Zeke, M\ -F\a^ -User Pri end \ y, firdtkr r^eriof. For\er<xl Orodiom CWM Start tWfcui-ttt 15 bands/30-hmes -feccrurino: Su>iwn' Utters,d.b.s., ATI.J The liwdoums.Voodoo Glou^Skolls, Wto AP-S. Xe\eo^es | 'BouncmgSoOls.DxTx.Kionsehse, L^ggii^ €00r.. 1 Aw^ VouH\ &anj,Subwu5sicwHoldi + i^s.|M'»-Flag Vi+l" +dK/AFi Splft 'o" M all sWes i* FeWuafu ■ US£K fiddly 11 *>*•_Ll^ 1027 Davie St suite 600 Vancouver BC Canada V6E4L2 ph:604-435-7563 fx:604-430-5930 URL:http://highway99.com/-hwy99/nefer RECORDS ON SALE THIS MONTH: NOFX ° Heovy Petting Zoo $9i5 LP/cw $i4.92 CD QUEERS ° A Day Late and a Dollar Short $13.60 CD ROY MONTGOMERY . lmp\t $14.92 cd TORTOISE" Millions Now Living Will Never DL$9J7LP|I192CD LAMPCHOP » How I Quit Smokin; $14.93 double LP $15.79 CD PAVEMENT o Pacific Trim (limited quantities) $7.90 CDEP PEECHEES o Do The Moth $9.17 LP $13.11 CD COCTAILS . Stlf-Tihtd $14.92 cd JOEL R. L. PHELPS • Warm Springs Night $14.92 CD jring the EVAPORATORS, MEOW, MANIFOLD, TRAILING ARM, SISTER LOVERS, more TBA [Saturday, February 3rd at the Malcolm Lowry Room [Admission by donation 311A CAMBIE STREET VANCOUVER.B.C. CANADA V6B 2N-4 PH: 687-6355 • FAX: 687-0488 § LOCAL DtRT Brrrrl As I see a chill setting on the fields of UBC beneath the ivory towers that house DiS- CORDEfFs offices, it's a warming thought to think of all the hustling and a-bustling going on in this here 'burg... Front-line Assembly have a new CD out called Hardwired, on Metropolis records.. .Mark Spybey of Dead Voices on Air and Download has a new project called Propeller, now with a release on Scratch Records...Sugarcandy Mountain have gone through some transitions - guitarist Michel is no longer with the group, and the band has changed its name to Velour They'll be performing on February 3 at the Gastown Music Hall with Daytona, who have a new, level-blasting album set for release this month on Zulu Records...Zulu, the label, has been dropped by Polygram. This means Zulu's roster of bands (including Sook- Yin Lee, Perfume Tree, knock down ginger and Daytona) will no longer have distribution through the major label...Coal is about to engage in a legal battle over their moniker. It seems that a band from New York that has recently signed to a major label has the name as well...Gangland Artists (management for 54-40 and Mae Moore, amongst others) has gone through a shake-up which saw most of its employees leave. Amongst others, Gang- land's Keith Porteus left to become the head A&R of BMG Canada. Still with the company, Allan Moy has decided to start a record label called Divine Industries, with the likes of Flash Bastard and Lik the Pole. They'll have a manufacturing deal with Sony..There'll be a benefit for the proprietors of Pussycat at the Malcolm Lowry Room on Feb. 3rd with the Evaporators and Sister Lovers amongst others. A break-in resulted in much theft, and the store was uninsured...Dave Carswell is presently recording Zumpano at JCDC studios The band will soon be releasing a 7" on murderecords... In related news, Zumpano's manager Scott Gubbels has now taken on Destroyer (featuring members of Zumpano/ Superconductor)...Mint Records is negotiating to sign both Vancouver's Sister Lovers and Winnipeg's Duotang, a bass and drums duo...Tho Tonics have just recorded a new album with Daryl Neudorf, set to be released on Nanaimo's Lance Rock records...Finally, cub will soon be recording their third album. Mass Giorgini, who's produced the Queers and Green Day, amongst others, will man the control board. (BW) OBMO RkWilVS Hoo boy am I in a hurry. These are the only spare moments I can possibly devote to demo duties so I am literally entering this into the computer while on the run. Sbelling be damned. No time for those deadly accurate descriptions of the music and lyrics the you're most likely not occustomed to anyway. No time to think, even. Gut feelings only this time. Heart and soul. Somebody get me out of this introductory paragraph... Thank you. Anyway, looks like I got some Coal in my stocking this Christmas. Now pared down to a duo (Nicole on vocals and guitars, Marcus on bass), the essential plan is still the same: moody, sleepy, intimate excursions into Morpheus' country and western collection. There's only one song here, "Chemicals", but it's first-rate Coal, Nicole's sweet voice sultrily aching through a miasma of melancholy murkiness. And that's not all. This tune also represents the outing of Mark Szabo (of Good Horsey) as production-line songwriter (like how many of the greats got their start: Carole King, Paul Simon, Graham Gouldman, Lou Reed, GG Allin), instead of weird indie folkster guy. The main lyric is eight lines, each written on a sharpened blade pointed towards a problematic love interest; that's followed up by some cool mumbling until the song's fade creeps into a tacit harmony with the ether-permeated nocturnal hush. Or something like that. Rather Coal-like are 10 ft. Henry, who have offered their 5-song tape to the insatio- ble tape-eating beast that is CiTR. Swampy blues in a coffee-house atmosphere brings to mind the Cowboy Junkies, although some of the grooves are a little, well, perkier, than most of the stuff Timmins, Timmins, Timmins, and co. get up to. The percussion is what jazzes things up, with bongos playing off acoustic soul riffs until the latte steam becomes a tortuous dervish doing a go-go dance on some dimly-lit stage. I would never have guessed these sounds woulda come from a band with a name like 10 ft. Henry. Who knew? And then there's Steep This maverick popster dishes up mainly acoustic tunes, sometimes with a band, in the classic indie-rock style. Not that that's really a style per se, because no matter which way you slice it, Steep's an original. Starting with "Get Out of Bed", and ranging through eight more little classics until the anthemic closer "Good Night", there're enough changes and ironic posturing that it's possible to listen attentively without having to watch T.V. or spy on your neighbours or something. Added bonus: a primitive comic book about a precocious kid with a transparent skull. You need this. Celestial Magenta are back, with their 7-song sophomore cassette. These tunes (continued next page »»») Got something up your butt? Relieve yourself * write to DiSCORDER! 233 - 6138 SOB Blvd Vancouver, BC V6T VSL e-mail: .tr-@unijcg.-ubc.ca 4 FEBRUARY 1996 cowshead chronicles dedicated to garnet harry, sr. i made a promise last month, a promise i had every intention of keeping, but the relationship ghost has once again reared its ugly head, my relationship with my father has always been one of great struggle, my designs for my future were never anywhere near the ones of my father, his name is floyd and, by all accounts, he's a cool guy. we just don't see eye to eye. never really have, i am not, as i see it, my father's son. by way of odd circumstances my father, who i have not done anything one on one with for over ten years (i'm guessing here), and i went to a hockey game together last monday night i didn't know really what to expect would we discuss the game and all that it entails? he hadn't been to a game in over twelve years and that was with my mother from whom he is now divorced, did he even have any interest in the game? it has seemed,of late, that he has been trying to put our relationship on track and maybe this was one more thing to bring us together, i was, for lack of anything better, freaked out most of my male friends hang with their dads, they go to dinner, hell, maybe they go fishing and talk about women, i don't know, i have always kept the intimate details of my social life a secret from my father.