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Discorder CITR-FM (Radio station : Vancouver, B.C.) May 1, 1986

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Full Text

 	
That Magazine from CITR fml02 cablelOO
MAY 1986 • FREE!
■ BLIXA BARGELD OF EINSTURZENDE NEUBAUTEN-1 THE
ON GRANVILLE
MAY 1,2 and 3   1   HE   HORNETS
May 5 The Return of
Death Sentence and Forbidden Beat
MAY 6
THE WINGNUTS
WITH GUESTS
MAY 7
NO FUN
WITH GUESTS
MAY 8 T.B.A
MAY 9 & 10
GRAND OPENING (MAY 9th)
THE BEVERLY SISTERS
may 12 & 13 HOI POLLOI with guests
MAY 14 T.B.A
may 15.16 & 17 BOLERO LAVA with guests
MAY 19-23
T.B.A
MAY 24
CAT Productions
MAY 26-28
T.B.A
MAY 29. 30 & 31
L. KABONG
7 to 9 PRE-MOVIE SPECIALS • NO COVER 7 to 9 UNLESS POSTED
932 GRANVILLE ST • OPEN 7 pm TIL 2 am • 684-VENU di^cOrdeR
That Magazine from CITR fml02 cablelOO
May 1986 • Vol. 4/No. 4
EDITOR
Chris Dafoe
CONTRIBUTORS
Jason Grant, Bill Mullan, Julia Steele,
Steve Edge, Kevin Smith, Rob Simms,
Pat Carroll, Mike Dennis, Peter Burns
PHOTOS
Bill Jans, Hen Fritz Brinckmann
CARTOONS
Chris Pearson, Rod Filhrant, Susan Catherine
COVER
Andrew Catlin
PRODUCTION MANAGER
Pat Carroll
DESIGN
H aire son Atley
LAYOUT
Pat Carroll, Randy Iwata, Alan Scales,
Karen Shea, Toby Thiersh, Beverly Demchuk,
CD, Robin Razzell, David Hart
TYPESETTING
Dena Corby, Lisa Cameron
PUBLISHER
Haire son Atley
ADVERTISING REPRESENTATIVES
David Hart, Robin Razzell
DISTRIBUTION MANAGER
Mike Johal
BUSINESS MANAGERS
Mike Dennis, Randy iwata
DISCORDER, c/o CITR Radio 6138 SUB Blvd..
Vancouver, B.C., V6T 2A5. Phone (604) 228-3017.
DISCORDER Magazine is published monthly by
the Student Radio Society of the University of British
Columbia (CITR-UBC Radio).
CITRfml01.9cablel00.1 broadcasts a 49-watt signal in stereo throughout Vancouver from Gage Towers
on the UBC campus. CITR is also available via FM
cable in Vancouver, West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam,
Port Moody, Maple Ridge and Mission.
DISCORDER circulates 15,000 free copies. For
advertising and circulation inquiries call 228-3017 and
ask for station manager Nancy Smith.
Twelve-month subscriptions available: $10 in Canada. $10 U.S. in the U.S.A., $15 overseas. Send cheque
or money order payable to CITR Publications.
Unsolicited manuscripts, photographs, cartoons
and graphics are welcome but they can be returned
only if accompanied by a self-addressed, stamped
envelope. DISCORDER does not assume responsibili-
tv for unsolicited material.
" The offices of CITR and DISCORDER arc located
in room 233 of the UBC's Student Union Building. For
general business inquiries or to book the CITR Mobile
Sound System call 228-3017 and ask for station
manager Nancy Smith. The Music Request line is
228-CITR.
IN THIS ISSUE
THE FAT MAN SINGS
CD talks to David Thomas, Pere Ubu founder and
head Wooden Bird 6
ROY BAILEY
Sociology professor? Folk singer? Steve Edge
finds out. ..........11
EENSTURZENDE NEUBAUTEN
Jason Grant hears the sound of metal meeting metal as the
threat of Collapsing New Buildings looms over Expo.  ....... 12
IN EVERY ISSUE
AIRHEAD
Boquets and Brickbats from our readers and
listeners. 4
BEHIND THE DIAL
Community Radio International, Volunteer
Opportunities and more.  16
ON THE DIAL
Radio listening made simple  18
SPIN LIST
These are just some of our favourite things 22
VINYL VERDICT
Chris Houston, Pandoras, Fetch in Bones and more  • 23
DEMO DERBY
Back by popular demand, and now in survey form 28
ARMCHAIR EYE
Soundproof—a premature obituary.  30
MAY   1986       3 RDAY
AT 12:00 MIDNITE
BRING RICE, TOAST,
CARDS, FLASHLIGHTS
and NEWSPAPERS.
ALL AGES ADMITTED
ALL SEATS $5.00
Studio (?lnema
|RH6a|>
SSSSSSBSSSS3888B88SgS8Sg
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T 2A5
Survey Stuff
Dear Airhead,
Good to hear the results from
the survey poll (it was a gas).
AH EM... Here's my comments on
the survey comments. To the
ones that said: less burble; forget shit politics; cluttered up with
horrid public affairs and specialty
shows; and insipidly dull, I beg
to differ. Ail the aforementioned
are not, to quote, "insipidly dull,"
but what makes CITR such a joy
to listen to. I feel their added
"burble" (to quote another) provides the lighthearted human
touch that other radio stations
lack!!!
Kai Parks
Trenchant Analysis
Dear Airhead,
The role of popular myth plays
an important part in the understanding of politics, ideology, and
culture in all modern-day societies. One area in which myth is
best exemplified is in popular
music.
Throughout thirty years of pop
music, a certain common style
has instilled a non-creative border on the public's acceptance of
certain types of music. A popular
myth of the criteria essential for
rock and pop songs is set down
by the media, and is, in turn
transmitted to the public-at-large.
A few artists find themselves
detached from the popular myth
of traditional qualitites of pop
music, and as a result, their art,
as a means to their livelihood, is
usually unbeneficial.
A group of artists, while realizing the inane restrictions placed
on them by tradition, have become engaged, however, in an
overzealous commitment to nonconformity that in the end leads
to self-contradiction. Non-conformity, for its own sake, becomes their.principle goal. Ironically, a group of followers conform to the principle of non-conformity, and a system of appreciation is set up on the basis of
simply that which is different
from  what the  majority  likes.
These smaller groups conform in
their tastes to works of art and
style that are held up as non-
conformal.
What is different, then, is regarded as a good work of art,
while aesthetic qualities, for the
most part, are not even considered. Two separate myths, therefore, are the basis of appreciation
for two separate bodies: one in
the majority—the popular myth;
and the other in the minority—
the non-conformist myth. In
neither of these cases are tastes
based on any intrinsic aesthetic
qualities that the work of art pos-
esses. As for specific examples:
CFOX and CITR, respectively.
Thank you.
B. Russell
Disturbed?
Young?
Greetings Airhead,
If there's a point, let me get
right to it.
Jamie Coquitlam told you to
"GO HIGH POWER." I say nuts
and nay to that. I'm sure there
are others who feel the way I do,
although perhaps not as fervently as I. CITR was one of the reasons for my having moved to
Vancouver six months ago. I feel
it is worthy of sacrifice to be able
to live within the range of CITR's
airwaves.
Jamie mentioned "hip music"
and "a certain rival campus sta-
C
(U»
-AT AMERICA'S IWCH «ffi5
''luigi says everybody who got
a lobotomy ai the same lime
he did is dead now, but not luigj.
DISCORDER goBv&rt Utt0n
Stop the Cruise Wi
tion" in her letter from the February '86 Discorder. First of all,
just what is "hip music?" Secondly, if he/she thinks CITR plays
"hip music," then I wonder how
much longer "hip music" would
remain "hip music" if CITR goes
high power. This is evidenced
within the microcosm of CITR
itself. I'm not as familiar with the
history of Discorder, but over the
previous two years prior to my
moving here I would always listen
to the station when visiting. And,
over the past 21/z years, as the
station's programming, etc. (correct me if I'm wrong) has gained
greater community awareness, it
has become very slowly, but increasingly, less alternative. Oh
sure, it's still "alternative" radio
but it's becoming "alternative" in
an analagous manner to the way
that CBC is an "alternative" to
the usual radio fare, but I don't
consider CBC to be alternative
radio. Do you understand what
I'm trying to say? If you don't,
that's okay cuz I'm not sure I
understand either. I understand
what I want to say, but I'm not
sure I'm saying it. Know what I
mean? Oh golly, I'm losing it. I'd
better go on to another topic. As
for the "rival campus station-
it doesn't stand next to yours.
Competing for a larger audience
can only lead to what I consider
bad things for the future of CITR.
By expanding your influence I
genuinely believe you help to
create truly lousy, yawner bands
like Death Sentence to take their
publicity and themselves too seriously (e.g. "Not a Pretty Sight
Tour '86?" Gimme a break!).
I like his program, but why
does Mark Mushet have to be
such a righteous, pretentious
weenie?
I never cease to be amazed by
the incomparable Marsha Brady.
Gawd, whatta woman! I can't go
to bed anymore without the
sound of Marsha dancing in my
mind. I tape her show each week
and play it back each night as I
go to sleep.
There is an excessive amount
of commercial advertising in the
Discorder. I assume it's "necessary," but still...
Is it possible to barter for a
CITR membership instead of forking over 25 bucks?
Disturbed Young Man
CITR and
The Georgia Straight
present
SKUXSK
With Guests
UBC Thunderbird Arena
Tix: VTC/CBO and its outlets 280-4444
AMS Box Office 228-627:? Zulu & Odvssev
CFOX presents
CULX
with guests
MAY 2 • 7:30 pm
THUNDERBIRD
ARENA, UBC
Tix: VTC/CBO. Info: 280-4444.
