is a juicy papaya, a little overripe perhaps, but only enough to make a taste really sweet. On the down side, we hear a few classic JR anecdotes, recycled word for word, (*... I'd go up to BU; Boston Un'iversily; BU, to look at the Cezannes ...") taking a bit away from the spontaneous atmosphere. Bul this is nof a complaint. Merely an attempt at objectivity. Andrew Hey kids! Turn the page for more real live action! 23 ®(£&£aK___. LOLA MACLAUGHLIN DANCE Thin Cities Thursday, December 12, 1996 Vancouver E. Cultural Centre Dancers: Delia Brett, Ann* Cooper, Susan Elliott, Martha Leonard, Kathleen McDonagh, Fiona MacDonald. Unclaimed Treasures: Essie, Eno ond Maude was commissioned for the 1995 Kiss Project. gangs in West Side Story and Solos and Duets, emphasizing the more light-hearted, mirthful aspects of MacLaughlin's choreography and highlighting each individual dancer's slrenglhs and personality. The music by John Korsrud, especially commissioned for this piece, provides the perfect structure from which the piece flows from incident to incident. Lola MacLaughlin has once again shown lhat Vancouver dance has matured greatly over the past decades. It remains of eilher zealous fans or personal friends. Though I found Mr. Destroyer's voice grating at first, I really began to appreciate his lax-tempo vocals ond guitar work later in the set. My friend mentioned that he must listen to a lot of Chris Knox, and seeing as how I haven't heard his material, lhat will have to suffice as a comparison. Citroen, (best band name I've heard in oges) were up second, complete wilh super-8 film loops. Though they did get self- conscious two songs in and GOLDFINGER REEL BIG FISH PSYCHOMANIA 11 PitP The keyboard player for the Skeletones, the original opening act for ihis night, has a warrant out for his arrest in Colorado, so ihey were unable to attend. Filling in on a mere hours' notice was Psychomania. Their drummer's bass drum said The Fiends on it, ond I thought, "Ah ... le surf- rock. J'aime ca." But, no ... miming along. A friend of mine who came to see Goldfinger noted, "I realized that they only have about 15 minutes of cod songs and they have to play covers to fill ihe rest of the space." How true. The only original song I liked was "Fuck L.A." As for covers, they brutally murdered The Specials' 'Nile Klub" before turning the gun on Bad Religion. It's a shame that Goldfinger claims to be the Offspring, so to speak, of those bands. frank? THE LEMONHEADS POU.YANNA EVEN Sunday, January 12 The Narabeen Sands Sydney, NSW, Australia Even is a minor three-member supergroup whose major star is one Wally Meanie and whose singer is the sartorially confused Ashley Naylor. Punk rock roots aside, they sound like a good You Am l-style band. Their playing was more impressive than expected; they were tight, It is a worm tribute to MacLaughlin's three spinster aunts. What begins as three prim and proper todies enjoying a spot of tea soon gives way to ihe most vigorous Irish step-dancing a tea drinker could perform. Soon the dancers break out into rolls and falls wilh on ecstatic joy that belies the myths of the dour lives of the unwed. While I Wait [] 996) reminded me of very early film footage of dance performances from the 1920's. The stylised choreography, the sheath dresses, and the use of music by Edward Grieg, sung by Anne Sophie Mutter, gave this piece the feeling of somelhing archival. This effect could have been played up even more, had the visuals — slides of the German romantic era painter Kaspar David Friedrich - been dearer and more integrated into the performance. MacLaughlin deveriy counters the historical feel with periodic interruptions in which the dancers stop and separate only to reform ond begin again. The premiere piece of the evening was Thin Cities, which drew inspiration from Halo Calvino's Invisible Cities. Cafvino's mystic urbanism, however, is far different from MacLaughlin's more hard- edgedness. The piece begins with a starkly lit and foggy set. The dancers, clad in store-pipe pants, white undershirts and cropped, zippered jackets make their entrances one by one, performing what could be interpreted as their signature moves. Kathleen McDonough subverts this by performing a dance move of such great geekiness that the audience dissolves into giggles. The piece continues to sway back and forth between a swaggering and serious bravado, reminiscent of the choreographed fighting between the 24 february 1997 to be seen when local audi will begin to appreciate this fact wilh better attendance. PCS STARFISH STARTING POINT Tuesday, December 17,1996 Starfish Room The evening was an exciting one for three UBC students. Geoff Pugen, a fine arts student; Gabriel Ducharme, a second year law student, and Joe Hidegh, a fourth year psychology student, spun up an exhilarating mixture of trip hop, trance and progressive house at ihe Starfish Room on this night. Cheered on by a loyal group of fans, the DJs wound the crowd into a virtual frenzy. This event wos the first big appearance by the three, but they were each up to the challenge, and performed brilliantly before the eager crowd. Vancouver DJ James Brown was the featured performer on this particular night. Having to follow the stellar tracks played by the three-man tag team, James had his work cut out for him, but his set was not disappointing. Fortunately for UBC students who appreciate this genre of music, Joe intimated lhat his trio and others will soon be spinning on