-.floyd. what's it like to have your dad for a buddy? and again i stress that floyd's a good guy. i think and to really put it all in perspective i wonder now that if i don't put some effort into our relationship i'll be beating myself mentally when he dies, which shouldn't be for quite some time, and wishing i had done more, the game would take care of itself and provide us with things to talk about but what about between periods? would we share a beer together and recount the highlights of the last period? shit as it turned out he was much more knowledgeable than i had given him credit for. he knew the players, he seemed interested, and seeming was good enough for me, in what i was doing, he shot the shit with me. he used the T word, not often but enough, in simple conversation, he enjoyed the game.l enjoyed having him there, at the end i showed him where the skytrain was, shook his hand and said good-bye. my dad's ok maybe one day we can be friends, gth... (»»» mo' demos) scamper along quicker than Mulroney can file lawsuits, so expect some good unclean fun when slapping this baby into your deck. I still say they sound like the Dishrags (probably unintentionally), but what the hell, you might as well sound like someone good. Actually, Celestial Magenta themselves are good, very good, and the progression in their song writing and performance belies a maturity much beyond their true average age of 6.5. Cool harmonies come piping through here and there, like a sprinkling of sugar on a bowl of honey-amphetamine Cheerios, but unfortunately the high-throttle 3-piece engine behind it precludes me from understanding most of what they're saying. I'm sure it's good, though. Somebody send me a transcript. Okay. I'm booking. I know it's a little pre mature, but Valentine's Day is slowly approaching and I have to start looking now if I want to be sure of getting a date reasonably high up in the animal kingdom. Someone with a 10-foot henry. Serial applications only, please. (DS) ALL-AGeS SfYOiVS Saturday, February 3: CiTR 101.9fM presents Sparkmarker, Hazel and Steel Wool at the Town Pump (3pm) Monday, February 5: Lisa Loeb and Nine Stories w/Once Blue at the Commodore Sunday, February 11: DFL, gob and Another Joe at the Town Pump (3:30) Formerly SugarCandy Mountain Saturday, February 3rd I Thursday, March 7th opening for daytona fur -CuuriSh ■(names, ages, position.)? I ft<<^ "• -I |# # | ^^^ • ▼ | ^^ ▼ |r Who are you (names, ages, positions)? Raj: 24, Scorpio. Mark: 24, guitar... nor good at interviews. Back-ups. Paul: 24, not relevant unless I want it ta be. Bass. Nick: young. Drums. What is a Chronometer? A raging rock band from Easl Van. A marital aid. Some kind of dock iiing fcr hose who didn't groduote. Your boyfriend's worst nighk-nare. It plays *he blues. Describe your sound in twelve words. Ugly. Loud. Stellar. Staunchly. Menacing. Ass pounding. 99% country/1% hardcore. Swank. Angels peeing on your tongue. Unauthorized cranial technicians. Crunchy like dried haemorrhage. Oh yeah...rancid. Whafs it like having a drummer who's 10 years younger than the rest of you? Explain how "the kid* joined the band. Raj: It's like he's 14.. but he is. Paul: Disasterous shows at ihe Southwal have a way of making you bond wilh someone who, 'if he were of ihe opposite sex, would probably land us in jail. You played a gig in Duncan, BC with Facepuller. How were Facepuller received? Raj: Brent yelled "Scream for me, Duncan!" and tears welled in my eyes os the gymnasium become bathed in the worm glow of two hundred cigarette lighters sparked simultaneously. Paul: Awesome as always. Arena rock lives. Mark: After we played, everyone left, knowing that Facepuller soon would hit the stage. They fled, screaming "Fleet Run awayl", holding iheir ears. X eV □ 3 m Q THE usq-o *«5 Kin*_ OF SHiVTV if*t> -n* *p»CTt*_3 • a-r* -smr,4ur if you Or* Q%* THSr-'V^Ari-JecLb Who else have you opened for? Raj: A three year lour wilh Facepuller has kept us for too busy to play with anyone else. Mark: Although Garlh Brooks ond Marioh Corey have been our strongest support. Paul: We were supposed to open for Sickl Sickl Yeah and Pigment Vehicle, but we clearly look hon- dle of ihe situation and headlined in a most smashing fashion. Where does Chronometer fit into the Vancouver music scene? Raj: Genlty at first, and then with a thrusting motion in between the legs. Paul: Definitely a strong Northwest punk/hardcore influence, but not in the same vibe lhat other bonds have going. Not enough Green Doy in us to be flavour of the month. Mark: Who cares what we sound like? It's all image, baby. Hair is what counts. It's he coiff *hat counts. Do you do drugs? tf not, why not? If so, what? Mark: We try not to discriminate... Raj: ...but we'd rather not comment. Nick's parents have advised us to say no. Paul: Drugs ore wrong. Nick: Why would I do a silly thing like lhat? Why are there so many Rancid stickers on your equipment? Raj: It's not my gear. They're not my stickers. Mode: It's a constant reminder of what we longingly look forward ta never being. Poul: I'm embarrassed...truly embarrassed...1 work in a record stare. I had nothing else ta do. I just wanted to kiss up. People like Rancid, you know? Nick: It holds our gear together. Do a favour for u* here at DISCORDER. Plug your band. Write a short band bio. Now. Please? (include interesting tantalizing tidbits, anecdotes and rumour mongering). Paul: We've been around ihree years. We stay pretty low-key. Raj: Chronometer: east meets west in a flavor experience that explodes in your moulfi. Your chocolate is in my peanut butter. Paul: More drummers than Spinal Tap. Raj: More dick than Van Dyke. Rumour lime: big plans baby! Raj goes solo: country artist/compulsive masrurbater. Nick: I have a big scar on my head, because I had a Rush drum set that went all around me. I hit my head on a cymbal. Discographyi 4-song self-liried cassette 8-song cassette: Best Medicine (available at HMV) Greatest hits comp and the leather-bound 4-dUc box set wilh 32-page insert. Some assembly required. Contact Chronometer Q (604) 873-9041/451- 0713 (the E-Chronoline). Who are you (names, ages, day jobs, positions played)? We are Lawrence Aiken (drums); Neil MacMullen (bass); John Wade and Trevor Rogers (guitars); R.J. (keys, alto sax); Kristy Astrom (soprano, alto saxophones); Sue Claydon (alto sax, vox); Andy Codrington (vox, trombone) a.k.a... Something Ska. Describe your sound in 10 words. A head trip down a nostalgic road of rock steady, funk, reggae and ska (sorry, I couldn't do it in less than 10). What exactly is the connection between your singer and (a) Fishbone; (b) Insatiable? Lead vocalist Andy Codrington once performed with an eight-piece ska band from Salt Lake City, Utah called Insatiable. His duties included playing trombone and some lead vocals. During the early eighties in Los Angeles I assisted music directors teaching high school level marching band, a big thing in the States. Walter Kibby (vocals, trumpet), Angelo Moore (lead vocals, saxophone) of Fishbone attended one of the high schools I taught. How come you don't wear suits? A few of us enjoy wearing traditional garb. There's nothing like a band dressed down to the tee bebopin around on stage. I've learned long ago that performing many shows wearing the same suit night after night can get a little on the sweaty side of things. Although the general consensus in the band has been toward a more comfortable look on stage. What made ya choose a "drum pad" rather than a full kit? Drum pad versus traditional drum set has only been in the past due to convenience. No microphones are needed. Up to this date we have played a few venues with no PA equipment whatsoever, so it has come in handy in that respect. With many ven- a oner King iho set-ups are small. A four-inch high accomodate tho expressio ues stage set-ups are small. A four-inch high riser off the floor with space of your bathroom floor, not too large at all for a full drum kit and seven others. Are there any other Ska bands in Vancouver? There are five bands from the area that play or have played here in Vancouver: Skaboom, Pressure Cooker, Berny and the Sunders, Too Tonne Bowlers and the Rootabeggars, with the latter being a reggae band with a few ska tunes. As well as Sex with Nixon, they, too, play a few. Are all your songs happy and silly like the "Dreadlock Man"? Can ska ^^_^^^^__, expression of negative moods? Our style of music tends to be on a more personal experience side of things with a funny quirkiness about them. Favorites like "Dreadlock Man", "Road Rash", "Hemmroids" and "Mistaroustabout" are all stories that affected me directly. "Nuclear Winter" is a more serious song which, in my opinion, can accomodate a negative mood solely because of its negative subject matter. So, yes, I do believe some ska can accomodate negative moods. How do the "rude boys" dig ya? The rudies in town will dig anything ska. All the better if there's a group locally. So I think they dig us. What's tho best club to play in Vancouver? Let's see, the best club in Vancouver has to be the Commodore. No doubt in my mind, by far the best. Although the Hungry Eye takes the cake for the best Something Ska gig to date, for