Zulu. Odyssey
AMS Box office 228-6273.
MAY   1986       5 THE FAT MAN IN THE GREY SUIT
looks out into the audience, his face
scrunched into a squint. His forehead and cheeks seem to almost
meet, pressing his eyes into slits with which
he surveys the half-empty dance floor of the
Town Pump. He doesn't look lost, but, dressed in the conservative grey suit and shod in
sensible black oxfords, he doesn't look altogether at home on the stage of the rock club
either.
Nonetheless, he takes the microphone, and
as he does, the four men behind him set up
a ryhthm that rolls and falters, rolls and falters.
They are similarly nondescript. The bassist
and keyboard player look like photocopier repairmen or computer programmers dressed
for a mid-week night out. The fat man behind
the drums recalls a high-school math teacher
of my aquaintance. Only the horn player, peering mischieviously out from under a Yankee's
baseball cap, looks the least bit unusual. They
seem a pretty ordinary bunch.
Still squinting, the fat man begins to speak:
"Every show we do has a theme. Now the
theme may not always be apparent, so if we
get halfway into the show and you're wondering what's going on, don;'t worry, cause we
know. Ok? Tonights theme is the wonder of
ordinary things. You know what I mean? You
know, things that are just ordinary."
He stretches this last word out, his eyes
widening into a look of wonder. And then he
begins to sing:
/ was so happy to see you
I was so happy I danced a jig
I was so happy to see you
I fell on the ground
And jumped up again
I was so happy to see you
I fell into the basement
As he sings his voice slides from a car-
toonish, hoarse expression of delight to a constricted yelp to a guttural moan and back
again. It's not a naturally great voice, but the
fat man sings with such expression, such
character that the audience is immediately enchanted. It's ingratiating, endearing, annoying, comical, moving; it operates in its own little cosmos. Populated by dinosaurs, talking
crows, metaphorical monsters, bustling with
the simple things that bring pleasure: walking around on a breezy day, riding the bus,
falling down and getting up again, this world
is at once comical and absurd and very real
and ordinary:
It is a world forged with hyperbole and gentle dislocation, in which the banal activities
of day-to-day life are given renewed significance and meaning through the twists of the
fat man's vocal chords, the contortions of his
round, goateed face. It's like theatre, stand-
up comedy, a lecture from a giddily eccentric
professor, a visit from a strange uncle. It bears
only a passing resemblance to a rock show.
"What we do is not music," the fat man tells
the audience. "There is too much music in the
world. What we are going to do tonight is not
fashion. It is not product. It is the language
of the heart and it is the beauty of ordinary
things."
DISCORDER Perhaps some introductions are in order.
The two photocopier repairmen are Tony
Maimone and Allen Ravenstine. Maimone
plays bass. Ravenstine squeezes sound out
of a synthesizer, not really musical sound,
mind you, but noises: sweeps of static, discordant honks, random burbles, chirps, squeaks.
You may know them from Pere Ubu, the pioneering Cleveland band that made some of
the scariest, funniest, oddest and most enduring music of the 1970's. The balding man
behind the drum is David Hild. He lives in New
York, plays the accordion and used to play in
a Boston band called the Girls that released
a record on Pere Ubu's Hearthan Records.
Underneath the Yankees' cap is Ralph Carney, formerly of Akron's Tin Huey. After tonight
he'll be leaving the band to play horns in Tom
Wait's new play, Frank's Wild Years.
And the fat man? The man responsible for
gathering them together here tonight? David
Thomas, formerly Crocus Behemoth, teenage
rock critic for the Cleveland Scene; member
of the seminal Cleveland band, Rocket From
The Tombs, an ensemble that spawned the
Dead Boys and Pere Ubu; from 1975 to 1983
lead singer and writer for Pere Ubu; since then
the leader of a number of bands which have
featured the likes of Richard Thompson, Chris
Cutler, Lindsay Cooper, Tony Fier, as well as
the crew gathered here this evening.
On stage, Thomas is charming, effusive,
funny. He moves with remarkable grace and
facility for a big man, bouncing and floating
across the stage as if weightless, playing his
body like an instrument. The illusion of effortless in only revealed when Thomas turns his
back to the audience to reveal a large, dark
circle where the sweat has soaked through the
grey suit.
THE ILLUSION OF INNOCENCE IS
revealed only later, backstage, as
Thomas grimaces his way through a
piece of Gorgo (courtesy of openers No Fun)
and a beer. "I'm not innocent," he snaps in
response to suggestions that the lightening
of his music since the darkness of early Pere
"Ubu represents a rediscovered innocence:
"I'm more honest. I'm not innocent: I'm 33
years old, I've been on the road a lot of years,
got beaten pretty bad, played every rotten little club. I'm just dealing with things that are
more real and more honest than that Velvet
Underground sort of nihilism, doom and
gloom. All that stuff's illusion and irrelevant.
There has been a progression and a lightening, but it's not as drastic as people make out.
Pere Ubu dealt with simple things, and with
humour, but it just got buried by the rock attack."
The recent rerelease of the early Pere Ubu
singles on Terminal Tower-An Archival Collection, and Thomas's reuniting with Ravenstine
and Maimone raises questions about the demise of Pere Ubu. "It was a variety of things:
musical differences, the difficulty of working
with a band where one guy lived in England,
one guy lived in New York, and the rest of the
band lived in Cleveland. We'd just finished
Song of the Bailing Man, and were all extreme-
SlOP
MAKING
SENSE
THE TALKING HEADS
LATE NIGHT SHOW
FRI. May 16-11:40
June 27-11:45
SELECTIONS
G.W. PABST DOUBLE BILL
Mon. May 5
Tues. May 6
Louise Brooks
in 7:30
PANDORA'S BOX
WITH
3 PENNY OPERA
9:30
(Celebrating Kurt Weil's
return to the charts with 'Lost in the Stars')
FASSBINDER DOUBLE BILL
Mon. May 12 - Tues. May 13
VERONIKA VOSS Mature
with 7:30
THE BITTER TEARS
OF PETRA VONKANT
starring Hanna Schygulla 9:15
^u^^HA^
The debut of STING and his new all-
star band in concert in Paris! The
Police • Steel Pulse • UB40 • XTC •
Orchestral Maneuvres • Wall of Voodoo • The Cramps • Klaus Nomi • X
I URGH! A MUSIC WAR
i   with
7:30
BRING
ON
THE  NIGHT
Mature     9:15 ||
MAY   1986 ly happy with it. We just decided that this was
the place we should stop. "When Pere Ubu
broke up, I knew that any commercial viabiltiy
that I might have had was probably out the
window. So I said to myself—since I'm living
on borrowed time, as it were, I'm going to do
exactly what I want for as long as I want, and
not worry about how I mess up my career by
changing and doing different things all the
time."
Those changes have involved working with
a different group of musicians for each album,
alternating between his former colleagues in
Pere Ubu—Maimone, Ravenstine, Fier—and
Europeans like Cooper and Cutler, who draw*
from more of an art music tradition.
"When I set out to make a change in what
I'm doing," says Thomas of his modus oper
andi, "I assemble a group of people that will
provide me with a format to move in a different
way. And then I let 'em go. When you're working with the talented people that I am, you
don't want to sit them down in front of charts,
and I'm not capable of that anyways. So I let
the people develop the sound. I guide the
thing and act as a critic. 'Cause I have a certain thing I want to accomplish, and so I say
'this is the direction we want it to head in' and
if it's leaning too far this way I say 'well, we
better lean it back this way a bit'."
The changes have proven artistically, if not
commercially fruitful. Each of Thomas's post-
Ubu albums sound fresh and different, from
the conventional structures of 1984's Variations on a Theme to the more abstract sounds
of title track of the recently released Monster
4l II < Ifc
M    I  * * THEATRE • •  I    Wt-
16th & Arbutus 738-6311
FOOL FOR LOVE 7:30   May 9-11
PARIS, TEXAS 9:30
KAMIKAZI 89 7:30    May 16-18
WHEN FATHER
WAS AWAY
ON BUSINESS
9:30
Walks the Winter Lake. And if the music continues to develop, so does Thomas's voice,
which, over the years, seems to have found
more and more odd and interesting corners
to explore.
"When I started out I wasn't very good,"
says Thomas of his singing style. "I soon discovered I had no innate talent. Nonetheless,
I wanted to be a singer, wanted to write stuff
and sing it. Therefore, the challenge was to
come up with something that was good and
would overcome my limitations. I was no good
for a lot of years, and then I got good. I couldn't
describe each step, but that was essentially
how it developed."
Asked if he is interested in branching out
into other areas, perhaps more conventional
theatre, comedy, film, Thomas shrugs his big
shoulders and takes another bite of Gorgo.
"No. Y'know—I'm fat and there's not really
many roles for fat people. And I think acting
is a really dangerous thing to get into. I think
there's a good reason that actors are all messed up, and I think its because of acting. I mean
if it walks like a duck and quacks like a
duck...
"I'm not a comedian. There's humourous
stuff in my show and there was in Pere Ubu,
more than we were given credit for. But I don't
do comedy. But making people laugh and
tricking them along a path is very intoxicating.
And I can understand why a: comedians are
so messed up and b: what the enchantment
is, and what the wonderful thing is of being
8      DISCORDER a comedian. Humour is part of what humans
are, and how people deal with things, serious
things. So I use it.
"As far as film goes. . . people always ask
me if I'm going to do a video. I tell 'em if someone gives me $100,000, which is not re-
coupable, meaning it's not against my own
royalties, and I can pocket $95,000 of those
dollars to buy my integrity, yeah, I'll do a
video."