campus in the not-sodistant future, provided lhat his idea can achieve AMS club status. Brock Carscollen THE BEANS CITROEN PIPEDREAM DESTROYER Wednesday, January 8 Starfish Room In a city where the local acts live in the shadow of the big name outof-town bands, it's heartening to see shows which demonstrate the diversity and talent of our local musicians. Destroyer started the evening off to a crowd turned off the projector, Citroen played a wholly admirable set. I can't quite pin down their style, despite being aware of their ploce somewhere in the melodic noise-rock genre. Pipedream had me captivated from the moment they began unloading their gear, all their geor. They have more analog goodies than Yes. I counted at least six massive synths, organs and assorted drum machines and echo-chambers, all of the impossible-to-find variety. It's a true shame I couldn't get into their set half as much as I could their equipment; ihough I am a fon of space/prog rock, I err more towards The Spacemen 3 lhan to Pink Floyd. SHll, a technically deft set with plenty of filter-sweep soundscapes to keep the audience happy. Headlining the evening was The Beans, whose exact number eludes me — I place it somewhere between a conservative four and a possible seven, if you include the modem dancer and whoever was doing drum machines/mixing ot one point. A devout follower of experimental pap myself, I found The Beans a little too campy in the beginning. They toyed around with spoken-word, accordions and grou p-huddles for a while, but eventually found their stride when the line-up stabilized with two guitarists and two drummers. After thot, the Beans had me transfixed. Their soundtrack-like melancholia and full drum sound played with country, blues, and rock, though none so overtly os to be obvious or cliche. They played a ridiculously long set which I only noted because my backside was asleep from sitting on the Starfish Room's floor. To avoid possibly damaging their reputation, I'll hold off the "soundtrack for a..." handles and say that you should, in fact, see them, as they are wonderful. JL Stuart Psychomania was tepid Fox-rock. The good moments came when the singer sounded like (The Violent Femmes*) Gordon Gano and when they played half a surf tune. The bod moments were all the other moments. But no matter! They were almost forgotten when Reel Big Fish took ihe stage. Horns as big as 747's filled the room with hot melodies. They were even more gooder than last time ... Aaron climbed up the Marshall stacks and did a cheezeball Van Halen tapping solo. Dan the trombonist spun his huge, shiny instrument around and leaped and yelled during the high speed chorus chases. Their glom-sko- punk cover of "Take On Me' excelled live, possessed wilh an anarchistic vibrancy that the 7" just doesn't have. Almost everyone around me sang along to their final tune, 'Sell Out," for which I believe there is a video coming soon. Goldfinger if I may paraphrase Sloan, "it's not the fans I hate, it's the band." Hate may be a strong word, but so is suck. Although I don't pretend to be a punk, I believe that one of the few identifiable tenets of "punk ethics" is that "punk" bands are supposed to be "different" from "cock-rock" bands on major "lo- bels." The first Hme that Pit Pub security tried to throw a guy out for being a little too violent, ihe bald, tattooed guitarist ran out and dragged the guy back on stage to dance wilh ihem in order to show how much they love their fans. "This is my (expletive deleted) party," he growled. The most obnoxious thing was that Goldfinger kept saying, "Hey dudes, I mean, grabbing a girl's tits when she's in a mosh pit is, like, not cool," and ihen singing about grabbing a girl's His, and MARILYN MANSON L7 Wednesday, January 15 PNE Forum L7, a seemingly incongruous opening act and yet quite a fitting one, rocked as best they could (yes, they played "Shitlist"), despite the muddy Forum sound and the knowledge that this was indeed a Marilyn Manson crowd. That is, the majority of people who are gonna pay 30 bucks to enter a cold, cavernous venue to see a show are probably too giddy with anticipation of the headliner to even take notice of the opener. However, that is not to say fhe audience was hostile or inattentive ... as usual, even the roadies received rabid cheers. The sold-out crowd, a harmonious blend of textbook examples of metalheads, goths, punkers, and jocks were in fine spirit. It should be noted that L7 bassist Gail Greenwood has hooked up with a group considerably closer to her own metalness than her last (Belly), but y'know, she's still even more metal than L7. For weeks prior to this show, I'd read previews and reviews proclaiming the chaos and mayhem of a Marilyn Manson show, as well os attacks criticizing the band for being nothing more than Trent Reznor proteges, an Alice Cooper rip-off, all image and no substance. And yet, I'd also read numerous interviews from which I perceived Marilyn Manson lo be a most charismatic, articulate, and intelligent individual. What he said made sense to me. Amazing, this is what's on the charts these days alongside No Doubt, Bush X and Celine Dion. Wow. Olive Weshock they were loud, and they were most enjoyable. Pollyanna has enjoyed quite a bit of popularity, garnered mostly because of singer/ guitarist Matt Handley's songwriting. Live, ihey are good if a little "staHc," as one of my fellow gig-goers put it. They don't move around and they don't really chat, but they do