the Vancouver Scooter Rally during September. Please comment on the experience of playing a scooter rally. Having a room full of like people who resemble all walks of life, no color barriers or trends, just people enjoying the sounds of ska played live is awesome. That to me is the ultimate experience of a lifetime. Discography: Something Ska! - Something Ska demo '95 Can't Get Enough - Insatiable '93 Insatiable - Insatiable '92 Skamageddon compilation (Moon Records) '94 Strange Affair - Mudlarks '95 Working Title - The Road '95 Contact Something Ska c/o R.J., 4330 Gallant, Deep Cove, BC, V7G 1KB ■ (604) 929-4808. UVe Won dio Hell can be freoN Th^ZdayZ 9-11 pn on G/77S 1019 frn 6 FEBRUARY 1996 hell Who are you? MC Exu: vocals, harmonica etc. Mark Shepherdson: cloud guitar. Richie Caron: loud guitar. Max Arnason: drums. Louis Forsythe: 4 strings lhat drew blood. What is the difference between Technicians of the Sacred and your (MC Exu's) previous band endeavours, Wlndwalker and Silent Gathering? Silent Gathering and Windwalker were obviously great learning experiences for me, with each project expanding upon the previous sound. The main differences ore members, band chemistry, sound alchemy, and danceability. Silent Gathering and permanent space. Witch for Voudou Eleclric Nites. Ask yourself two questions and answer them. What bands to look out for in Vancouver? Zolty Cracker, Dirtmitts, DDT, Loved One, Taste, Shango Ashe, ihe Mony, Perfume Tree, MK Noomi, Darkest of the Hillside Thickets, Speedbuggy, Salvadore Dream, Cypher, Queazy, Fork Tongue, Smak, Loa the Boom, Terror of Tinytown, Kathouse, Aimless James, *he Liars, ten days late, Sparkmarker, d.b.s., the Cowards, Rotorcloud, Colorifics, Butler in the Hey, and so many more. Vancouver rules! What would like to see happen locally? The local scene should work together, more bands, underground promoters, everyone working towards making significant changes towards a common goal. Unite and fight for freedom of expression. How has your CD, Respect the Unexpected, been received by the 'Vancouver scene'? Have you 'finally arrived'? The CD has been generally well-received, but we Windwalker were less concerned with moving the audience physically, than say, emotionally. Also, Technicians are really more of a positive vibe, dwelling less on the negative and more on a collective self-empowermenl (at the risk of sounding New Age- y) trip. To get everyone dancing brings them to the same level, like in all trance music, moving connected as if on a single pulse. Soundwise we cover a broader range of inspiration in our style. From rap to rock, raga to funk - you get the idea. Has your fashion sense changed? Would you have experimented with 'rap' or worn jeans a couple of years ago? Why no leather pants? If you don't change then get left behind. I like baggy clothes cuz they're more comfortable. Obviously I didn't experiment with rap a couple of years ago because I was doing something else musically. I think experimentation is most important; tho' obviously not a new thing, it's necessary for growth. With all the styles of music we are into it's a natural thing that our music reflects that. I've always worn jeans. As far as the leather pants, too hot, wore 'em once in a while, but with the Tea Party out there why bother about it. Go ask Jim. Are you the only band in Vancouver heavily into the occult and mysticism? Probably not. We all have different levels of spirituality, different expressions of the some energy. Look for ihe mogic in ihe everyday. We're quite open about it, but we're not the only ones. A new era is coming, we are open to it. Magic is everywhere. What is the Vancouver Voudou Electric Network? It is a creative collective of artists, musicians, poets, filmmakers, technicians elc.it has evolved into a mullvfec- eted umbrella organisalion/record label that wifi be releasing various projex and putting on performance nites again at changing locations. A temporary autonomous zone, if you will. V-fe are currency looking for a are still waiting for reviews from Discorder, Terminal City, Straight etc...Due to the versatility of the album, no one seems to be able to pin it down or categorize it, which is good. Lots of people have the CD, and love it. Our friends are very supportive as well. I've always been here. Have we arrived? Ahead of our time. Time will tell. Were you well received at Carlos & Bud's? Yes and no. The manager didn't like it, we think he might have been expecting something unplugged and C&W oriented. The gig was fun. Everyone else liked it, especially the cooks who seemed very amused at the manager's frustration. No pay. No food. No drinks. But hey! It was a guerrilla gig in a sweatbox. Remember the Alamo! It must be kind of depressing that your gigs seem to get cancelled a lot at the last minute. Please comment on the Vogue Theatre "Celebrate the Spirit" fiasco. There seems to be a question of bylaws and licences cropping up - whether a place is zoned by ihe city for assembly or not; whether the police decide to classify a show as a rave and come down heavy or not. The city should be working wilh the artistic and cultural community to secure spaces where performers can express themselves legally, rather than limit it to a monopoly of clubs lhat don't always look out for ihe best interests of the bands involved. Artists and bands have to unite as well, to solidify more of a real scene. Police are stepping up enforcement on events, especially, for some reason, live acts. The Vogue show was not our production so we have no comment except, too bad, it would've been a great show,- lotsa great bands. Discography: Technicians of the Sacred, Respect the Unexpected CD (1995). Contact Technicians ofthe Sacred c/o Voudou Electric Musk, 1843 Parker St., Vancouver, BC, V5L 2L1. we wuz busted! HempBC Benefit Bash featuring Drunks Ob Acoustic another white male Green Fv°or'1 joy Buzzer and Special Guests Thursday Feb 22"- ^■fowrTpiimp J________^00 at the door towards the HempBC Nal defence fund to ne'P fight for freedom in Vancouver For more info call Rob at 681-4620 (10am-7pm) The Readymode ore as simple as their name in a substantive sense: simple beverages, simple melodies - it's the same idea. Embellishing their songs with appropriate noises arid instrumentation, fhe band has, over the past year, developed a sound entirely based upon melody. When I ask the band - Kevin (keyboards), Arch (guitar/vocals), tuc (drums) and Jay (bass) - about describing their sound, they respond that their music consists of 'loud, noisy, catchy pop songs with really good melody - melody driven notse*pop. Ifs always asked, but it's redrv hard to describe your bona to someone else, ^fe've been told that our music would go well in the bedroom [as] music that you can listen to and enjoy, [that] you don't have to dance to or anything. You can listen to the sounds." Simplicity definitely has its place with the band, and this is magnified by their use to date of four-track home recording units. For them, ifs more than just a means of reproduction. According to Arch, who writes or co-writes most of fhe songs, "A four- track is just a really handy songwriting tool and I like to think of it as an instrument expanding the sound of what is BBSSIX DJ EQUIPMENT CLOTHING CDs & VINYL ACID JAZZ HOUSE HIP HOP PROGRESSIVE REGGAE AMBIENT CLUB BEATS A BREAKS TURNTABLES NEEDLES HEADPHONES SLIP MATS CASES MAIL ORDER SERVICE AVAILABLE 217 WEST HASTINGS (AT CAMBIE) VANCOUVER, B.C., V6B 1 H6 PH. (604) 689-7734 FX. (604) 689-7781 going to tape, it started out for me as a tool to just lay down tracks and get ideas for songs and over the years it's evolved into basically an instrument. Nothing else sounds like a four-track...1 personally prefer ihe lo-fi way of going about it because it has a lot of atmos- phereand intelligence... when you get into the bigger studio, people take away from the sound ofthe band, and every instrument is separated and recorded to perfection. I like to think of the band as a unit. There are no stars in the band redly, everyone just does what they do and I kind of like the chemistry that goes on." This approach doesn't limit The Readymode to sounding like any run-of-tbe-milJ band. There are texh«»s of noise that remind me of Eric's Trip, and even of Sebadoh at times, but this underscores more notable influences: groups like My Bloody Valentine, Ride and Flying Saucer Attack. Instrumentation