In spite of, or perhaps because of, his
idealistic approach to his music, money is very
much on Thomas's mind this evening. Asked
about Peter Murphy's recent cover of Pere
Ubu's "Final Solution," he smirks and replies
that the hopes it sells a million "so we can
finally make some money out of it." For Thomas, making music means walking an economic tightrope, not a simple task for a man
his size.
As the rest of the band finishes packing up
the gear, and the call comes for the long drive
back to Seattle, the fat man takes another bite
of Gorgo, drains the rest of his beer and
grimaces.
"Yeah, I'm making a living at this. I pay the
rent. . sort of. Helps that the wife works; I'd
be in trouble if she didn't. Really, I don't see
much of a future for people like me. I think
I'll be a.musician in ten years, but I think it
will be miraculous. I think the odds are against
it.
"I have immense talent, and I'm unique.
And in this business, uniqueness is a liability."
The Vancouver TheatreSports League
presents
LATE NIGHT IMPROV
#Ofl   W** " Licenced
I ^ I   a r»-rc r\ I ID       "H
FRIDAY NIGHT 11:30
$1 OFF WITH THIS COUPON!
Every show is a sell out!
Come early for best seating!
ARTS CLUB
I2EVUE
THEATRE
GRANVILLE ISLAND
tf> Wesf ?et^
685-5524
11:30-11     Mon. - Thi
11:30-1     Friday
12-1    Saturday
NO COVER NEVER
MAY   1986 T. (E-X-C-E • L-L-E-N -T) xr
Th e  eat e rY
THE GOOD DEAL IS your
least expensive burger is
free when two are ordered.
This applies to beef and tofu
burgers only, and isn't valid
for take-out or any other
coupon.
Enjoy your burg &
have a nice day!
\1- _3431J/L^QApVWY_7^-K98_
CAT
PRODUCTIONS
THIS MONTH—
***********************
***********************
KJiSKESDH
with guests
THE WARDELLS
Thursday, May 15, 1986
We are pleased to announce
the return of
TUPELO
CHAIN SEX
featuring
SUGARCANE HARRIS
WITH GUESTS
RED HERRING
Thursday, May 22, 1986
[Tickets for each show $10.00 advance
[VTC/CBO, AMS Tix and usual outlets
Both shows at the LUV-A-FAIR
1275 Seymour Street
A CITR Presentation
...and look forward to
G.B.H. w/guests
Sunday, July 20, 1986
at the New York Theatre.
Tix on sale now.
10      DISCORDER Roy Bailey
ROY BAILEY LEADS A FULL AND VARIED LIFE. YOU CAN
find him in the classroom, lecturing in sociology, social work
and welfare studies. Or you can find him on stage, where
he's been recognized as one of the finest and most capable interpreters of traditional and contemporary folk songs. For more than
25 years Bailey has brought a social conscience to life with his music,
inspiring the likes of Billy Bragg with his political directness, moving
the likes of British Labour MP Tony Benn with his voice.
CITR's Steve Edge caught up with Roy after his recent Vancouver
shows.
DISCORDER: / was a little disappointed with the turn-out at the
Cultch. Do you think that you might be over-exposed in Vancouver?
ROY: That's interesting. I wonder if coming here every year is too
much? Whenever I play La Quena it is always packed.
D: Last year you were here twice including the Folk Festival.
R: That's different. We seem to come to the Festival every 2 years.
That is Leon Rosselsson, Frankie Armstrong & myself. I don't think
it counts as a visit though because so many people come from all
over North America for that. I don't know about being over-exposed
but I do wonder if I have enough material that's different; people
tell me they like to hear the old songs again as I'm the only one
doing them, at least in my styles. One woman said to me "if you
go to hear Beethoven you don't expect them to play something different, do you)" I'm more interested in whether the show works. I
think it did.
D: Yes, it did. One song that particularly impressed me was "Ghost
Story" the song about the dead soldier returning from the Falklands.
R: It was written by Jim Woodland of The Salami Brothers. We did
a show together and he sang a song which I liked called "Men Don't
Cry." He put it on a tape for me with "Ghost Story" on the other side.
I was so taken with that that I learned it first. I have some ideas about
recording it with an electric band. I have this fantasy you see, about
getting Billy Bragg, Tom Robinson & Paul Weller, The Red Wedge,
to do it with me & help the Labour Party at the same time.
D:    What do you think of Billy Bragg?
R: When I met him a couple of years ago I thought that if he was
playing acoustic guitar he would have been playing Folk Clubs, but
he has this aggressive, electric guitar style which places him in the
punk/pop category. He was very keen to meet The Watersons, Leon,
Dick Gaughan & myself, and has gradually been "adopted" by cer
tain aspects of the "folk scene." There are some clubs which wouldn't
DREAM of booking him; there are some that wouldn't dream of booking me either.
D:    Probably the same ones!
R: Yes! Probably the same ones! He also did the Trowbridge
Festival last year, & a lot of people are covering "Between the Wars"
now too. There's also Tom Robinson who's written a great song about
the destruction of industrial towns called "Blue Murder" and I heard
a fantastic unaccompanied version of Elvis Costello's "Shipbuilding"
recently. I'll have to have a go on that next!
D: You mentioned Dick Gaughan earlier, he's one of my favourite
singers.
R: Yes. People like Leon, Dick, Frankie Armstrong, Christy Moore
& myself are the only ones who sing such politically direct songs.
D: A Vancouver band, Spirit of the West, are recording some such
songs. One in particular, "Down on the Dole" springs to mind. Have
you heard of them?
R:    Yes. My daughter Katherine saw them last year & was very excited about them. She bought their album I think.
D:    They are a very popular band but Gary Cristall (VFF organizer)
doesn't like them and refuses to book them for the Vancouver Folk
Festival.
R: Yes, I heard about that. It sometimes takes him a long time to
realise that people are good. It took him several years to book Charlie
Murphy, for instance.
(Charlie Murphy is from Seattle & wrote "Burning Times," a stirring
account of the persecution of women, allegedly witches, by the Inquisition. This is the stand-out track on Roy's latest LP).
D: / saw him in Seattle recently, with a gospel choir. They did a great
version of Peter Gabriel's "Biko" but did not sing "Burning Times."
R: He probably has to sing that every night. I know I do now! The
chant has been picked up by the Greenham Common peace camp
too. At the Kendal festival in August the Salamis are staging it around
a big bnonfire. I'll sing it & there will be thousands of people to join
in. It's an incredibly pagan idea. I'm really looking forward to it!
D: Leon writes lots of songs, Dick Gaughan & Christy Moore occasionally write songs. Does Roy Bailey ever write any?
R: I've never actually written a song. I do adapt them, bring them
up to date but I think working with someone as prolific as Leon tends
to be a bit intimidating. Also I get to hear enough new songs to keep
me going. Tmm.
Wi1
I STARED INTO THE EYES OF
the cop. He was writing up my
ticket for jaywalking. "Oink, oink,"
he said. "Baaaa," I said. But I almost
didn't. I almost said, "Fuck you, pig.
The streets belong to the people!" The
more I thought about my afternoon, the
more I wanted to say that. I was in an
agitated state. I had been watching
Einsturzende Neubauten videos. Two
hours of visual shock therapy. And I
wanted to scream at that cop.
"We're representing a certain culture
that is rooted in German thinking, German language, German ideas. But I
don't think Germany wants us to represent that. What we do is subversive."
Blixa Bargeld, singer, guitarist and chief
protagonist of Einsturzende Neubauten
said from the band's home base of
Berlin. The reason for the phone call:
Einsturzende Neubauten, live at the
Xerox International Theatre at Expo 86,
Saturday, May 24. The show will be the
major attraction at Expo for CITR listeners and members of the local alternative music and arts community. In all
likelihood, many will attend on the basis
of media reports alone.
The North American music media
finally caught on to E.N. on their 1985
tour, near the peak of the group's experimentation with machinery and found
objects as instruments. The focus of the
media's attention was drawn primarily
to the jackhammers, the circular saws,
the cement mixer and the use of these
tools as part of that music.
It was not entirely the media's fault
that this happened. "If you're a sword
swallower you can't tell the media that
they pay too much attention to the
sword. The way the media works is very
obvious, and I should be aware of that,
so I should be aware of the danger of
dealing with destruction at all; people
getting a fixed image of the band according to a certain direction of what we
do. I guess we've managed to manoeuvre ourselves out if it, though."
Just how they've manoeuvred themselves out of this stereotyping is not
100% clear, but their last album, Halber
Mensch on Some Bizzare records, probably has a lot to do with it. The album
is the first on which the group have concerned themselves primarily with song
structures, rather than exercises in
sound coordination.
"When we worked on the album, the
first title was Love Songs. I thought that
with Drawings of O.T (their 1984 LP) we
really reached the zenith of what we
could explore in the way of new sounds
or new instrumentation. After that we
started to get really interested in structures. That doesn't mean that we were
deserting everything that we'd done
and working on weird song structures,
destroying song structures, making
holes in song structures."
Using the example of "Seele Brennt,"
the opening track on side two of Halber
Mensch that alternates between a tense
whisper and a pot-boiling-over sonic
assault, Blixa illustrated the idea of "a
normal song structure with a million
holes in between everything; so many
holes that you almost can't hear the
actual song structure."
I seems odd that a group who create
music that destroys many people's idea
of the word would be interested in the
idea of structuring their sounds. Still,
the relationship between consistency
and innovation is a sticky one, at best,
and one wouia nave to walk on water
to avoid cries of "Sell-out!" every time
they delved into conventional time
patterns.