their songs (usually melon- cholic tunes with either super- catchy or hauntingly lovely melodies) justice and the crowd loves 'em. And isn't that what counts? Former Lemonheads bassist Nic Dalton was once asked what the best thing was about The Lemonheads and he replied that it was Evan Dando's voice. Thankfully, that voice was in its best form ever and Dando appeared before the microphone as the laconic, velvet-toned icon that he is. Dalton has been replaced by Bill Gibson and drummer Dave Ryan (Dinosaur Jr.). The Lemonheads have never sounded so cohesive; this may be due to the fact that Dando has toned down his offstage antics or to the fact that his band just dicks. Either way, it's only a bonus for the punters. The set comprised mostly of tracks off Car Button Cloth with a couple of Roy and Come on Feel ... songs thrown in. It wasn't a remarkable gig, but it did exemplify Dando's amazing gift for melody and, of course, that voice. Perhaps I've seen them too often, so I knew what to expect and therefore wasn't wildly engaged by the spectacle; the people I went with had never seen them before and thought they were fantastic. Sophie Hamley february'9 7 LONG VINYL 1 the evaporators united empire loyalists nardwuar 2 various artists team mint mint 3 descendents everything sucks epitaph 4 jon spencer b\uee exp now i got worry matador 5 the molestics tropic of hokum blue lizard 6 veda hille spine independent 7 huevos rancheros get outta dodge mint 6 rheostatics the blue hysteria raise a little 9 various arti6t6 hard core logo soundtrack bmg 10 heavenly operation heavenly k 11 various artists smooth and wild vol. blue lizard 12 go sailor go sailor lookout 13 team dresch captain my captain chainsaw 14 snfu fyulaba epitaph 15 elvez gi ay, ayl blues big pop 16 various artiste yo yo a go go yoyo 17 phono-comb fresh gasoline e*uarterstick 16 yo la tengo genius + bve matador 19 wesley Willie feel the power american 20 the hi fives and a whole lotta youi lookout 21 sit'n'spin pappys corn squeezi 'planet pimp 22 the poumons by 6urpri&e independent 23 lu6ciou6 jackson fever in fever out grand royal 24 various artists helde sez lookout 25 the apples In stereo science falre spina rt 26 the inbreds It6 sydney or the bush pf/tag \Z7 dino martinis ...collector's lounge independent 26 dub narcotic wl lois 6hlp to 6hore k 29 zumpano goin' through changes sub pop pO mr. cjulntron the first two records bulb 31 space kid cereal humongous B2 dbs if the music's loud enough nefer B3 oval 94 diskont Caroline B4 michelle shocked kind hearted woman bmg B5 various artists jabberjaw: ...sweet hell mammoth 1 various artists voximpopuli vox I 2 kinnie Starr's bk lounge learning to cook violent inch 3 todd steve davis sun and moon ... tertium non data 4 various artists pacific rhythm: the first wave eye-Q 5 various artists united states of poetry mouth almighty 6 hydropods sinus vox 7 various artists radio freedom rounder 6 ralph olympia 66 bongo beat 9 dj conquest conquest 3 rez erection 110 radio free vestibule sketches, songs and shoes borpo | february'97 SHORT VINYL february'97 INDIE HOME JOBS 1 the hanson brothers the hockey song essentia] noise 1 kinnie starr devil's claw 2 mecca normal paris in april k 2 submission hold ed anger 3 killdozer sonnet '96 ismist 3 10 ft. henry oh oh 4 guided by voices plantations of pale pink matador 4 the colorifics 747 {now i see heaven) 5 violent nine punkabilly rules, ok? little boy 5 gaze jellybeans 6 hayden carry-on mentality landspeed 6 stratochief she shoots, she scores! 7 teen titans more songs, less mi sic peek a boo 7 euphonix let's get out of these monkey suits & suicide kings she's dead intensive 6 celestial magenta the first one 9 elevator to hell backwards may sub pop 9 the stupes deveiina 10 kitty craft its stupid soda girl 10 jackass reality bites In santa barbara 11 starlight conspiracy big beautiful drive-in catapult 11 Isd49 vitamin k 12 dj food sonic soup mlo 12 hlssyfit s.h.e. 13 sebadoh princess sub pop 13 the hounds of buskerville &orry 14 kactus summer vacation sonorama 14 tickertape parade audience with the pope 15 squirrel nut zippers hell mammoth 15 spm justify/glory to god 16 the dictators i am right norton 16 trapazoid garden of eden 17 elliot 1995 fresh bread 17 destroyer karen is in rome 16 bill ding make it pretty hefty 16 thee pirates the pirate song 19 tricky woo the claw mag wheel 19 preston planetra 20 poledo/hayden split squirtgun 20 something ska mr. roustabout 21 cheeseburger happy hill scooch pooch 21 universal lounge act supercar 22 maroon cardigan no science of a conscience loaf 22 nsc she knows 23 white trash deb's my guy's name is rudolf two-o-six 23 captain bloody america what i6 blue? 24 placebo4 sailor boy 6hip& anchor 24 violet i 6tep on all the cracks 25 the detroit cobras aintitashame scooch pooch 25 mizmo tarantino cringe 26 atomic boy I wanna destroy hipnotic 26 dave land monkeys in the zoo 27 scenic sage ipr 27 michelle wong hop 26 duotang the message mint 26 daddy's hands statistic wigs 29 the flies teen challenge empty 29 1000 stamps poster child 30 trixie belden/egghead split dizzy 30 jp5 fuzzyhead pills 31 bust spin up radiopaque 31 fishburger big ass burger 32 the kent 3 basketball medics super electro 32 petrolia sweet industry 33 junior varsity gol to the Ice cream peekaboo 33 the molestics now's the time 34 yum yum tree riot up your ass vital 34 readymade first base is sleeping 35 ugly beauty rotten lux 35 back room shag the back of your head hearsay spoken word top 10 Ku_CiIR- charts SKA_T S TOP 10 SKA-KIN TUNES bitch bitch bitch ... bitch bitch bitch ... bitch bitch bitch . 