further differentiates their sound from that of most four-track bands. Readymode songs feature guitars, bass, drums, vocals, and also keyboards tike Roland Strings. With a hint of sarcasm, Kevin remarks, "we're rallying against everything thafs going on in this city, card if a key board adds to it, then great." Still, the members of the band are definitely strong- willed and determined not to simply follow trends. For one, it's not at all likely that they would record on vinyl. That's such the in, indie thing now," says Arch. "Who has a record player that sounds any good? They're all piece of shit Value Village things. If we were to ever put out a 45 it would be for convenience, not to foBow a cod scene. If we ever did something like that we don't want people to ihink that we're following any seem by putting out a record." While it appears the 7" will not be their format of choice, The Readymode will likely record an EP for cassette or CD. In the year to come they may form a small record label with their friends, Pipedreom, who, ironically enough, were also Shindig finalists. But there's always the possibility that someone else may want to release their music. "We're not going to go 'yeah!' because some label asks us. We'd have to get some information, we'd have to have total creative control," says Arch "We're not discriminating against any record labels or anything. If people are interested in us, we'd like to hear about it." Music is about a lot more than sound in a live performance setting. At Shindig's finals, the band came across strongly not only because of their music, but also because of their visual display of slides illuminating the shoe-gazing music. "They're just 20th century images of our heroes and icons," explains Kevin. "Ifs cool to get the audience to associate a song with a visual image, some kind of synthesasure - hitting two senses at the same time - at the same time. We don't want to come off as showmanshippy, so the slides can do that for us." Adds Arch, If d be cool if we could come across as a soundtrack to the images. Ifs jusl atmospheric. The slides are something to look at and enjoy and the music is sublimind." cided to embark as a unit they didn't know much about playing. As James says, "We were just learning our instruments, making it up and feeling il out." But they knew what sounds they liked and had ideas on how to create them. Pipedream's somewhat unique sound is not derived from years in a musical background, or from an innate drive to become rock stars, but because three guys strove to understand more than three-chord indie rock. "We were all kinda interested in the abstract quality in psych edelic music," says Jeremy. The acid rock of the '60s and '70s peaked Pipedream's musical interest further, where bands like Pink Floyd would veer off into long sets of music. "Like on (Pink Floyd's) Pompeii, [which is] basically just perfect to where our in terest* started," says Jeremy, "just writing really simple parts and not really [being] interested in chord changes. Music from that era had these long jams in it, these breaks, and the idea we had was to isdate the idea of a break. A musical break, and make that a musicd whole.* "V-fe don't write music [as] verse, chorus, verse, chorus,* add* Dave. "We write it in The minds behind Pipedreom and its divergent arrangements are guitarist/ keyboardist Dave Tedman, bassist Jeremy Schmidt and drummer James Roberts. When the three of them de parts. Wa learn them by the parts. And we just add part* and if II start getting longer and longer." "I tend to think of our music as Pink Floyd filtered through Spacemen 3," says James. i FEBRUARY 1996 "Spacemen 3 are a classic contemporary rock band," continues Jeremy, "one of the most important groups from ihe underground. [They were] really focused and [they] re- aBy knew what they wanted to do and kept reworking ideas." Pipedream have a song entitled "Pompeii", to appear on a soon-to-be-released recording, which they have no shame in confessing was a "direct rip-off" of Pink Floyd. "On the old Pink Floyd records they had all the analog delays and tape echoes and synthesizers that sound that way," says Jeremy. "We 6ke that stuff." So Pipedream carry with them the particularities of music more than the average band. This is visible during iheir live performances. The band has developed an infamous habit of taking a good few minutes to set up in between songs. Dave hides behind his cage of keyboards with a guitar close by, while Jeremy stands next to a string of equipment for his bass and tfien perhaps a Voice Vocoder to synthesize the rare vocals. One should keep in mind that Pipedream's sound is not created from state-of-the-art equipment; they say that they like to have the imperfections d analog gear. To reproduce the original sounds, Pipedream uses original equipment that they have accumulated over a period of two years. Says Jeremy, "maybe ifs kind of obsessive to have all that gear, but we're using stuff that was used on the records we like." Because of the size of the venues that Pipedream plays, it limits the band's use of equipment. The final Shindig show at the Starfish Room enabled them to use different equipment. "Not more equipment, but stuff thafs a bit bigger." Pipedream's first studio ex- iperience would be something to dig up out of the archives. Ihey made a brief appearance on the DiSCORDER chart* a while back. "We kind of documented the learning process," says James. It was a simple eight track recording that Pipedream would, admittedly, rather forget exists. "We just wanted to see if we could actually record, if we could actually sound like a band," says Jeremy. The band's more recent sludio endeavors involved a more thoughtful process. The group recently recorded four songs to be released on their first CD. The music will range from "Saturday Disaster", a song written two years ago, to "Pompeii", which has onfy been around for a month or so. Besides actually being pleased with the sounds they have been making recently, they had more of an idea of what they wanted to create in the studio. "We wanted to get a live sound," says Dave. "Basically, just set up all our stuff and just mic what we were doing... W» know our sound and we know what sounds good now." "What we're conscious of when we're writing music is incorporating sounds that are familiar," says Jeremy. Adds James, "I'd like to see if we can push the boundaries of what we've imposed on ourselves. Just as three guys who don't exist as musicians outside of Pipedream." As the only non-synthesizer-oriented band making an appearance in the Shindig final, 1000 Stamps, whose name does indeed come from the matchbook cover, certainly captured audience attention with their finely tuned, well-written pop songs and the wonderful, distinctive vocals of Tanya Chapman. When 1000 Stamps played in the first round, they were immediately remarkable as Tanya was, at that point, the first woman seen in the competition. They won that night because of their combination of great playing, good songs and lyrics, and their obvious cohesion as a unit, and that combination took them through to play with the Readymade and Pipedream in the final, in which they were placed second. Apart from Tanya, the band members are Phil Van Veen on bass and back-up vocals, Robin Bajer - "guitar and tube-screamer. And I sing, too" - and newish member Shane Wilson on drums. Tanya, Phil and Robin attended high school together (their original drummer also went to school with them) and one night the three of them "went to a concert and bet each other that we could have a band. So we went and we jammed out, and we made the band." The band has been together as 1000 Stamps for a year, but they had an earlier incarnation as the Sea Monkeys for about six months prior to that, "and we had kind of a long period or practice before that," says Tanya. In response to a query about what it was exactly that brought them together as a group in the initial stages, Robin says that he and Phil had played music together in different formations for a while. Tanya, however, apparently started singing as a joke: "Phil bet me that I could, and I said I couldn't. So now I am. So I guess (Phil] won." The band's songs tend towards the pop-rock side of things, but they stand out from a lot d tune* produced in mat genre, impressing with iherr thought ful, literate lyrics and their carefully