Neubauten, defying those who labelled them "inaccessible," have even
gone so far as to create a dancefloor-
oriented piece. "Yu-Gung" was released a part of a three-song EP, with
"Seele Brennt," and the Lee Hazel-
wood-penned "Sand." Neubauten mixed "Yu-Gung" for the LR then asked
Adrian Sherwood, Mr. Industrial-
Strength Hip-Hop himself, to remix the
track. The incessant, slightly metallic
beat was already there, but Sherwood
gave the song the added dynamics
necessary for club consumption. Blixa
related their impression of the father of
On-U Sound: "I think he's brilliant, but
he's weird. We did the remix together,
•
m
i
M
JUL B^1
The glorious
sounds of
collapsing
new
buildings.
Demolition
Engineer:
Jason Grant
sfycWSS^
..beyond the ethnic fringe
Apr. 25,26
— Sask. Pavilion
May 2-11
— Sask. Pavilion
May 12-18
— Canadian Pav., Inner Stage
May 19-24
— Comedy Cabaret, Expo Site
May 26-June
1 — Folklife Pav., Expo Site
June 5-7
— The Savoy
June 8-12
— Comedy Cabaret, Expo Site
w
INFO 873-6121
and I guess if we'd done it the
way he wanted, it would have
sounded even better. But because the EP was being released first, we wanted the
song to actually be there on
the vinyl. I wanted to have
every word I said in it. I didn't
want to have certain words repeated 100 times, and others
not in it at all. The way Adrian works, he just does crazy
things like...he just turns the*
knobs as far as possible, and,
it sounds great, and nobody!
who calls themselves an engineer would do something
like that. I think it was a mistake to ask him to do a remix
before the Neubauten mix of
the song had been released.
The way "Yu-Gung" came
out on the EP was a compromise between his idea and
ours."
Compromise. It's a word I
would not use in a discussion of Einsturzende
Neubauten. Even after
watching a video of the
group   doing   their   version
V^s,
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coming soon ... another Brazilian Carnival night
of Cheap Trick live at the Budokan, the
live footage at a large hall in Japan, I
still can't bring that word into play. Let
me tell you a bit about the videos, and
perhaps you'll understand why.
Video #1: The group's engineer and
sometime guitarist, Alexander Hacke,
creates a hellish noise from the soundboard, using only tapes and the board
itself. Sweat beads on his forehead, his
eyes fix on the knobs; he is inside the
music. His trance-like state is only
broken when he hunts for a new tape
to toy with.
Cut to Blixa and N.U. Unruh making
strident, primitive music with guitar,
voice and some metallic objects. They
are playing in a four-foot crawlspace
underneath Germany's autobahn.
Cut again to video of the group's performance at the 1984 Atonal Festival in
Berlin. Masses of sweaty punks press
against the stage, in spite of (or maybe
because of?) the ferocious rhythms being pummelled out by Unruh and a
grimacing, Herculean character named
F.M. Einheit; Mufti to his friends. Both
E.N. and their audience seem to be
gripped by an external force that drags
them until they teeter at the edge of the
precipice, inches from total chaos. Yet
somehow the group manages to return
a sense of order to the proceedings,
before sallying off to the brink of disaster again. It is this careful avoidance of
chaos, and the constant presence of
real or imagined danger (in the form of
destructive machines) that leads one to
believe that the performance is as
much theatre as it is music, and the
tenuousness of this belief that could
make it great theatre. Still...no compromise.
Video #2: Japan. A film that combines traditional (well, not quite traditional) conceptual rock video with the
live material previously mentioned. The
images are disturbing, breathtaking,
and, dare I say it, totally uncompromising. A foetus (not Jim) floats in the amniotic fluid. The camera pulls in closer,
focussing on the left eye. The eye
opens.
A leg, viewed from underneath, and
just ahead of, the foot. The tibia is bare.
There is flesh dangling from what was
once a knee. The leg crumples, the
tibia snapping off and falling towards
the camera. Cut to the same bone,
hurtling through blackness, away from
the camera, then towards it. The bone
falls into an outstretched hand, in a
decaying warehouse.
Einstruzende Neubauten performs
for the camera inside the warehouse,
churning out an aural wasteland for 40
minutes. Einsturzende Neubauten performs for an audience in a large concert hall, conjuring images of a strutting rock band, but playing the same
music they are in the warehouse.
DISCORDER SEE WHY my head was unbalanced? I had received a massive
dose of reality, according to uncompromising Neubauten's view of
their culture. I will let Blixa say the rest,
on some of the topics already brought
up.
Rock concerts: "I actually like the
contrast of playing in a club, or in any
kind of normal, rock band setup with a
PA. and a stage and an audience. I like
that because it plays with the archetype
of rock music, it really makes a strong
statement about that music. That statement about rock music is part of what
Neubauten are doing."
On pop music: "Pop music has
become a dimension of the media itself.
It is not really connected to music any
longer."
On Neubauten as representatives
of German culture: "I have certain
tastes for some ethnic music, not for the
songs so much, but their representation of their culture... There has to be
a certain music that comes straight out !
of that (the culture), without any question of art, or any question of what style
you have to play in. We play those instruments that are instruments of our
culture, which are not traditional German folk instruments, or normal rock instruments. We suddenly realized that
these are the instruments of our culture,
and in order to represent our culture,
this is the way they are meant to be
played."
On getting their point across at
Expo: "I thought it (the invitation to play
at Expo) was a big joke at first. I didn't
know if there would be a million busi- *
nessmen coming to see us... What we j
do is coded, a cipher You have to I
speak this language—I don't mean
German—you have to live in a similar a
situation to understand this musical |
language. The businessman, not living
in the same circumstances, would not
understand the message, would not
hear the 'Yes!', would not hear anything
except the 'No!'... Either you get the
message, and it is not what we are
meant to represent (about German culture), or you don't get the message and <
we won't represent anything to you  \
(about German culture)."
Finally, consider this. Einsturzende
Neubauten are being given a unique
forum for their performance. You are
being given a unique opportunity to see
them strike at the very heart of our
beloved Expo. The show is free with
admission to the site (around $20, the
cost of a jaywalking ticket), and promises to be a real happening. Now if
you'll excuse me, there's a man in a
uniform I want to talk to...
Special thanks to Myra, Kevin and
Doug for their tireless efforts to make
this interview possible. Go buy some
tires, folks.
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2505 ALMA ST. AT BWY     222-2244
MAY   1986      15 BEHIND
"THE
DIAL
Volunteer Opportunity
WE HAVE A small problem on our hands. It's
like this: the entire staff of CITR have got jobs
at Expo, selling hamburgers for $3.65 an hour
(I know it's not much, but it's more than they
pay at this place.) As a result, we're on the
lookout for volunteers to read news, write editorials, cover sports, review movies, and yes,
even play records.
If you've been listening to radio and saying
"I could do that," now's the time: CITR memberships are a paltry $10 and we'll train you
in the mechanics of broadcasting. So get out
the E-Z Boy, screw up your courage and give
us a call.
More information is available by calling
228-3017 or by dropping by Room 233 of the
Student Union Building at UBC between 9
a.m. and 5 p.m. Monday to Friday.
Concert Presentations
JUST IN CASE you thought the end of the
school year marked the end of CITR bringing
you the best in entertainment, quess aaain.
CITR is pleased to present three of the biggest
brightest stars in the showbiz galaxy during
the month of May. Or something like that.
On May 15, CITR presents the return to Vancouver of Husker Du. With the release of their
first major label album Candy Apple Grey, the
Huskers seem perched on the edge of Major
Rock Stardom. Either that or on the edge of
the abyss, we're not sure which. In either case,
they'll be at the Luv-A-Fair May 15. Don't miss
'em.
Just one week later, same place, same time,
CITR presents another visit from Tupelo Chain
Sex. TCS's last visit sold out the Savoy for
three nights and hundreds, nay thousands
were turned away disappointed, so get your
tickets early.
And finally, we wrap up the month with
Siouxsie and the Banshees May 29, the Thunderbird Arena at UBC.
Can you imagine more fun packed into one
month?
I didn't think so.
The World of Radio
FROM JULY 25-29, hundreds of community
radio types will gather in Vancouver to exchange knowledge, experiences, and quite
possibly, phone numbers. The occasion is the
second World Conference of Community Oriented Radio Broadcasters. Representatives
from El Salvador, Guinea, Sweden, Great Britain, Bolivia, Senegal, France, the United
States and Canada will discuss programming
and production, finance, promotion, radio and
community organizing, cooperation and exchange. (,
The first conference, held three years ago
in Montreal, provided fascinating insights into
the way people use radio around the world.
In El Salvador, for example, Radio Venceremos reports news of the war suppressed by
the government and the U.S. press. Senegal's
Radio Disoo often broadcasts village debates
on farming techniques and farmer grievances.
The organizers of the conference are looking for volunteers to assist in the planning and
preparation for the conference. No radio experience is necessary, just a little of your time.
In return you'll learn, first hand, about what
is going on in the world (and we do mean
world) of community radion.
The next volunteer meeting is Thursday,
May 4 in Room L5 of the Britannia Centre. For
more information call the Conference offices
at 253-0427.
NON
C   U   S  T O   M
I    N    N   O    V   A
FICTION
SCREEN PRINTING
T    I     V    E GRAPHICS
13 6      POWELL
V    6    A     1    G     1
S   T.
V   A
6
N   C   O    U    V   E  R
8    4-     9834
16     DISCORDER
May
2/3 BRUNO GERUSSI'S
MEDALLION w/guests
9/10 Record Release Party for CHRIS HOUSTON
& QUAD-BILLIONAIRES w/guests
16/17  THE WARDELLS from Victoria w/guests
23/24 A CAST OF THOUSANDS w/guests
I LIVE MUSIC IN THE LOUNGE I
I   FRIDAYS FROM 10:30-SATURDAYS FROM 11:30 RM.