1 bruce lee band honga la mato you dill 2 venice shoreline chris esdarling moon 3 slackers runaway moon 4 unsteady what kind of foul 5 skaghoblins salsa IM raj 6 kingpins beatgirl stomp 7 hands of busterville sorry indie 6 planet smashers SO bus jumpstart 9 toasters/laurel aitken speak your mind moon |l0 let's go bowling el cumbiodelso moon 11 it seems that no one can pronouns 'febRuar/ 2 SOMEONE changed the clocks in the office to the correct time and miko is always late 3 tristan learned that sobbing like a sissy will get you nowhere w th the SUB proctor 5 tristan started night classes 6 so did miko 7 barb got the blues fl so did miko 9 tristan became depressed by miko getting depressed about ba rb being depressed 110 we found out that discorders should never be brought to citr p arties (see pg 22) 25 S^gSSPSffi SUNDAYS ARE YOU SERIOUS? MUSK 8:00AM- 12:00PM All of time is measured by its art. This show presents the most recent new music iron around the wrld. Ears open. THE ROCKERS SHOW 12:00-3:00PM Reggae inna all styles and Fashion. RADIO BLUE WARSAW 5KXJ-6-00PM Join kirn & helen (or another month of travels. Bring Confetti! QUEER FM 6:OO-8:0OPM Dedicated to 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 from musicians of all sexual preferences and gender identities. GEETANJAU 9:O0-10:O0PM Geetanjali features a wide range of music from India, including classical music, both Hindustani andCarnatic, popularmu- sic from Indian movies from the 1930's to the 1990'$, Semi-classical music such as Ghazals and Bhajans, and alsoQuawwalis, Folk Songs, etc. RADIO FREE AMERia 10:00PM-12:00AM Join host Dave Emory and colleague Nip Tuck for some extraordinary po1"' il research guaranteed lo make you think twice. Bring your tape deck and Iwo C- 90s. Originally broadcast on KFJC (Los Altai, California). M THE GRIP OF INCOHERENCY 12:00- 4:00AM Drop yer gear and stay up late. Naked radio for naked people. Get bent. Love Dave. MONDAYS BREAKFAST WITH THE BROWNS 8:15- 11:00AM Your favourite brown-sters, James and Peter, offer a savouty blend of the familiar and exotic in a blend of aural delights! Tune in and enjoy each weekly brown plate special. THE STUPID RADIO SHOW 11:00 AM- 1-00 PM With your hosts the Gourd of Ignorance. What will we play today? Rog will put it away. MEKANIKAL BUFFOONERY 1:00-3:00PM Two shows became one! An hour of Mekanikal Object Noize (industrial/ nois/techno) and an hour of Skintight Buffoonery (lounge, jazz, britpop] June scudeler@mindlink.bc.ca. THE MEAT-EATING VEGAN 3:00-4:00PM I endeavour to feature dead dr, verbal flatulence (only when I speak), a work of music by a twenlieth-centuty composer — can you say minimalist? — and whatever else appeals to me. Fag and dyke positive. Moil in your requests, because I am not a human-answering machine. Got a quarter ihen call someone who cares. TO CANUCX STOPS FBE al 700-9-OOPM listen (oral Canodkn, mostly independent tunes. KJAZZSHOW 9dCPM120WM VtroWs bngerfr\nTiingprirrefcnTe|u^pi^ciiLncflteo by^e«riuawGoii WJar. Fedumat 11. Feb. 3: Randy Weston and his sextet Feb. 10: Guitarist Ralph Towner and double bassist Gary Peacock w/ "Oracle' Feb. 17: Lee Morgan (trumpet) aid quintet Feb. 24: Cannonball Adderfy & Bill Evans DRUM'N'SPACE ol. 12:0O-2:0OPM Jazz, breaks <& the silence in between 0 160bpm. TUESDAYS LADY DEATHSTRIKE'S LUNCHBOX11:30 - 1:00PM ak. Join forces with a samurai warrior-ess gone wrong. Power politics, she-rock, and morel UCORKE AllSORTS 11:30-1:00PM ol. An eclectic music show. Phone in and request! RADIO FREE WOMEN 3:00-5:00PM IQRA 5:3O-6:00PM News, issues, and concerns facing Muslims throughout the worid. THE UNHEARD MUSK 7:00-9:00PM 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 Get on board Vancouver's only tropical fiesta express with your loco hosts Rolando, Romy, and Paulo as they shake it and wiggle it to the latest in Salsa, Merengue, Cumbia and other fiery fiesta favourites. Latin music so hot it'll give you a lanl (-RADIO SABROSAH NAKED RADIO ah. 10:00PM- 12:00AM From Thelonious Monk to Meridith Monk ... we'll play it. Genre-busting, cutting- edge jazz and other experimental sounds, plus informative label/artist features. Join Mike and Sean. WITCHDOCTOR HIGHBALL ak. 1060PM- 12:00AM Noise, ambient, electronic, hip hop, free jazz, christian better living Ip's, the occasional amateur radio play, AURAL TENTACLES 12:00AM-VERY LATE Warning: This show is moody and unpredictable. It encourages insomnia and may prove to be hazardous to your health. Listener discretion is advised. WEDNESDAYS LOVE SUCKS 12£0PM-2:00PM If you can't make sense of it, and lhat bothers you, go somewhere else. THE MARY TYLER MOORE SHOW 2.O0- 3:00PM 'belter a brat than a beauty MOTORDADDY 3*O0-5O0PM 'Let those who ride decide!" ESOTERIK olt. 6:00-7:30PM Ambient/ electronic/industrial/ethnic/ experimental music for those of us who know aboul the illithids. SOUD STATE ah. 6:007:30PM Featuring the latest in techno, trance, acid and progressive house. Spotlights on local artists, ticket giveaways, & live performances. Hosted by M-Path. AND SOMETIMES WHY 7:3O-9:0OPM gastr del sol, movietone, miranda July, blonde redhead... these are a few of our fave- oh-writ things, la la la! TROPICAL DAIQUIRI 9:00-10:OOPM Zouk, Soukous, Samba, Salsa. Yes! Even Soca. Enjoy this Tropica! Daiquiri with El Doctor del Ritmo. STRAIGHTOUTTAJAiLUNDHAR 10:00PM- 12:00AM Let DJ's Jindwa and Bindwa immerse you "Chakkh de phutay." Listen to all our favourite Punjabi tunes — remixes and THURSDAYS FlUBUSTERal. 