tooied construction. Phil and Tanya both *ay that they liked pop- rock alternative music, with Tanya adding that *he has been listening to a lot of Nina Simone lately* Robin listens to "a whole variety of thing*. I redly like jazz music and ! like twentieth-century classical music". When you see 1000 Stamps for the first time, it is Tanya's voice that you notice - it is somewhat like Kathleen Hanna's in tone, ond if i* dynamic and strong. It is just the right voice for the lyrics, as she sings redly clearly so you can actually hear what she's trying to say (aiways a good thing). Naturally, a question or two about her voice is in order, and she answers one about whether she practices her singing, or whether her voice is just like that, by saying that she partakes of "no practice at all, thafs why I sing like that." Phil's rejoinder is that "it is developing into a style". Tanya adds: "...we started and I couldn't sing at all, so it wasn't a matter of, 'Tan, try and sing this song', it was a matter of, 'OK, lef s make up a song she can sing'. So, then ifs [become] more and more since then, kind of more of my own thing...the longer we've been together." Apart from Nina Simone, the singer she'd most like to emulate appears to be a certain former student ofthe London School of Economics who is still touring the world with his aging cohorts: "If I could sing like Nina Simone mixed with Mick Jagger, I'd be happy." Robin, Phil and Tanya share the songwriting duties, and Tanya explains the process thus: "I don't play guitar well enough to write any guitar lines. So if I have a song in my head it's the words and the melody, and then we bring it in, and then I try and talk to the guys in very unmusical forms and get the song out. And we develop, like -1 try and explain something and the guys will somehow know what I mean. Or else, other time* Robin or Phil will write one, ihe/ll have the words and the music, or sometimes they'll just have the musk and we'll ali write the do that." Other than a couple of trips to the Sunshine Coast, where they distributed a few hundred stickers to local punters, 1000 Stamps have confined their musical outings to Vancouver; although, when asked if they'd fancy the odd jaunt to Halifax, they say that they'd like to fake the outfit east sometime within the year, words. It depends. We all work together to pick ihe best strengths of each one of us on each individual song. Like, 'Oh this sounds like a song that Robin could write, or that Phil could write', and then we probably in the summer. Their new drummer ha* a van, but, says Phil, "ifs the dd Ford brown Econoiine crush van. So, we might be looking for a new van." The members of 1000 Stamps have every reason to be proud of both their live abilities and their songwriting skills, but the/re modest creatures, as they show when asked about their success at Shindig. Phil says they never thought they'd make the finals, and Tanya adds, "We didn't know why or what, we just went in it, and said OK, let's just do what we always do. And then every time we heard [we'd won], we just look at each other, tike, 'What?'. But ifs cod, ifs great." They are also full of praise for other Shindig participants: "The bands we played against were really good, says Phil. "Each round we thought it could have gone to anybody." For a couple of rounds, at least, that anybody wa* 1000 Stamps. If you like intelligent, well-made music, you should do yourself a favour and check out these fine ambassadors of the form when they play around town. You couldn't be devoting your leisure hours to a nicer bunch o' folks. r Ml 'ITH SPECIAL GUESTS llANMARLEY %PAMIAN MARLEY ,%^| ?MA.K^"JR.60N6") SUNDAY FEBRUARY if & MONDAYFEBRUARYW COMMODORE z*. Produced by Mel '0 Productions & Perryscope '96 zombi LITE! N CONCERT WITH GUESTS FILTER FRIDAY MARCH 15 PACIFIC COLISEUM THEATRE STAGE : -jCj- Tickets available at Track Records, 552 Seymour St., and all r/ocer^srg^ outlets or charge by phone 280-4444. Tickets for Ziggy Marley also available at Highlife & Black Swan Records. PHONE 291-0049 VOLUNTEERS D Are you an outgoing, spontaneous man or woman over the age of 19 with a never-say-die attitude and a good iense of humour? We are a non-profit society that helps young offenders and children aged 8 to 12 who are at risk of getting into trouble. If you have about three hours per week available for at least the next six months we'd really like to hear from you. We believe that one-to-one interaction with a well-adjusted adult can improve the behaviour of a W&U&QW QGO ©Q(_£_E>SK)(3B (30 Oft© POtf POB8 IDS EVERY THURSDAY NIGHT! ^U*ts*U&a*fA. M cU iU& $ COVER ONLY $2.00 AT THE DOOR 8:30 COVER STARTS FEBRUARY 1st WITH QUEAZY THE COLORIFICS WITH ASTRID SPUMONTE ond the VELVEETAS THE DEADCATS WITH SADDLESORES BANDS START §10:00 - BANDS/READING BRE PIT OPEN TASTE OF JOY WITH THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUILDING, 6138 SUB BLVD. • 604-322-6511 DiSCORDER: Has it been hard for you, now that you're on a major label, to deal with negotiating what you want to say, your message, with your music? No. I mean, the basis of my contract with the record company I'm on is creative control; [I control] the music, the graphic design, the photo imagery... So with that understood and negotiated in writing, there are no misunderstandings. OK. When I listened to a lot of this new album, songs like "Power ofthe Gospel" and "God Created Man", I personally got a very spiritual message from what you're trying to say. I've just been wondering, especially because ofthe photograph that's in the CD cover of you praying in church, how do you find expressing your spirituality through music? Well, the spirit is music, and music is the spirit. Music is the strongest spirit known to humanity, and it's a spirit that moves throughin and throughout all of us and throughin and throughout the earth. [It] resonates in every human being, and I'm just thankful for the ability to communicate that feeling I have in me to other people. How do you pick up the influences that you use in your music? I've heard you talk about Indian classical music and those kind of things - how do you pick up on that stuff, where do you find it, and how do you feel about using it in your music? I love and respect traditional musics from all over the world. Out of that respect, I do not abuse the sounds p use]. I try to bring them respectfully into what I do.A lot of people just go to another place and play with other musicians and call it world music. But that's not world music. I just try to incorporate different musics and sounds that move me - wherever they may be in the world - into my world, and not go and try to be a part of someone else's [world]. of sharing the earth free of separation, segregation and prejudice, then you're not truly free in your heart and in your mind. I feel bad for people who actually carry that with them,'cause all you can call your own is your beliefs. What's really influenced your beliefs? Well, my beliefs have come to be formed into something that I know. A belief is something that might be true, but what you know is what you feel; [it's] what's brought you to where you are as a human being. That's what's moved me. My beliefs are formed into what I know, 'cause what I know has brought me here. I was gonna ask you something about skating, and if you've ever integrated skating with music. Definitely.There's a video out that's called 411, it's a skate video - Board City, have you ever been in front of Board City? No, but I've heard of it. I'd like to be,'cause I love to skate, y'know. But there's the 411 video, and I did a video for "Ground on Down" that's all skating. Do you get time to skate these days? We always have boards [with us] on the road. The whole band skates, so we've got a lot of boards out with us. Even Juan?