ARTS CLUB THEATRE   1181 SEYMOUR  683-0151 NEW STORE
NOW OPEN!
592 Seymour
682-7976
New • Used • Import
Buy • Sell • Trade
Now two stores to serve you
592 Seymour Street
682-7976
Brand New!!
76 W. Cordova Street
685-8970
...our original location ON
THE
DIAL
WEEKDAY REGULARS
7:30 am   Sign-On
8:00 am   WAKE-UP REPORT
News, sports and weather.
Wm am BREAKFAST REPORT
News, sports and weather followed
by GENERIC REVIEW and INSIGHT.
n:00 pm HIGH PROFILE.
1:00 pm   LUNCH REPORT
News, sports and weather.
4:30 pm   AFTERNOON SPORTSBREAK
6:00 pm   DINNER MAGAZINE
News, sports and weather followed
by GENERIC REVIEWS, INSIGHT and
a DAILY FEATURE.
4:00 am   Sign-Off
WEEKDAY HIGHLIGHTS
MONDAYS
SOUNDTRAK
10:30-11:30 am
A program of performance poetry: mixing
words, music, and sound. May: New writers,
experimental mixes, and new, improved
rebroadcasts.
THE BLUES SHOW
8:00-9:00 pm
Can blue men sing the whites? Join host
Eric Von Schlippen to find out.
THE JAZZ SHOW
9:00 pm-12:30 am
Vancouver's longest-running prime time Jazz
program, featuring all the classic players, the
occasional interview, and local music news.
Hosted by the ever-suave Gavin Walker.
Album Features: 11:00 pm.
05 May The World of Cecil Taylor—one of his
early classics, featuring the debut
recording of tenor saxophonist Archie Shepp.
12 May Johnny Hartman with the John Coltrane Quartet—a lasting legacy of
one of jazz's finest male voices.
79 May Charlie Rouse and Red Rodney—a
brand-new award-winning album by
two of the masters of bebop.
26 May Duke Ellington: The New Oleans
Suite—Arguably one of Duke Ellington's last great records. Recorded
in 1970 with Cottie Williams, Paul
Gonsalves, and a guest appearance
by the great "Wild Bill" Davis on the
Hammon organ.
TUESDAYS
UBC WEEKLY
10:30-11:00 am
A weekly look at the wholesome, wonderful,
just plain swell, place we call UBC.
THE FOLK SHOW
8:00-9:30 pm
This is all very disturbing. Not only have I
become the latest victim of Bill Bennett's B.C.
Spirit by getting laid off, but Manchester
United's championship challenge in the Old
Country has fizzled out, and on top of all this
nobody phones me on the Folk Show any
more. Are there still people out there who
think this is old-folks' music? Try telling that
to The Pogues, Spirit of the West or Billy
Bragg! In spite of this run of bad luck I am
not about to give up yet! Tune in this month
for the latest sounds, perhaps the brand-new
platter from the Spirits, some "live" Fairport
classics, a great band from Holland called
"Fungus," JSD Band, and a new U.K. outfit
called Gone to Earth. Plus the obligatory mix
of Rogue-Folk & Celtic beer-swilling, clog-
tapping stuff. Presented by The Flyer, a.k.a.
Steve Edge.
BUNKUM OBSCURA
9:30-11:00 pm
A Bit off the wall
A Bit on the floor
A Bit under your shoes.
LOVE PEACE AND VIOLENCE
11:00 pm -1:00 am
An earnest effort to resolve 7,000 years of
passion, sedation and empty threats (read
civilization), featuring live sex, tape loops,
simulated drug taking and lots of normal
music. "Some things are so stupid that they
must be done." E. Raoul
This month featuring the return of the
oblivious talents of Eating Vomit Ltd.
PLAYLOUD
Late night 1:00-4:00 am
A rite of passage from weariness to oblivion,
anarchy to excrement, Tuesday to Wednesday
06 May The Culling has returned. A fetid
sampling of CITR spinlist material
and the dregs of record stores,
friends and demons.
13 May Death takes a holiday. Love, Peace
and Violence expands to fill the
void.
20 May TBA
27 May Music from Vienna, Artists who
appear on the Nekrophile label.
WARNING: Prolonged exposure to this program may cause hypersecretion of the hydrochloric acid, hyperperistalsis, rubus of the
gastric mucose & YOU BECOME MOST
UNPLEASANT.
tW&J'T w got Tim OF
-THAT IP/Of HAltcVT Yer?
8      DISCORDER WEDNESDAYS
VANCOUVER INSTITUTE
10:30-11:30 am
01 May Dr. Michael Gottlieb: Aids: Medical
Science in Action
08 May Professor C.S. (Buzz) Holling:
Ecosystem Design: Local Surprise
and Global Change
15 May President William G. Saywell of
SFU: Relevance and Our Universities:
Responsibility or Red Herring?
22 May Margaret At wood: Blood and
Thunder
29 May Professor Irwin Shainman: Mozart:
Myth and Reality
JUST LIKE WOMEN
5:15-6 pm
Tune in for 45 minutes of invigorating and
stimulating interviews, news and music. For
anyone interested in women's issues or learning more about them.
THE AFRICAN SHOW
8:00-9:30 pm
A program featuring African music and
culture with hosts Todd Langmuir, Patrick
Onukwulu and Dido. Tune in for the latest
news from Africa, plus special features at
5:00 pm.
THE KNIGHT AFTER
Midnight to 4:00 am
Music to clobber Yuppies by—featuring radio
shows traded with alternative stations in
Europe and the U.S. This show will really
mess up your BMW!
THURSDAYS
AMNESTY INTERNATIONAL
10:30-11:00 (alternating weeks)
STUDENTS FOR A DEMOCRATIC
UNIVERSITY
10:30-11:00 (alternating weeks)
PARTY WITH ME, PUNKER!
3:00-5:00 pm
Will this show survive? Can Mike Dennis find
a new host to replace him when he sheds
his black leather jacket and heads for the
high-pressure world of international arms
dealing? Frankly, we don't know at this point.
Could this be the end? Sob.
TOP OF THE BOPS
8:00-9:00 pm
Screaming guitars, throbbing basses, pounding drums, pumping pianos and howling
saxes: Top of the Bops has them all, and you
can have them too!
01 May The usual selection of frantic
rhythms
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Sukis Advanced Hairdressing School is now accepting models for
our advanced cutting classes. 16-35. male or female — if you're
interested in creative, high-fashion haircuts, our teachers want you
to have the style of the 80s which, suits you best.
Were open Monday to Friday. 9-5. Wed love to see you. so give
us a call. 738-0519.
$5.00 Cut        $20 Color        $30 Perm
"Remember Its The Cut That Counts"
Sukis Advanced Hairdressing School Int'l Ltd.
3157 Granville St., Vancouver, 738-0519
Our Art Director is also interviewing hair models with
potential for photographic and demonstration work.
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Break   new   ground.
Discorder   Magazine...
very   effective   advertising.
Cal!   228-3017. Talk   to   Robin   or   Dave.
MAY   1986 08 May Buffalo Bop, a cross-section of tunes
from one of the premier re-issue
series
75 May Wild Women
22 May same as the first, a little bit louder
and a little bit worse
29 May the granddaddy of them all: Louis
Jordan
MEL BREWER PRESENTS
11:00 pm-Midnight
We speak with our eyes closed. You should
listen with your mouth open. It's a gabfest
presented by Mel, man. Know what's going
on locally without leaving home, especially
you agoraphobics.
FRIDAYS
FRIDAY MORNING MAGAZINE
10:30-11:30 am
STIRRINGS: Your host Kirby Hill has just felt
the scent of Spring. Out of the hibernation of
the winter semester, this Wolf reawakens in
search of fresh summer territories. This
month the Wolf senses:
02 May The positive drive of the Peace
Festival; Leftover energy from the
Children's Festival; and the intimate
communication of this week's
special guests.
09 May Vancouver Cross-Culturalism. Indeed
a massive habitat here in Van... With
help from reps from the French Cul
tural Centre and multi-talented guest
host Chauntel Morin, the Wolf tries
to capture a small taste of the Vancouver flavor.
16 May The Wilderness Spirit awakens. A
resurgence of consciousness over
the Stein Valley; Native spiritualism
with Moira Mulholland; and a profile
of the Spirit Song Theatre Company
with special guest Donald Morin.
23 May Sneak previews of the 1986 Fringe
Festival.
30 May 1986 Beach Attitudes, with fun summer music, guitar jamborees, and
the insights of this week's special
guest, summerwear fashion designer
Shaughan Williams.
POWER CHORD
3:30-5:00 pm
Vancouver's only true metal show, featuring
the underground alternative to mainstream
metal: local demo tapes, imports and other
rarities, plus album give-aways.
SPECULUM' - REFLECTIONS ON
SITUATIONS
5:30-6:00 pm
News; RET. (Pesimists Endurance Training);
and "Forward From the Past."
SOUL GALORE
8:00-9:30 pm
All the tearjerkers, all the hipshakers. From
R&B to funk and especially soul. Join Fiona
MacKay and Anne Devine and wear your
soul shoes.
THE BIG SHOW
9:30 pm-midnight
Why pay money to get into a nightclub on a
Friday night? If Big InternationAI can't get
you dancing, no-one can.
THE VISITING PENGUIN SHOW
Late night 1:00-4:00 am
Interviews with local musicians and artists,
the newest sounds at CITR, your personal requests and even golden oldies. What more
could you want? Hosted by Andreas Kitz-
mann and Sheri Walton.