10:00-11:30AM Bod hill blood, spy music and an accordion fetish. Caution: high in fibre! MUSK FOR ROBOTS ah. 10O0-11:30AM The Robotic Revolution is coming, be prepared: vote robot. Psychotronic excitement w/ female automan Fem-bot. CANADIAN LUNCH 11:30AM-1 OOPM From Tofino to Gander, Baffin Island to Portage La Prairie. The all-Canadian soundtrack for your midday snack! STEVE J, MIKE 1O0-2O0PM Crashing the boys' club in the pit. Hard and fast, heavy and slow. Usten lo il, baby. JUSTIN'S TIME 2:0O-3:0OPM For some cool jazz by some swingin1 singers and boppin' players, tune in and don't miss out on some happy times! OUT FOR KICKS 6:00-7:30PM No Birkenslocks, nothing politically correct. We don't get paid so you're damn right we have fun with it. Hosted by Chris B. ON AK WITH GREASED HAIR 7:30-9O0PM Roots of rock & roll. UVE FROM THUNDERBIRD RADIO HELL 900-11 OOPM Local muzak from 9. Live bandzfrom 10-11. Feb 13: the Wind-ups. DISTORT© CIRCUITRY IO0-4O0AM DJ Morgan le Fay brings you the latest info and tunes in the realm of electro/ industrial & synthcore. Hard beats to invigorate your late night angst. FRIDAYS VENUS FLYTRAP'S LOVE DEN 8:30- 10:00AM Join Greg in the love den for a cocktail. We'll hear retro staff, groovy jazz, ond thicker stuff too. See you here... and bring some ice. XOXX TELESIS 10O0-11O0AM Tune in for discussions, interviews & information relating to people who live with physical & mental challenges. SKATS SCENE-IK DRIVE! 11:00AM- 12O0PM Featuring Ihe death-defying sounds of ska — old and new — with Julie and Scotty. KNBTUNE'S ROOM 12:00PM - 1:00PM As Charlie Brown once said to Schroeder. "plink, pink, plink, all day long! Good Grief!" LUCKY SCRATCH 100-200 PM Swing on the gallows pole and git yer dose of blues in the afternoon. Hosts Anna and Andy. LITTLE TWIN STARS 200-3:30 PM Kiki Liki NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM Have a good brunch! NATION 2 NATION ah. 6:00-9:OOPM Underground sound system-style mastermix radio. AFRICAN RHYTHMS ak. 6:O0-9:O0PM David "Love" Jones brings you the best new and old Jazz, soul, latin, samba, bossa & African Music around the world. are you serious music? ROCKERS SHOW WIRELESS/ BLOOD OnTHE SADDLE Breakfast with the Browns THE STUPID RADIO SHOW MEKANIKAL BUFFOONERY Meat-Eating Vegan third time's the charm Polyfiller RADIO FREE WOMEN Punker than you.' DIGITAL ALARM motor dAddy musical interludes CANADIAN LUNCH Steve and kustin's time FLEX YOUR HEAD Venus Flytrap's Love Den THE |SATURDAY EDGE LUCKY SCRATCH POWER CHORD AFRICAN SHOW/ THE LAST DESK QUEER FM ONE STEP BEYOND: RADIO FREE AMERICA IN THE GRIP OF INCOHERENCY Flaming Caterpillar Tki C-siidc ilofi nut /hip hop habit THE JAZZ SHOW SOMAN ANIMAL/ DHUM'N'SPACE UNHEARD MUSIC RITMO LATINO NAKED RADIO/ witchdocotor highbaU AURAL TENTACLE ESOTERIK/ SOLID STATE and sometimes why strfi outta jallundar PPEDREAMS/ OPEN SEASON/ RADIO FREE BABYLON Out For Kicks LIVE FROM THUNDERBIRD RADIO HELL Sector 7/ Groove Jumping DISTORTED CIRCUITRY nation to nation / African fchytUs HOME BASS Limp Sink Ijj cid Soul THE SHOW (hiphop) SOMETHING FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio fret America Series. HOMEBASS 9:00PM-12:00AM The original lire mixed dance program in Vancouver. Hosted 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 12:00-2:30AM Hosted by the G42 players. 'The show that doesn't hate you." wilh your friendly pals Friar Fritter Abfackeln and Postman Pat. Alternating with Dr. Killdare Contachlimpsink6broten.ranch.org LUCID SOU 2:304:00AM Dr. Killdare plunders even further into the wee hour doing what he can to keep securityguards and 7-11 clerks awake. Waywayway deep dance stuff and other ha II ucinafying fucked-up-ness. SATURDAYS THE SATURDAY EDGE 8:00 AM-12:00PM Music you won't hear anywhere else, studio guesls, new releases, British comedy sketches, folk music calendar, ticket giveaways, plus World Cup teporhi 11:30AM. 8-9 AM: African/ World roots. 9-12 noon: Celtic music and performances. POWERCHORD 12:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and olher rarities. Gerald Raltlehead and Metal Ron do the damage. THE SHOW 6:OO-8:0OPM Strictly Hip Hop — Strictly Undergound — Strictly Vinyl With your hosts Mr. Checka, Flip Out & J Swing on the 1 &2's. UVE AT THE HI-HAT 11-0OPM-1:00AM "Live! — shows and bands — mission $6.00 — Performers are subject to change.' (~ HEYYOU!YAYOUr\ HELP OUT WITH INTERNATIONAL WOMEN'S DAYI WE NEED PEOPLE TO PLAY MUSIC, DISCUSS ISSUES, AND JUST BE AROUND SO WE NEVER EVER GET LONESOME AGAIN! ! JUST CALL 822.1242 I FOR MORE INFO. J W_H_OIV€ HOW Arts Kiley Frithen Board Chair Harry Hertscheg Current Affairs Michael Gumey Demos/Cassettes Dal* Sawyer Engineer Richard Anderson Entertainment Chris Allison Mobile Sound Ken Orchard Music Megan Mallett President Ryan Ogg Production Sobhan McCracken Programming Namiko Kunimoto Record Librarian Tristan Winch Secretary Heather Hermant Sports Slavlco Bucifal Station Manager Linda Scholten Student Engineer Fern Webb Traffic Sarah Stacy Vice President Justin Ho 26 february 1997 february datebook FRI JAN 31 Veda Hille-Railway...Tricky/A Guy Called Gerald (sold out)-Richard's on Richard's...Black Market Babies/Mach lirs-Niagara...Skaville/Hounds of Buskerville-Town Pump...Sal Ferreras (part of Kiss Projectj-Performance Works...Basquiat/I Shot Andy Warhol-Ridge... SAT 1 Stephen Fearing (part of Kiss Projectj-Performance Works...Veda Hille-Railway...Local H-Town Pump...Coco Love Alcorn-Cafe Deux Soleil...Fear of Drinking-South Hill Candy Shop...Basquiat/I Shot Andy Warhol-Ridge... SUN 2 Guttermouth/Assorted Jelly Beans-Seyllyn Hall (all ages!)