(Ben's large bass player.) Juan gets down a little bit - ask him. [laughter] What kind of music have you been listening to lately? Turkish folk music. Is that something you picked up while you were touring? Yeah, we toured in Turkey. We're going back in about a month. [We've also been listening to] a lot of, well, the eternal inspiration of Jimi and Bob, and [we've] been listening to, like, Foo Fighters, always Nirvana, Pearl Jam, DiAngelo, Pharcyde, Lab Cabin California - just whatever I get my hands on, y'know, that's good music. Can you describe what it was like playing in a place like Turkey where, culturally, it's so different from what you've known growing up in California? How the music went over, what it was like being in that culture for a little while, meeting people... It's a very powerful, powerful land, and a blessed place. I didn't really know how it would go - what can you expect? Turkey, y'know. But it Harper The bathroom intend by Natasha Lend "Must is the strongest sprit known to humanity" I remember you saying in an interview somewhere that you felt that your music was colourless, and that you really try to avoid being a spokesperson for any kind of group. Do you find that hard? How do you deal with that? Do you get criticism from people for refusing to be a spokesperson? No. I speak for myself, I speak for people who want to listen, and I allow those people to speak for me. I speak for goodness and I believe in goodness in everyone and in every blessed heart upon the earth. So I say, well, everybody's a spokesperson, and I try to bring a positive vibration into what it is I do, and communicate that for bettemess. What is 'betterness'? Betterness - uplifting. Is that about a political message, or is that about social change? How would you articulate that? I don't discuss politics because politics is not for the people. Politics is for die financial minority. I don't know anything about that group, [so] I don't deal with any politics. But the power of music is immeasurable; it moves people to act and think and move. Sure, there are atrocities, and there is goodness and badness every day, but I believe that the strongest way to bring good upon the earth is through music. And if you know a better way, then I'll get together with you on that. There's a line from one of your songs from We/come to the Cruel World where you talk about how you weren't born prejudiced, that it's something that you learned in school.That's something I can relate to, and you can obviously relate to, but how would you explain that to someone who didn't understand that sentiment, that idea? Well, you have to understand that idea - sooner or later - to really be comfortable with yourself.'Cause if you're not comfortable with yourself, with the earth, and comfortable with the realities was overwhelmingly positive, in the sense that it was just clear communication through song. It just - it amazed me. It amazed me, really. I mean, I was as shocked as anybody. Why were you shocked? Because, I mean, I don't speak Turkish, but I got a chance to hear and feel the people there, to hear their music. And [now] that music's a part of me, deeply, and I just really respect that tradition. I was wondering how you felt about the idea that a lot of your listeners are gonna be hearing Indian classical instruments for the first time - Or slide guitar, even. Yeah - though that has more North American roots, slide guitar. Oh yeah, definitely. But it'll still be the first time, [pauses] You know what? I gotta go make a set, I gotta do that. OK, I just wanted to ask you one more question. Do you have any ideas about deja vu? Oh yeah, I had one today. What was it like? I met a Native American woman, and she made me a pair of moccasins. I had met her before - right when I saw her, I'd seen her before, y'know, in my mind. How about you? I have a lot of dream deja vu's. I've been trying to figure out what it is about our brain that - - brings that together with life. Yeah, exactly, and gets past your daily life into a life that you might have had before and experiences that you might have had before. Yeah, right. How do we use that? How do you suppose you can use what you get out of deja vu? Yeah, it's powerful, you know that, [someone calls for Ben from outside the bathroom] I gotta go. Well, thank you. A'right. [Exit Ben Harper] t2 FEBRUARY 1996 I LINK. SOUL. TRIP-HOP - ALL TINGED WITH some jazz'mees and all filed under "acid jazz" - are the In' sounds now In Vancouver. Acid jazz (a name which I can't quite come to terms with but I'll use anyway for convenience sake) le being heard more and more on the radio and, more noticeably, in the clubs. It can eatery be &ald that Vancouver ie getting on an acid Jazz tip at the moment, and the people largely responsible for the emergence of this scene are the djs splnnln' it and the top notch performers who are coming out to play it. To go through everyone who's been Involved In making this music work hens In our beloved city would be flippin' tough and would require at Iea6t half of the paper space, and even a front page. However, seeing as we don't have these resources at this particular moment in time (I can a66ure you we will eventually). I'm gonna feature a group of guys - namely Seren Isahlon, Luke McK-eehan and \an Menzies - who are arguably at the forefront of the headz to blame for this boom. They're known as Mo' Funk, they've been around for about a year, they've promoted all the lovely act6 that have come out and continue to come out, and, more importantly, they've formed their own \ndependent record label. Mo' Funk Records, Canada's fir6t acid jazz record label. Pretty impressive in't? Fresh Jazz Vibe6, Mo' Funk's debut release, has been out for a couple of months now and Is doing well. And so it should as it's got some real solid cuts on it, featuring, from Toronto, One Step Beyond and Jacksoul, and from Vancouver, Soul Crib. So, hens to talk about how they formed, where they're going and general jazz type shtyles, I give you Mo' Funk - give it up for Mo' Funkl Luke: The name Mo' Funk started last fall, but we (Luke and Seren) started promoting over a year and a half ago. We came up with the idea to start promoting at the Ronny Jordon concert (February 1994). That show kind of showed us that people In Vancouver were Interested in the music, and that Richard's [on Richards] was probably not as bad a venue as everybody had thought. We did New Year's at Benny's in Yaletown, then we brought Slide 5 in from San Francisco to the Starfish Room. We both were doing our other jobs on the 6ide and just started seeing more and more people coming to us and asking U6 when the next show was. And all the local bands loved us 'cos we always made an effort to put them on the bill; like when we brought Slide 5 we put two Vancouver bands on the bill (Soul Crib and The Workshop) so that everyone got their own share of the pie. And then John at Richard's asked us to do a night there and right away we realized that without the big acts people really weren't Into going to K\chard's. Then we met \an through Music West last year, and basically he had similar ideas in Toronto. He had secretly been planning to fly out here and take over the Vancouver acid jazz scene. Ian: I decided to be nice and Include these guys... Luke*. ...and basically we just took It from there. Ian moved out here In the summer and we just started having meetings, trying to flesh out an Idea of how we were going to come together and execute all our different Ideas. Seren and I, when working together, have always had different Ideas of the way things can be done, so bringing another person in was ob- vlousry going to add a different dynamic to that. And that's Mo' Funk really. Seren: Actually, before Mo' Funk we were the Vancouver Acid Jazz Series. That was the initial thing we did. We were sponsored by Boys Co and Automotive and we had a contract to do five shows. Luke*. Yeah, we did SHde 5, Solsonlcs, dj Greyboy, Greyboy All6tare, Maceo Parker, UFO [Raphael Sebbag] and Cruder and Dorfmelster, Omar, Repercussions and Jazzmatazz. DiSCORDER: So what etarted off a* a club night has quickly evolvad Into a pretty heavy promotion team, and with the entrance of Ian, a record label. In the process, you've helped to make Vancouver the acid jazz centre of Canada... Luke: Well, right now I'd say that we're sort of a victim of our own success because there are 60 many people playing the music. I guess it's good because we've carved our niche out as promoters and as a label collectively, and Mo' Funk as a established. We got in at the right tir - if you wanted to start the thing nowinVancouveryou'd have to compete with us. Ian: What we all acknowledged after one or two meetings was that now was the time. It wouldn't make 6ense to be second when we had the opportunity to be first. So we said well, we'll work out 6ome of those other details along the way and just get started. Now that you guy* haw stepped upto the market, do you see any possibilities of other