WEEKEND REGULARS
8:00 am   S^gn-On
Noon        BRUNCH REPORT
News, sports and weather.
6:00 pm   SAT/SUN. MAGAZINE
News, sports and weather, plus
GENERIC REVHEW, analysis of current affairs and special features.
4:00 am   Sign-Off
WEEKEND HIGHLIGHTS
SATURDAYS
EARLY MUSIC SHOW
7:30-10:00 am
Have breakfast to music from the Medieval,
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. V6B 1T3
DISCOVER...
PROGRESSIVA
MCESSffRm
vancouver
^p^qner$:^:::
URBAN
INNOVATIONS^
22Z9(iRANVtLLE
Renaissance and Baroque periods, played on
strange and exotic instruments. With hosts
Ken Jackson and Tyler Cutforth.
03 May TBA
10 May May Mathew Ock— The Tempest
17 May J.S. Bach Chamber Music
24 May The New World Consort
31 May M.A. Carpentier Aceton
NEOFILE
Noon-4:00 pm
PROPAGANDA!
6:30-9:00 pm
An eclectic mix of interviews, reviews, music,
humour, High Profiles, and other features
with Mike Johal.
03 May Harrison and Crips—nutrition, disarmament, third-world music with
social conscience.
70 May Green Tortoise Travel—if you're
eyeing the holiday season and/or
want to escape from the bloody fair,
Green Tortoise spokesperson Patricia
Hogan has tips on cheap travel for
poverty-stricken punks
17 May  Vancouver International Film
Festival—a preview of films, prices
and guest appearances, with Festival
director Hanna.
Regular Features: May 3, 17, 31: AEIOU—
political satire with the Artists Educational
Iconoclastic Organisation (Un-)Limited. 6:55
p.m.
Today In History
May 24, 8 pm: High Profile—Sordide
Sentimentale.
Video reviews: Ralph Videos, Revolt of Job
(Hungary 1984), U2, Unforgettable Fire, Slave
of Love (USSR 1978), Echo and the
Bunnymen—Porcupine. Videos from
Videomatica, 1829 W. 4th Ave., Vancouver.
Plus the usual blan blah blan
PYJAMA PARTY
9:00 pm-1:00 am
Your hosts Mike Mines and Robin Razzell
present everything from ambient music for
snoozing to upbeat tunes for popcorn and
pillow fights.
TUNES 'R' US
£afe night 1:00-4:00 am
Music, Music, Music, Handyman Bob, Music,
Music, My Favorite Album, Music, Music,
Experimental To Classical, Teddy Kelowna
presents, and yes more music.
SUNDAYS
MUSIC OF OUR TIME
8:00 am-Noon
A sampling of the vibrant, electric and exhilarating sound often erroneously filed under
the misnomer of "classical" (i.e. pedantic)
music. Paul Smith continues his musical lexicon of the twentieth century, and is joined by
Tyler Cutforth, with his favorite remedies 'or
Sunday morning complacency.
ROCKERS SHOW
Noon-3:00 pm
The best in Roots, Rock, Reggae, DJ and
Dub. With your hosts George Family Man
Barrett, Collin Hepburn and Bruce James.
04 May Rise and shine with Peter Broogs
11 May  Three Hours with Bob Marley
78 May  Look back at Stak and Rock Steady
25 May Dubwise selection with Special
Selector
MICHAEL WILLMORE'S ROCK TALK
3:00-6:00 pm
Authentic Rock 'N' Roll from the 1950s and
1960s featuring many collectors' items and
rock rarities you'd never hear anywhere else.
SUNDAY NIGHT LIVE
8:00-9:00 pm
Wanted: S.N.L. is currently looking for live
tapes of local bands for a possible month of
local features. This is a great opportunity to
have your band profiled in a live context. So
let them tape machines roll. Contact Paul
Clarke c/o CITR or phone 228-3017 on Sunday nights.
04 May Marck Isham Trio Pt  II
77 May  The Bears featuring Adrian Belew
78 May Tupelo Chain Sex
25 May TBA
\
FAST FORWARD
9:00 pm-1:00 am
Mark Mushet searches the world over for experimental, minimalist, avant-garde, electronic, and other non-mainstream sounds.
LIFE AFTER BED
7 am-4 am
The return of the nightmare from the people
you're parents warned you about. Ugly radio
has returned. Warn your avocados.
MAY   1986      21 Sfm\
JiSi-
Pm I02 Coble IOO
TOP AIRPLAY ALBUMS
THE CRAMPS
A Date With Elvis
BIG BEAT
THE PANDORAS
Stop Pretending
RHINO
SLOW
Against the Glass
ZULU
PUBLIC IMAGE LIMITED
album
WEA
RHYTHM MISSION
Wild Mood Swings
MODAMU
CAMPER VAN BEETHOVEN
Telephone Free Landslide
Victory
IND. PROJ.
VIOLENT FEMMES
The Blind Leading the Naked
SLASH/WEA
VARIOUS ARTISTS
Decoder soundtrack
WHAT'S SO FUNNY...
CLASSIC RUINS
Lassie Eats Chickens
THROB. LOBSTER
VARIOUS ARTISTS
Restless Variations
RESTLESS
FINE YOUNG CANNIBALS
Fine Young Cannibals
I.R.A./MCA
TRISOMIE 21
Chapter IV
PLAY IT AGAIN SAM
THE COSTELLO SHOW
King of America
CBS
STAN R IDG WAY
The Big Heat
I.R.S./MCA
ARTISTS AGAINST APARTHEID
Sun City
CAPITOL
BRILLIANT ORANGE
Happy Man
ZULU
TOM WAITS
Rain Dogs
ISLAND/MCA
TOP AIRPLAY SINGLES
THE POGUES
The Body of An American/
Rainy Night
STIFF
RED GUITARS
National Avenue
SELF DRIVE
REDSKINS
Bring It Down
DECCA
SIOUXSIE & THE BANSHEES
Candyman/Umbrella
WONDERLAND
THE REVTONES
Johnny's Got A New Bike
**DEMO**
ATOMIC KOOL-AID
Oh No!
"DEMO**
A MERRY COW
Look Around
**DEMO**
THE BOTTOM LINE
Blood In This Land/
Machine Gun Rap
**DEMO**
MARSHMALLOW OVERCOAT
Marshmallow Overcoat EP
SKYSAW
THE BEASTIE BOYS
She's On It/Slow and Low
DEF JAM/CBS
JOOLZ w/NEW MODEL ARMY
Love Is (Sweet Romance)
EMI UK
FASTBACKS
Seven Days/Somebody to Love
**DEMO**
THREE JOHNS
Brainbox (He's A Brainbox)
ABSTRACT
VENUS ENVY
Space Rock '85
HERB JACKSON
SPIRIT OF THE WEST
An Honest Gamble
**DEMO**
ALITHIA HAMBLETON
Drum Beat Baby
ENERGY DISCS
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22      DISCORDER Fetchin Bones
Cabin Flounder
DB Records (U.S.)
Initially, 'A Fable", "Briefcase" and "So
Brilliant" trigger the 'this is a fantastic song'
indicator in even the most despairing, former
rock 'n roll devotee already resigned to a life
of sedation, appreciation for the rest of the album grows and grows. The humour of "Asteroids". What's that on "What I did"? A ska
rhythm? Well, I'll be, so it is. Then there's
Hope's cheesy but effective harmonica playing, and have "Kitchen Of Life," a resounding
earthquake of a song about some of the simpler joys of everyday life.
Tables, tables,
Read the directions,
Follow Mama's secret recipe,
Now I'm bakin' a cake,
A big pink one!
Makin' it sweet for him,
You know he loves it that way.
In the kitchen of life,
In the kitchen of life,
In the kitchen of life.
ROCK'N ROLL AS A MEANS TO AN
existence has lost all meaning. Solace
can no longer be found through a vinyl injection, no matter how loud that sucker is turned
up. Even AC/DC's "Nightstalker" evokes only
a reaction of indifference. Despair and ennui
reside for an indefinite period since the news
that your fave demi-god band would be using
Air Supply's producer on their upcoming
video-novel-album. Duped for all these years;
rock'n roll is total bullshit (just like that violin
toting noodle in eighth grade told you, oh so
long ago). All hope has been dissolved in a
mire of rock'n roll similarity and mediocrity;
a tear-eyed and irrevocable decision is made
to only listen to. lack of originality. While filling out the order form for the new Zamfir collection of memorable tunes (featuring the love
theme from First Blood), something catches
an ear. Insistent pounding, a forceful bassline
and swarming sonic production, all attempting to keep pace with a distinct, slightly hic-
cuping female voice. Ahhh, recollection of how
sweet it can be, and in this instance, how
sweet it is. For your listening and dining pleasure, will you please welcome Fetchin Bones.
Here we have an album, Cabin Flounder.
utilizing lots o' guitars and produced by Don
Dixon, but still bearing little resemblance to
REM, a task worthy of praise in itself. But wait,
there's more. The LP captures a band seemingly on the verge of exploding, but with tight,
confident.playing denying any chance of that
eventuality. Cabin Flounder shakes, thumps,
floats, twangs, grooves and a whole lot more.
Often, female singers function as aural and
visual ornaments, but fortunately, every so often a female vocalist slices through his banality by breaking down any distance that exists
between her and the music. Fetchin Bones
snagged such a singer in Hope Nichoils,
whose unselfconscious, fullbore voice demands listening to, and belongs to a person
who sings for the self-expression and love of
it. When she opens up on "A Fable", the listener can only wonder why so many vocalists
sing with little emotion or vitality, when it appears to come quite naturally to this lady.