...Vancouver New Music Ensemble-Vancouver East Cultural Centre...Greg Keelor/John Borra-Arts Club Theatre...Young Artists Showcase (part of Kiss Projectj-Performance Works...Simon Fisk Duo-Anderson's...Basquiat/I Shot Andy Warhol-Ridge... MON 3 Hype/This is Spinal Tap-Ridge...Made (showcase)- Gate... TUE 4 Hype/This is Spinal Tap-Ridge...Ross Barrett-South Hill Candy Shop... WED 5 Eating Disorder Week Benefit feat. Dirty Harriets/Work to Rule/Dak Attack/The Liminals/The Mandelbrot Set- Starfish... Death In Venice-Pac. Cinematheque...Swingers/Trees Lounge-Ridge... THU 6 Cannibal Corpse/Brutal Truth/lmmolation-Slarfish...Beck/ Olivia Tremor Control (sold out)-UBC Rec. Centre...2% Cherry/ Mizmo-Raihvay...Swingers/Trees Lounge-Ridge... FRI 7 CiTR PRESENTS LUSCIOUS JACKSON Rage The Beans w/ guests-Sugar Refinery...Rheostatics/lnbreds- Vogue...Dan Bern-Starfish (early show!)...Hard Core Logo/Highway 61-Ridge... SAT 8 CiTR PRESENTS WAILING SOUL&Graceland ..Speed Buggy/Bossanova/Gaze-Van. Press Club...New Wave-Aoke- Railway..Soul Coughing/Rasputina (sold out)-Starfish...Ronnie Hayward Trio-South Hill Candy Shop...Hard Core Logo/Highway 61-Ridge... SUN 9 Glass Slipper benefit feat. Gypsalero/Sal Ferraras/Celso Machado/Coco Love Alcorn/Christine Duncan & more- Vogue... Celebrating Black History Month (films & videos by and about black lesbians and gays)-Pac. Cinematheque...Soul Cough- ing/Rasputina-Starfish...Hard Core Logo/Highway 61-Ridge... MON 10 Big Sugar/Big Rude Jake-Rage...Celebrating Black History MontfhPac. Cinematheque...Microcosmos/Angels and Insects-Ridge... TUE 11 Microcosmos/Angels and Insects-Ridge... WED 12 Real McKenzies-Thunderbird Entertainment Centre (N. Van)..Aberration/Mordor/TheGathering-Starfish ...Manufacturing Consent: Noam Chomsky and the Media-Ridge... THU 13 Dead Head Miles/Sleeve/Sir Hedgehog-Starfish...The Man with a Movie Camera/Strike-Pac. Cinematheque ... Manufacturing Consent-Ridge... FRI 14 YouthCo AIDS Society benefit feat. Puncture/Stickshift/ Plains of Abraham/Nineironspitfire/Trial/DBS-Hjorth Rood Hall (104th Ave & 148th St., Surrey - ALL AGES!)..CiTR PRESENTS screening of Ha/r'-CockedJheatre E (7:30pm).. Jazzmanian Devils-Railway... SAT 15 CiTR PRESENTS DIGGING CHTHONIC CULTURE - A night of underground pop and performance with MECCA NORMAL, LOIS, REFECT REFECT, MOCKET, gaze)- Anza Club ...Squirrel Nut Zippers-Gate...Thrill Squad/Volumizer/ BMX-Columbia...Queazy/Boxcutter/Flux-Starfish...Time Waits- South Hill Candy Shop...Punkaoke-Railway... SUN 16 Rob Hamilton Duo-Anderson's...Nicolai Church/Naked Among Wolves-Pac. Cinematheque... MON 17 Nicolai Church/Naked Among Wolves-Pac. Cinematheque...Michael Collins/The Crying Game-Ridge... TUE 18 Roswells-Railway...Michael Collins/The Crying Game- Ridge... WED 19 His Names Is Alive-Starfish...Roswells-Railway...Looking For RichardAwelfth Night-Ridge... THU 20 Helen Gone-South Hill Candy Shop...Veal/Brundlefly- Raihvay...Looking For Richard/Twelfth Night-Ridge... FRI 21 Easy Big Fella CD release w The Malchiks/Hounds of Buskerville-Niagara...Mollies Revenge-Railway...Krista Jeanne Sheffield-South Hill Candy Shop... SAT 22 The Molestics-South Hill Candy Shop...Mollies Revenge- Railway..Easy Big Fella/Trenchant/Skavengers-venue tba (ALL AGES!)...Thrill Squad/Eugene Ripper-Van. Press Club... SUN 23 Type O Negative/Sister Machine Gun/Drain-Starfish... MON 24 Grrrls with Guitars-Railway...Romeo and Juliet/Slricrry Ballroom-Ridge... TUE 25 The Emptys-Railway...Romeo and Juliet/Striclly Ballroom- Ridge... WED 26 DJ Spooky/Ben NeilChameleon...Withnail and I/Delicatessen-Ridge... THU 27 Dal Dii Dog-Railway...Wilhnail and I/Delicatessen-Ridge... FRI 28 Dal Dii Dog-Railway...Synthetic Pleasures/1 am Cuba ('Hi Mar. 6)-Ridge... events GLASS SLIPPER FIRE BENEFIT at Vogue Theatre. Feb. 9, 6pm. Gvpsalero, Sal Ferraras. Celso Machado. Brad Turner Quartet. Coco Alcorn. Christine Duncan & more! Tix $25/15. DIGGING CHTHONIC CULTURE: AN ARCHAEOLOGY OF THE UNDERGROUND, CA. 1997. Feb. 14-16. Interdisciplinary conference, featuring panels on musk, image appropriation, sex. etc. Addresses by Dr. Will Straw (McGill IL) & Thomas Frank (The Baffler) at CBC. film screening [Half-Cocked, Lost Book Found, etc.) at Theatre E (254 E. Hastings @ Main). & concert (Mecca Normal, Lois. Sue P. Fox, Mocket. gaze) at Anza Club. For more info: 876.4241. YVETSPAC E PERFORMANCE SERIES: Fri. Feb. 7 - Part III: "Six Gun Sufi." "A sinnin'. singin' Cowboy/Indian plucks and yodels tunes of love and death in the lawless West." Sat. Feb. 15 - Part IV "Radio Hades." "The Orpheus myth retold..." All events at the Havana Gallery (1212 Commercial Dr.), 8pm. tix $10. KISS PROJECT: Feb. 11-23 at Performance Works, Granville Island. 15 performances each night, all 5 minute creations with a kiss and a moment of silence or stillness. 8pm. some matinees. Tix $20. info: 606.6425. VANCOUVER INTERNATIONAL JAZZ ORCHESTRA WORKSHOP: over 20 pkners will perform Feb. 17-23 at three separate venues (Hot Jazz Club, St. Andrews Weslej Church. Vancouver ( ommunit) College Theatre). WOMEN IN MEW FESTIVAL: Feb. 20-23. various venues. 