labels being set up? Luke*. I talked to dj Czech the other day, and he'6 working with other producers on a compilation of dance music by Canadian artists. But that's much more oriented towards house and techno. Ian: I think we'd welcome [other labels] though, on an International level If you look at the Bristol scene, with Massive Attack, Portishead and Tricky, they all helped each other to make their scene Identifiable and make it more internationally renowned. So we would welcome like-minded labels coming out of Vancouver because it's just going to strengthen the Luke*. And because we're in Canada, where the music is a rock and folk tradition, there's a certain amount of live instrumentation that people expect when they're buying music. So the more labels that come out will benefit us because we will, as a label, be able to take more chances. We won't have to give people what they expect acid jazz to be. We'll be able to define it in our own way. And I think, internationally, that'6 what the west coast scene represents. It has collectively brought that live playing back Into the music and has thrown it back to the Europeans who are going off too far In to technology. Bands like the Grey Boy Allstar6, Broun Fellini© and Slide 5, among others, are good examples. Would you be looking to release material that \e lees Jazz oriented, or croeeover tracks? Luke: Last time I was back In Toronto I met some djs who wanted this twelve Inch of Sarah McLachlan. That amazed me because I don't think it's very good. In terms of the trip aspect of It, but everybody wanted It. And going back to Czech, for example, he did a trip hop remix of a track done by one of the two women from Lava Hey. So In that respect, that's probably where the crossover is going to come from. Ian: I'm definitely interested In that. I have 6ome production experience and, with Seren and Luke collectively, I think that we would like to be able to do remixes for more mainstream artist6 In the future. It's a way to Introduce artlst6 to audiences that they wouldn't be Introduced to otherwise. Luke: Of the three major cltie6 in Canada, Vancouver definitely has the potential to cross a lot more ofthe boundaries. Ian: And I think that the one other thing that would move us In that direction 16 that [while] we may have established a label for dancefloor jazz and trip-hop in Vancouver, supply and demand are not equal. It's not like there are a hundred projects out there creating this kind of mu6ic, 6oJust b/ virtue of having to satisfy our own needs as a label, ■} release stuff, we are goto have to look towards djs to remix other artists. We s going to have to look af these Ideas to generate enough stuff to survive. [That's why] we have encouraged [writers], in every interview we've done, to print our address and phone number. If you've got something you'd think we'd be interested In we want to hear it. We have a wide open policy for A&R that way. It doesn't mean we'll use everything, but we want to hear everything for sure. What's the story with distribution? Ian: We have a distribution deal with a company called Outside Music. It's good for us because [Outside] is also a young company. They're open to working with us and growing with us because we are a significant part of their business. We are available across the country, but we can't be found in every store In the country; we will only be in stores across the country if we can demonstrate that somebody want6 to buy [our product]. We're now seeking out international possibilities for distribution of our product as well. Luke: To follow up on that our tactic has been guerrilla distribution: Finding people that we know In every city to go In and harass store managers to get our product. If we can't even convince the store manag ers to get It... The most open minded buyer in Saskatoon isn't even gonna have the chance to listen to it If he doesn't see it on that rack space. And it's kind of shame when you've got to go up against Bon Jovi - of course It's not the same genre, but It's rack space. We're not competing with acid jazz records, we're competing with Janet Jackson. Ian: There's no such thing as an acid jazz section In 607. of the stores In the whole country. Seren: Even here, it was onry 6 months ago that record stores started to have acid jazz sections. Luke: There've been a few record stores that have been good to U6, but we slag Music World 'cos they Seren: The graphic stuff has helped us a lot. Ross at Atmosphere was the one who did the cover for our CD, and I'm sure that 20-30% of the sales are due to people looking at the cover and liking the funky look. Let's talk about some upcoming releasee from Mo' Funk Record*. Seren: One Step Beyond - full length album in February. Then we've got an Australian compilation called Undertones Vol. 3 In March with Matt's One Movement label - a lot of the tracks on Fresh Jazz Vibes are from the One Movement label. Then In May Fresh Jazz Vibes Vol. 2 will be released. How about eome future Mo' Funk promotions? Luke: Well right now Seren and I are concentrating on this jazz bar that we're working on. It will be called Chameleon on Howe and we're bringing Zachary Breaux In for the opening (February 23) and the Broun Fellinls (March &) will be following that. Some more good stuff Is In the works. Seren: More than anything it will be a venue for people to come in and chill. That's the potential of the club. Not generally a music venue, but a place to get people of the 6ame taste and style together. With the opening of their new club looming in the very near future, you can expect to see a big increase in the support of the Mo' Funk crew. This is Indeed a good thing because they are doing a nice jobforthe city: providing its jazz heads with a more permanent place to commune and have good tlme6, to get this city rolling. They recently promoted Ben Harper and the club was jammed (around a thousand people). So things are definitely working out In this city In terms of good music. ICeep up the loveiy work. Mo' Funk Recorde PO Box 95566 Nelson Park RPO Vancouver, BC, V6E 4L7 frishrambarcm M Sufe°3£g3 faff mtko hofftnaS After a long, nervous wait, I finally met up with the San Francisco Seals, who had just eaten at the great vegetarian Chinese restaurant, Bodoi. Hidden away in the Starfish Room's band room, they consented to answer some of my silly questions before their set. Apparently they had heard that I was "laid-back" and "nice," which upon hearing, only made me feel more uptight. Nonetheless, we managed to have a fun conversation about little league, dreams, and pesky interviewers. DiSCORDER: Okay, boring questions over with first - could you introduce yourselves pleas*? Ron Bums: I'm Ron Bums and I play drums... and bass! Brenlly Pusser: I'm Brently Pussor, and I play guitar Barbara Manning: I'm Barbara Manning. I play guitar ond bass. Brenlly: And she sings, and I sing a litde bil sometimes. Ron: Sometimes I do a monologue. Barbara: Yeah, let's do it tonight! Brenlly: Forget it! (laughing) Barbara: They might not understand it, though. Brenlly: Do you know who Jimmy Carter was? Yep. Ron: He's a Nobel Peace winner! BrenHy: Yeah, they know, they're hip to it. Barbara: Okay, it'll be very American! Brenlly: They'll ihink we're very American too. Barbara: The only time we ever strive to be American is when we're in Canada... Would you consider yourselves patriotk at al? Barbara: I have my own set of values aboul America, but I don'l litter! Ron: I'm not patriotic in any sense of ihe word. And I don't litter eilher! Brenlly: No, I'm not either. Is littering an American thing? Barbara: I love the earth, I love where I live, and I respect that. America happens lo be where I live, so I guess lhat's what I mean. But littering is very American, os it is European, as il is everywhere. I see people throwing litter all the time, and I want to say lo them, "Who do you think is gonna pick that up?!?