Something tells me Hope Nichoils might not
be contented standing at the radar range
whipping up culinary delights for her beloved hubby. Thankfully, Fetchin Bones have
served up Cabin Flounder for all to enjoy.
Maybe I won't order the Quality Records limited time offer LP "The Love Album."
—Kevin Smith
The Church
Heyday
FOUR FRESH FACES, SHINY MOPS ON
top of their brains, The Church bring belated greetings from the psychedelic camp.
Praising nightmare descents into Jericho City
and lamenting the onslaught of vicious civilization on some Australian boys who just want
to be left alone to their hallucinogenics...oh,
no! Shades of Jimi Hendrix seclusion on the
beaches of Morrocco. Sitar-shapes, gurulike
experiences. . aah, the boys have been tantalized.
To be fair, The Church were into the universal experience long before paisley re-entered
consciousness. Constant In Opal gave
evidence of an a political, hedonistic band in
search of an orange and unfocussed sun. . .
searching for the lost, experimental fun of all
of our Heydays.
But Peter Walsh's production (he of New
Gold Dream fame) merely serves to emphasize the lads' calculated move to capture a
bandwagon that perchance swung their way.
Walsh's production makes the sound a nice
shimmer, but trivializes anything The Church
may have had to offer. Although their approach is offensive and diplomatic, this leaves
little room for originality or freshness and one
gets the impression that this is a contemporary rehashing of twenty years of beatnikism.
MAY   1986      23 Steve Kilbey's writing has emerged as the
only lyrical force in a band that once relied
on the input of a triumpherate. As a result, the
songs reflect one man's vision. . .essentially
a twirling, cesspool of images that borders on
the contrived and often results in self-parody.
When the band does succeed as in "Happy
Hunting Ground" or "Myrrh," one still pictures
four guys sitting around their home studio in
Canberra, sippin herbal tea, passing round
the j's and, faces flushed with life, asking
themselves 'is this cool enough?'
If you need companionship in pursuits of
the sublime, you can buy this record and "Tantalized" will probably suit the mood. Unfortunately, this will leave you six or seven bucks
short of funds that could have been used to
further your own trip. .   like wow, man.
—Peter Burns
Radwaste
Cooking and Nothingness
Happy Squid Records (U.S.)
I KNOW DRUMMERS WHO WOULD HAVE
wet dreams imagining themselves playing
in a band like Los Angeles' Radwaste. Radwaste features four drummers, who more
often than not, act as the lead instrument(s)
on their new ER "Cooking and Nothingness."
Oh yeah, there is a bassist and guitarist, as
well. I found this unconventional line-up to produce music which is abstract and offbeat yet
impelling.
Radwaste is a relatively new outfit (around
for about a year) but the members have been
around some of Smog City's more obscure
bands. Bassist John Talley-Jones and, uh,
snare drummer Kevin Barrett used to be in 100
Flowers (a band once described as "would destroy a million Velvet Underground cliches and
make it all sound ready for AM radio"), Michael Kory (guitar) and Debbie Spinelli (toms and
hi-hat) have dabbled with 17 Pygmies, and
bass drummer Rob Malone served time in
Detox. This record is their first vinyl offering.
Upon hearing this record, I was immediately
reminded of the vintage Gang Of Four. Rhythmic patterns, guitar sounds, and vocal stylings
on this record all recall the sound of the Gang
in their early years. The domineering percus
sion comes across like a tidal wave of well-
timed jackhammers, while the slashing guitar
darts in and out of the rivetting drums like a
crazed hornet. Somehow, the chanting vocals
of Kory and Talley-Jones seem to thread it all
together into quite listenable sound.
Out of the 5 songs of this EP, "Kiss of
Death" is the most memorable, with its catchy
chorus and harmonies. Hell, it may even have
commercial potential although I'm sure the
band never had this in mind. The somewhat
unconventional time signatures of the other
4 songs might make some people feel uncomfortable but I quite like them. For fans of the
Gang of Four, Minutemen, Beefheartian
School of Herky-Jerky Music, I would highly
recommend it. For you normal people, approach Cooking and Nothingness with oven
mitts on.
—Mike Dennis
Pandoras
Stop Pretending
Rhino (U.S.)
OCIAL CRITICS SAY THAT THE PUR-
pose of rock music is to channel agression
and frustration over life's big problems into
com. p. 26
S
Play 'em again
Sam...
and Bette, Bogie,
Jimmy, Errol. Now,
you can own
Casablanca, The
Big Sleep, Robin
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& 16 more
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Hollywood
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1829 WEST 4th AVE. AT BURRARD  734-0411
ON SALE TILL MAY 7
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Open 8 days a week
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Store #1
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456 Seymour St.
685-8841
fc\°
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Store #2
MAIN AT BROADWAY
2528 Main St.
876-8321
Bring us your unwanted records, we'll buy or trade We buy, trade &
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& cassettes
CONCERT TIX, TOO!
2936 W. 4th Ave
I     734-2828
*"«•  BLAGK
KCGO R D1S
FIRST SOVIET JAZZ RELEASES
IN NORTH AMERICA
ARSENAL
 With Our Own Hands
IGOR BRIL
 Before the Sun Sets
GANELIN/TARASOV/CHEKASIN
 Poi Segue
ALEXEI KUZNETSON
I Blue Coral
VAGIF MUSTAFA-ZADEH
 Aspiration
NEW CELTIC RELEASES
BATTLEFIELD BAND
 On the Rise
(feat. Bad Moon Rising)
DOUGIE MACLEAN
 Singing Land
EASY CLUB
 Chance or Design
DICK GAUGHAN TITLES
BACK IN STOCK
BLUES
JAMES COTTON
 Live in Chicago I
JOHNNY UTTLEJOHN |
 So-Called Friends
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ROUGH TRADE/WEA
DOMESTIC RELEASES
PERE UBU/ROBERT WYATT/1
CHRIS & COSEY/MICRODISNEY/
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plus LAURIE ANDERSON,
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from p. 24
something entertaining, much like a freak
show. Pandoras' lead singer and songwriter
Paula Pierce has such a big problem: she
keeps going out with dorks who just can't cut
it in the big leagues, or aren't, uh, functioning adult males. She tells us all about it in the
Pandoras' debut album, Stop Pretending.
With a little effort, you can trace most of the
music to "Louie Louie," and the whole album
reeks of Louie Louie consciousness, which is
what popular music needs more of, dammit.
Most of the numbers are 1966-style punk,
which the band does credibly. Not surprising,
since they look as though they would fit right
in with the Hot Rods to Hell crowd. The Farisa
organ is occasionally overdone, but gives the
record an identifiable sound. The songs vary
from lighter numbers, which sound a lot like
the Bangles, and hard-driving songs, still with
great pop hooks, which sound like the Sonics,
or the Fuzztones.
The singing is rough and ready, and serves
its purpose. Their use of harmonies will cause
further comparisons with the Bangles, and
Paula Pierce screams well enough to let you
know she's serious about her, uh, big problem.
She's not just going on about it because it
makes for clever songs (which it does).
Whatever the album's failings, and the considerable rough edges, it's a step in the right
direction, and good general fun. And, it's
rather fun to eavesdrop on Paula's, uh, big
problem.
—Rob Simms
Hula
1000 Hours
Red Rhino (UK)
"TK UBBLE' BUBBLE, TOIL AND
W3 trouble..." A wicked concoction, to be
sure. It's almost too easy, comparing this
record to a witch's brew...almost, but not quite.
HULA—a recipe. Pulsing, not-quite-funky
basslines and polyrhythmic percussion (some
very tasty effects are achieved by the interplay
of machine and man on the drums) create a
thick bouillion, to which are added one part
found voice and three parts vocals. These
alternate between stomach-upsetting howls
26      DISCORDER
Bjj**- '
fc        >*
^^^
HP^Hk            *-»           J
JBI
Em
iiys
■klub
■ SIDE tZ3 DOOR
■iWDENMAN
IvANCOUVER
■ BRITISH   COLUMBIA and meringue-like whispers. Now, for added
flavour, toss in large helpings of...well...slush.
I can't think of a better word to describe the
churning, gooey guitar and synth sounds that
ooze between every beat, every percussive
bass slap. So slush it is.
Now when does one digest this magnificent
dish? I would say at breakfast, lunch, and dinner. There are two platters here, one live at
the Milky Way in Amsterdam, one freshly cut
in their home base in Sheffield, and smatterings of stuff cooked up for a Dutch radio program. Might I suggest side 4 for breakfast
(Hula describe it as the side 'to wind you
down'), as the rest might be a tad too spicy
for morning consumption. For lunch, the 2 live
sides would go down nicely, as the mix contains less of the intoxicating studio effects that
are sprinkled liberally on side 3. At dinner, I
recommend a heaping portion of the live material, followed by side 3, turned up to 10 to
maximize the intensity of the flavour, and finally, side 4 to cleanse the palate.
If you're still hungry after this sumptuous
feast, you might try Hula's new 12", "Freeze-
Out", which is included on the live LP. Craving a new sensory experience? Try Hula, and
remember to lick your plate.
—Jason Grant
Chris Houston
Hate Filled Man
Caucasion Records
IN WHICH WE ASK THE TIME-WORN
question—Can white men sing the blues?
—answer in the negative, then shrug and
make noise and spit on people anyway.
Christopher Houston is a bilous, arrogant,
snotty white boy from Toronto. And this is a
bilous, arrogant, snotty record. It sounds
deliberately ugly. It makes fun of Elvis. It
makes fun of Annette Funicello. It makes fun
of people who change the colour of their hair
and go to discos. It makes fun of the NRA and
the KKK.
It has a piece of astroturf glued to the cover.