9th annual performing arts festival, showcasing all the coolest female folk around! Theatre, dance, reading writers, playreadings. music, cabaret, networking sessions, plus First Nations perfoi eveiyth^jg^ n0PA tn jmow about... everywhercyuu ] _•_• • • • • I to go The Abyss 315 E. Broadway [side entrance) 488 6219 AndeiWi Restaurant (jozz on ihe Creek) 684 3777 Anza Club 3 W. 8lh (Mount Pleasant) 876 7128 Art. Hotline 684 2787 Basiix 217 W. Hastings (at Cambie) 689 7734 Backstage Lounge 1585 Johnston (Granville Island) 687 1354 Block Sheep Books 2742 W. 4th (al MacDonald) 732 5087 Cale Deux Soleils 2096 Commercial (the Drive) 254 1195 Cafe Vieux Montreal 317 E. Broadway (Mount Pleosont) 873 1331 Caprice Theatre 965 Gronville (Granville Moll) 683 6099 Celebrities 1022 Dovie (al Burrard) 689 3180 CN Imax Theatre 999 Canado Ploce 682 4629 Columbia Hotel 303 Columbia (ol Cordova) 683 3757 Commodore lones 838 Gronville (Granville Moll) 681 1531 Cordova Cafe 307 Cordova (Gastown) 683 5637 Crosstown Traffic 316 W. Hastings (downtown) 669 7573 Denman Ploce Cinema 1030 Denman (West End) 683 2201 DV8 515 Davie (downtown) 682 4388 Edison Electric Gallery/Cafe 916 Commerciol (the Driv**-' 255 4162 Firehall Arts Centre 80 E. Cordovo (at Main) 689 0926 Food Not Bombs Vancouver 872 6719 Frederic Wood Theotre (UBC) 822 2678 Garage Pub 2889 E. Hastings (downtown) 822 9364 Gastown Music Hall 6 Powell (Gostown) 689 0649 Gastown Theatre 36 Powell (Gastown) 684 MASK The Gate 1176 Gronville (downtown) 688 8701 Graceland 1250 Richards (downtown) 688 2648 Greg's Place 45844 Yole Rd. (Chilliwack) 795 3334 The Grind Gallery 4124 Moin (Ml. Pleasant) 322 6057 Hemp B.C. 324 W. Hastings (downtown) 6814620 Hollywood Theatre 3123 W. Broodwoy (Kitsilano) 738 3211 Hot Jozz Society 2120 Main (Mt. Pleasant) Jericho Arts Centre 1600 Discovery (Pt. Grey) la Quena 1111 Commercial (the Drive) The lotus Club 455 Abbolt (Gastown) lucky's 3934 Main luv-A-Foir 1275 Seymour (downtown) Malcolm lowry Room 4125 E. Hastings (N. Burnaby) Mars 1320 Richords (downtown) Maximum Blues Pub 1176 Granville (downtown) Niagara Hotel Pub 435 W. Pender (downtown) Odyssey Imports 534 Seymour (downtown) Old American Pub 928 Main (downtown) Orpheum Theotre Smilhe & Seymour (downlown) Pocific Cinemaiheque 1131 Howe (downtown) Porodise 27 Church (New West) Porodise Cinema 919 Gronville (Granville Mali] Park Theatre 3440 Combie (South Vancouver) Picadilly Pub 630 W. Pender (at Seymour) Pit Pub basement, Student Union Building (UBC) Pitt Gallery 317 W. Hostings (downtown) Plaza Theatre 881 Gronville (Gronville Mall) Raffels Lounge 1221 Granville (downtown) The Rage 750 Pocific Blvd. South (Plaza of Nations) Roilwoy Club 579 Dunsmuir (at Seymour) Richard's On Richards 1036 Richards (downtown) Ridge Cinema 3131 Arbutus (at 16th Ave.) Russian Hall 600 Campbell (Chinatown) Scratch Records 109 VV. Cordova (Gastown) Southhill Candy Shop 4198 Main (at 26lh) Slarfish Room 1055 Homer (downlown) Starlight Cinema 935 Denman (West End! Station Street Arts Centre 930 Station (off Main) Si. Regis Hotel 602 Dunsmiur (downlown) Sugor Refinery 1115 Granville (downtown) Theatre E 254 E. Hastings (Chinatown) Thunderbird Entertainment Centre 120 W. 16th St. (N. Van) The Tower 339 W. Hastings (downlown) Town Pump 66 Water (Gastown) Track Records 552 Seymour (downtown) Twilight Zone 7 Alexander (Gastown) UBC CINEMA (located in the SUB) UBC Grad Centre Gale 4 (UBC) The Underground 1082 Gronville (downtown) Vancouver East Cultural Centre 1895 Venables (at Victoria) Voncouver Little Theotre 3102 Main (Ml. Pleasant) Voncouver Press Club 2215 Granville (S.Granville) Varsity Theatre 4375 W. 10th (Point Grey) Vert/Washout 2412 Main (Mt Pleasont) Video In Studios 1965 Main (Mt. ' feasant) Vogue Theatre 918 Granville (Granville Moll) Waterfront Theatre 1405 Anderson (Gronville Is.) Western Fronl (303 E. 8th Ave) 873 4131 224 8007 251 6626 685 7777 875 9858 685 3288 685 0143 230 MARS 688 8701 688 7574 669 6644 682 3291 665 3050 688 3456 525 0371 681 1732 876 2747 682 3221 822 6273 681 6740 685 7050 473 1593 685 5585 681 1625 687 6794 738 6311 874 6200 687 6355 876 7463 682 4171 689 0096 688 3312 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 1882Adonoc (Ihe Drive) 254 5858 Women In Print 3566 W. 4th (Kitsilano) 732 4128 Yale Blues Pub 1300 Gronville (downtown) 6819253 Zulu Records 1869 W. 4th (Kitsilano) 738 3232 SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO 822 9364, ATTENTION "DATEBOOK." DEADLINE FOR THE MARCH ISSUE IS FEBRUARY 19TH! 27 nm&ssmm .r 1869 W 4th Ave. Vancouver, BC V6J1M4 tel 738.3232 STORE HOURS MontoWed 10:30-7:00 Thurs and Fri 10:30-9:00 Sat 9:30-6:30 Sun 12:00-6:00 The Zulu Makeover! "Hew S<My& "po* *76e "Hectt 'face! •.Mr*** VARIOUS ARTISTS Time Machine: The History of Canadian '60s Garage Punk and Surf (1985-95) co Hop inlo H.G.Wells'Time Alodiine, set the dials to rock j and let's jump back to I960, when a barely known company in london, England unleashed the impressive Vox line of tubolo amplifiers! Rock and Roll would be indebted for years to come, and who would hove gandered to think what a psyched-out rumble washed up on our own Canadian shores. Updale your history books with this concise testament of stinging tunes, fuzzed up hooks for the freaking and peaking new breed, let's do the time warp again with the likes of The Gruesomes, The Fiends, The Smugg RAMON JURAD0 Waters Avenue Sco Everyone knows Sub Pop's stable hos depth, but just how much' demonstrated on this new orchestrated pop long-player by ex-Coologe guy Damon Jurado. A gem in the 7-inch bins, Mr. Jurado now adapts his solo quill with fine breath to the full length format, delivering a knock-out record wi balanced tone and emotion. Surprise yourself with a walk down Waters Avenue S, it soon becomes beautiful Kubla-khan! ELEVENTH DREAM DAY The 8th CD Aoah yes... it's a cool, musty February night ond you keep pacing through your apartment, trying ond trying to find thot piece of music to fuel the yearning within you. Enter stage left one of the most anticipated records of the year from a band that consistently produces creative, inspiring music. All hoil the new Eleventh Dream Day record... produced by John McEntire, and played by a group of Chicago's finest musicians, this latest full length builds on everything that made 1995's Ursa Major such a phenomenal recording. The search is over my friend. Available Feb. 11th. 14" CD CID0 MATTO Super Relax co-ep In the zero gravity room, sound bits swirl, chunks of breathy words froth, and the New York delicacy lhat is Cibo Matto pierces your atmosphere, busting your bad-ass bubble with grooves lo move yo! Cibo Matto have two turntables ond a microphone too, and Super-Relax is where it's at! IB88 CD BETH Touch Me With Your Love cd-ep Hot on the heels of her ambitiously delicious 1996 long player Trailer Park, Beth Orton continues to corve out her initials in the only tree left standing in the trip hop amusement pork. Avoid ihe lineup at the water slides, choosing instead to let the leaves of Beth Orton's folklore cover you in their crisp melodies. 9M CD-EP PAVEMENT Brighten the Cnrners CD/LP/Cassette Still slanted and enchanted, Pavement are the sharp cut cornerstone of archways ond viaducts carrying pop's sweet waters to the city ploce. Transcending their Fall/Sonic Youth hybrid roots, Pavement have long mustered iheir own "pavementy" currency, paying out brother, paying out - Brighten the Corners pays out blue chip dividends with eoch listen, each critical moment, each loving embrace... Oh Pavement! 9" CD-EP le Feb. 11th. IB98 CD 10" LP 10" Cassette ii ^_____5__5__5 IB58 CD J0NE0F44 Anatomy of Sharks CD-EP/12" June of 44 like to rock, but theydosoperspicaciously, without resorting to tried and true conventions. They get in there, feel around, and follow the progression of the music as it happens, as it works itself out. Carefully balancing ' precision with flexibility, allowing th players to jam around within a structure without losing focus of the main theme. June of 44 continue to develop in skill and resourcefulness, and this new EP is the latest document. So far, so good. 10" CD-EP D"12" AOTECHRE Envane cd-ep Electronic music is a rapidly developing genre growing in depth, size and diversity The better artists are rising to the lop, defining ond conditioning the style and movement of direction, establishing new conditions for innovation. Autechre have actively participated in the forefront of this movement with cool, well-structured and intelligent works. Envane does the job. 0" CD-EP TRANSAM Surrender to the Night co/lp The contemporary currents of exploration and (re)discovery pop music are well exemplified by Trans Am. They effortlessly combine rock and electronica wilh eguol wit, enthusiasm and competence on this sophomore long player. Trans Am are less interested in revivalism as they are in defining a sound thot works for them - one that still recognizes previous work by others, yet without falling into kitsch or cliche. This is the record thot will push 'post-rock' into general recognition - and rightfully (righteously) so; this excellent record deserves to be heard by all (really, it's good). If hybridization, variety ond eclecticism are common, popular adjectives describing lifestyles ond more, then friend, Trans Am have got it going on. 14" CD 10" LP SOILT TO SPILL Perfect From Now On co Lost on the freeway as dusk approaches, a single guitar can be heard off in the distance. Drawn lo the sound, you kill the engine and get out of the cor. The single sound builds to a crescendo. Sweeping blasts of mellotron ond keyboards posh the sun under the horizon just os an unlikely voice from the sky tells you everything will be Perfect From Now On. You realize then that you were never lost at oil and like everyone else under the disappearing sun you've been Built To Spill. IB" CD SI *7H&ie Suave 7ifi& ?4t %cdcc( BLUR Beetlebum CD-EP Pts. 1 & 2 WINDSOR FOR THE DERBY Used | Cassettes with this coupon. Valid'til February 28th, 1997. Oven a t6ou&z*td t£tte& \ FAUST - You Know Faust CD WEDDING PRESENT - Montreal CD-EP SUEDE - Saturday Night CD-EP Pis. 1 & 2 GENE - We Could Be Kings CD-EP MARIANNE FAITHFULL 2()th Century Blues CD PAVEMENT - Stereo CD-EP THE ORB - Toxygene CD-EP TONY CONRAD - Four Violins LP ORBITAL - Satan CD-EP Pts. 1 & 2 & 3 / 2\ SPOON,- Soft Effects CD-EP / 12" - CD-EP 764-HERO - Salt Sinks, Sugar Floats CD LOCUST/MICK HARRIS/ DAVID TOOP/LILITH - The Unfinished CD/LP LAIKA - Breather CD-EP = CHROME - Anthology 3CD COLDCUT - Crash the System 2x12" UNITONEHIFI - Boomshot CD / LP PIGEONHEAD - The Full Sentence CD Prices in effect until February 28th, 1997
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-02-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1997-02-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1997_02 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 0b5caa52-af58-4167-817e-a9e58611a500 |
DOI | 10.14288/1.0050042 |
AggregatedSourceRepository | CONTENTdm |
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