On the other side it has a fake Folklife Field
Recordings cover.
In short, it has the makings of a work of
genius. Okay, maybe not a work of genius, but
a great record to put on when you're feeling
like a snide, cynical, or otherwise unpleasant
sort of shit.
Houston may not be able to sing the blues,
but his band does at least a credible imitation. Jack deKeyser's guitar sounds mean and
insinuating over the grinding, tortuous rhythms set up by the bass and drums of Houston and Tony Fury. The real musical treat,
however, is the horn work of trumpeter Her-
bie Spanier, which weaves a discordant web
through a number of the tracks, simult aneous-
ly breaking up the sound and giving it a co-
hesiveness it would not otherwise have.
Unfortunately, the title Field Recordings is
as appropriate as that of Hate Filled Man. The
music works in spite of the lo-fi production,
but after a number of listenings it becomes
apparent that with state-of-the-art production
this could have been as powerful as it is funny.
Imagine Sonic Youth meet Weird AI Yankovic.
Scary, huh?
—CD
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28      DISCORDER
J
A FEW WEEKS AGO I WAS AT THIS
party, just hanging around, when all
of a sudden this guy starts talking
to me. There were a lot of celebrities at this
party, so I assumed that he was someone
famous too. Since I had noticed him a few
minutes earlier hanging out with two of the
two members of Skinny Puppy, and because
I didn't realize at the time that Skinny Puppy
only consisted of two band members with
darker, longer, scarier hair than this guy, I said:
"You're in Skinny Puppy, aren't you!"
As it turned out, he was a musician; he was
in a local band that I had reviewed in Demo
Derby about a year ago. The review was less
than favourable, so I didn't say anything. He
started talking about Discorder because there
just happened to be a copy kicking around.
I still didn't say anything. We were getting
along quite amicably when my friend said:
"Hey, Julia..." and then the musician said:
"You're Julia?"
To make a long story short, we went through
this whole thing about how misinformed I was
etc., etc., etc. So I'd like to stress that when
I write a review, it is based strictly on my own
personal opinions, except for this month. This
month's Demo Derby is based upon other
people's opinions.
MIA
"Louise"
"I really like this song."
"It's a good song."
"It's not bad."
"I really like the way the lead singer's voice
sounds against the synth and drum machine.
It sounds really human."
"It's really catchy."
THE NOW
"Just a Small Disaster"-
"They sound like Wall of Voodoo."
"Yeah, it's pretty good."    .
"I think the lyrics are pretty funny."
THE REVTONES
"Johnny's Got A Blue Bike"
"Oh, I like that song; it's psychedelic."
"Yeah, it's a good song."
"It's not bad; I don't mind it."
"These guys are pretty good."
"I like the tamborines."
SKINNY YUPPIE
"Bleah"
"My mother likes this song and so do I."
"I think it's stupid."
"It's pretty funny, I guess."
"I don't like the production."
"Maybe I'd like it better if there were more
words in it."
THE LOVE WEASELS
"Tidal Wave at Wreck Beach"
Actually, I didn't ask anyone about this particular song, but I have played it on more than
one occasion on my show because I think that
it's great. It's a good melodic song with nifty
sound effects of the ocean, and the lead
singer has a really nice voice well suited to
the song.
A MERRY COW
"Look Around"
"Super cool song."
"It sounds like it was recorded in a fish
bowl."
"It's a good song, but I played it on my show
and the production was so bad that I was
embarassed."
"I think it's a great song, I really like them."
"I just hate it; the production is so bad."
Yeah, well the production isn't very good,
but this is a good song. Hopefully next time
A Merry Cow records something, it'll sound
better.
STUBBORN BLOOD
"Love Fix" "Tightrope"
"NO."
"I really like those guys; I think these are
good songs."
"I'd like them better if they sounded more
like the Ramones."
"Their songs are too long by about three
minutes."
THE BOTTOM LINE
"Blood In This Line"
"Machine Gun Rap International"
"I liked 'Radio Clash' better."
"I wish bands would stop naming themselves after song titles."
"It's not bad."
"The production is really good on 'Machine
Gun Rap International.' "
—Julia CITR would like to THANK
the following acts for participating
in our "Mondays in
March"
benefit series.
I******************************
#1
- Atomic Kool Aid
#1
- Joel Parkes
#1
- Balancing Act
#1
- Linear B.
#1
- The Beach Mutants
#1
- The Love Club
#1
- The Belgianiques
#1
- No Fun
#1
- Big Electric Cat
#1
- Omnisquid
#1
- Bottom Line
#1
- Red Herring
#1
- Breaking Chains
#1
- The Soreheads
#1
- The Crimpolines
#1
- The Stand
#1
- The Fab Mavericks
#1
- The Subterraneans
#1
- The Harrison-Kripps I
3and    #1
- Those Nerve Tubes
^^¥¥¥¥¥¥¥^¥¥^^¥^¥¥4^^^^
Watch for these Acts —
coming to a club or
concert hall near you.
from p. 30
steppingstone: as a means to learning TV so
that someday they might get real jobs as real
TV-type personalities with straight teeth, the
right haircuts and empty gleams in their eyes.
No, Buzz and Dave were using their community television station as a means to sharing
their great collection of rock videos with as
many people as possible.
And the community responded. Local
bands dropped by and talked and many showed their videos. Local promoters dropped by,
too, as did critics, filmmakers, the odd minor
superstar, the odd loudmouth, the odd geni-
ous. Sometimes it was boring. Sometimes it
was brilliant, as it was in the last half-hour of
the already-famous Soundproof Farewell
Show, when a certain outspoken lead singer
of a certain local band got mad as heck and
let two certain local professional media hypes
know what shethought of their condescending
(and hypocritical) appearance earlier in the
program. Here was real uncontrived emotion,
and real (non-CIA or CSIS approved or
created) issues. And a lot of people saw it.
Some cheered. Some were shocked.
Stop for a moment. Ask yourself when you
last heard somebody say, on commercial
mainstream television, what they really
thought about somebody else. Uncensored.
No laugh track. No tricky editing. No political
party, union, religion, cultural or community
groups being represented. Now ask yourself
when you last heard same in real life, on a
streetcorner, at the dinner table, in a pub, at
a party—wherever.
That's why I like Soundproof.
"5 I  PL E?
- ELECTRO- POP  PUNK, ROCKABILLY
#
- -   DANCE
- we got em alii
1275 oet,
MO TOW N,   S 0 a a  6 0 s ft OC K n R OJ. lV
^ j- TRASH & THRASH, GIRL  GROUPsN,
1 : -   % f
~* BRItiiH   INVASION,   PSYCHEDEL
i \     /
( -ONE   HIT   WONDERS 1
J      %
<
V
ttietops in 'alternate
m.i*s.ic
| 685-3288
no   minors
; but loggers welcome}
MAY   1986     29 Armchair Eye
Bill Mullan prematurely mourns the
premature passing of a video legend.
"D;
ONT SPEAK ILL OF THE DEAD,"
they say, and (at presstime) Soundproof is still officially dead (though
the word is, that's only temporary); so I guess
I'm stuck with being nice. Oh well. There was
a lot to like.
The Videos:
This is obvious. Soundproof was a rock
video show. The fact that it was Vancouver's
uncontested under/and/overground favorite
had most to do with the fact that it played the
best videos in town. It didn't matter if it was
U2's latest or a decaying obscurity like Ren-
aldo and the Loaf, if Buzz or Dave liked it, it
got played. No consultants. No payola. Just
simple freedom of choice exercised (thank
God) by individuals with a modicum of good
taste. A revolutionary concept in this stupid
age.
But Soundproof Was More Than Just a
Bunch of Good Videos:
Soundproof was something to do Friday
nights, eleven o'clock until one, two of the most
crucial hours of any week. Friday night is party
night in this crumbling civilization. Of all the
subliminal programming we receive as we
grow up, the Friday-night-party-till-you're-dam-
aged-or-else syndrome is perhaps the hardest
to shake. Face it, your life's a nowhere locomotive if you didn't have fun last Friday night.
Soundproof then was a kind of salvation. If all
else failed, it was always there. Aimless and
fun, seemingly mindless yet provocative in
spite of itself. Kind of like a good party.
Soundproof Was True Community
Television:
In case you're not aware, the Cable Ten network exists throughout Canada by the grace
of the CRTC and the Cable Companies. Each
cable system has its own non-profit community television station whose mandate is simply
to operate as an information service to the
community (an alternative, as it were, to the
imported flash and trash with which the companies are making not small fortunes). In
writing, this no doubt sounds like a good idea.
Each community gets its own TV station, a
focal point for local news,culture and discussion. How warmly liberal.
Problem is, what generally spews forth is
painful: adults and children making fools of
themselves for all their friends and neighbours
to see. Fortunately, none of their friends and
neighbours do see. They'd rather watch their
plants grow than submit themselves to boredom, staggering incompetence and worse,
embarrassment by association ("I know these
people. They're just like me and my friends.
Fuck, we're such goofs.").
Enter Soundproof, that quirky-weird video
show with the two hosts who didn't care. They
weren't using their community station as a
cont. p. 29
•#R-F.
|? Guitar, man-
P THANIObu. /**■
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(Open Sundays Noon - 5 P.M.)
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(Open Sundays Noon - 5 RM.)
VANCOUVER: Oakridge Shopping Centre
261-0258 (Open Sundays 11 A.M. - 5 P.M.)
RICHMOND: Lansdowne Park Shopping Centre
278-3041 (Open Sundays 11 A.M. - 5 P.M.)
PORT COQUITLAM: 2877 Shaughnessy Street
941-0551 (Open Sundays 11 A.M. - 5 P.M.)

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