* Don't pollute. That was the owl who said that. Have you ever dressed up in strange and wild costumes? Ron: We had pretty great Halloween gear. Barbara: Whenever the moment strikes any of us, we'll put on something wacky. Brenlly definitely has another persona - he dresses what he considers normal but what I think everyone else considers spastic. And he's even worn diapers on stage. Really? Brenlly: Oh yeah. Actually, I wore diapers here in Vancouver with my other band, Three Day Stubble, al the Commodore. There was disco dancing afterwards, and I disco danced with everyone with my diapers on. >, Cindy, What was the first band lhat you were ever In? Barbara: 28th Day. We had a record out in 1985. How old were you ihen? You probably don't want to know. Ron: Yes we dol ^B I was in grade 5, so...I'd have ■b_V_f been about ten. Sorry. J||3^ Barbara: No, there's nothing wrong with that. I'm just glad that I started BrenHy: My first band was Three Day Stubbie, which lormed in December of'80. Ron: The Hotspit Dancers [sic], which was '84? '83? Barbara: Actually, 28lh Day and Hotspit Dancers played together in '85, so Ron and I shared the stage, but we didn't realize that ton years later we would be playing on the same stage again! How did this formation of SF Seals come about? Barbara: Melanie was pregnant and had a baby, so she decided she didn't want ta lour. Her baby's name is Esmerelda May DiGiovanni - big name for a little baby! Anyway, I had a friend of m who's in Smog, who told me lhat Ron was a great drummer, and since he wasn't currently ploying in Smog, she figured he'd be available. I called him up and asked him to join the band and he said yes. And you lived happily ever after? Barbara: Well, who knows? This is still ihe very beginning of the fairy tale. Did you name the band after the animal or the baseball team? Barbara: Both. Were you ever in Little League? Barbara: No, I wasn't. Brenlly. I was. Barbara: You were a pitcher! I saw a real cute picture of him. Brenlly: I was in the Cubs and the Pirates in Little League, from when I was 9 through 11. Then I quit. Ron: I was in the Pirates in Little League too! Brenlly: All right! Were you bad ass? Ron: Bad ass third baseman. BrenHy: That's what I play now in soflball. My second sports-related question, is were you ever involved in water sports? Barbara: Can il be sexual? BrenHy: Sexual water sports? Any kind of water sports I Barbara: Then I would have to say yes to lhal quesHon! What are your day jobs? Barbara: I work in a record store in San Francisco. Reckless Records, open ten o'clock ta ten o'clock! Ron: I work af a natural foods store company. BrenHy: I drive a limousine. Have you ever driven any famous people? BrenHy: No. Only the family of Hie first victim of the latest spree killer, Glen somebody. Ron: The one who was just caught Iwo weeks ago. Barbara: The one who chased redheads around. BrenHy: The redhead killer. I drove the family of his first victim because Hiey were Rown to New York by the Rolando show. Is lhat it? Shit, I don't remember Hie name of Hie talk-show host. . Ron: It's such a depressing story! Did you know who they were? BrenHy: No, I didn't. I had to ask ihem, because when I picked them up at the airport, they were talking about how they had worn the same clothes for four days. I was driving ihem three and a half hours away ta toke them home, and I was trying to figure oul how somebody could afford to have a limousine drive them lhat far yet no! change their clothes for four days. So I started asking them after a while, after things got comfortable. And they told me who they were, ond why they were in my car, and I felt really bad. (laughing) It was uncomfortable, to say the least. What was it like touring with Chris Knox? (New Zealand indie rock dude, also in Tall Dwarfs.) Barbara: Really fun. Quiet at limes - he mentioned that we were quieter than Superchunk. He's a really great, fun person. He sent us a Hiank-you tape. Did you do any on-stage jamming with him? Barbara: Yes. He sang with us on "Straw Man", and then we would play a bit of "Demons on the Corners", which was where he would keep on playing, and the boys would get up on stage and make some noise, and then I would gel on slage and do the same. Id start our song. Ron: It was kind of a segue between sets. Another indie rock guy, Peter Jefferies, covered your song "Scissors'", didn't he? Have you ever played with him? Barbara: We were on the same bill in Holland. Is he here tonight? Ron: Oh, lhat's right, he lives Barbara: Ohhhhh, I forgot! I heard a rumour he was opening for you, but I guess not. Barbara: No... I forgot he existed, for a while, (jaughs) I mean, yes, he is here [in Vancouver]. He came to see me when I played here last time. Ron: We saw him in Hoboken! Barbara: That's right. We played wilh Two Foot Flame. With Jean Smith! How was that? Barbara: It was fine, (laughs) The sound effects on your other album... Barbara: Nowhere! Yeah, I was actually going to ask you if you intended the title to be Now Here, or Nowhere. Barbara: Now Here is nice. Both. It was intentional to do it that way. I call it either one, it depends. About the sound effects: why did you choose them, and where did they come from? Barbara: Il came from so many different places. I could explain it to you while we listened to it, ond tell you every detail, but...Why I chose to do it? I thought it would be great. Yeah, from a radio perspective, it's so much fun to have interesting sound bites to play. Barbara: Oh, that's good. I thought that album was rather un-radio friendly. Not for college radio! Barbara: I love college rodio. I was a dj for three years in Chico and for four months in San Diego. In Chico I hod two shows: one where I played the regular rotation, and I also had a psychedelic show. When I was in San Diego I hod a lateoight show, from 2am to 6am. I would play whatever I felt like. Did you get crazy callers? Barbara: I got a lol of weird, pornographic calls at lhal lime of night. Il kinda freaked me oul a little. There were definitely a few men who would call me every week; I think they liked my voice or something. But I would just start playing really harsh music and make it so they couldn't stand to listen to il anymore. Brenlly: The first radio station I was involved in was a pacifica station in Houston colled KPFT. I did two ond a half years of free-form late-night. Barbara: I miss doing radio so much; it's been ten years since I've hod a show. A lot of times, I'll get really stoned or a little drunk ond I'll be in my own room and I'll start pretending I'm on the radio. It's fun. I love segging songs together, there's something really exciting about lhat. Do you want this band to be a full-time job? Barbara: Il depends on what you think is "full- time." If you take into occount Hie off-time where you're writing and developing material, ond if you consider that part of the fulklime, then I would say absolutely, I would love to see a musical group lhat I'm in be able to grow and do something important. I ihink that ihis line-up is doing something important. I think lhat we sound a lot different from Hie bands we've been playing wilh ocross Hie country, and I'm really proud of us right now. But I wouldn't like to do this [touring] full- time. Hell no, I'd quit. I wont to have o life, and I want to have domestic tranquillity. I want to have a sweetheart and a family and a garden. I'd like to have a pet, which I can't have right now. I think part of the development of the music is having time to gel inside yourself and discover how you feel. And you can't do lhat when you're constantly performing. Does lhat make sense? Ron: I'll let lhat speak for me. Barbara: All right! What is the strangest dream you've ever had? Barbara: Let Hie boys answer first. Ron: Hmm, you might wanna pause that button. BrenHy: Strangest dream... Barbara: I'll tell you about a dream I had two nights ago. I dreamt I wos discussing stage fright wilh Barbra Streisand, and lhat's strange, in my opinion! Why Barbra Streisand would be in my Do you remember what she said? Barbara: She was totally commiserating wilh me. Al one point I was saying, "Oh, ond the limes you stand up there when you're not holding your guitar, and you're just holding the microphone, it's scary, and you don't know what to do with your hands..." And I remember saying to her, "You know what that's like, don't you." She wos wearing a sparkly sequin gown, and her hair was really short. But she was being my friend. Can you top that? Ron: I don't know, it's hard to say, 'cause mine are so... Barbara: Sexual? Ron: Yeah, so sexually deviant, that I just can't...No, they seem so weird that I can't put them into any frame of reference. BrenHy: I guess my strangest dream would be one that's olmost indescribable because it look place in a wodd lhal was anli-diluvion. Isn't thai the time when Hie sky and water switch places? It was so bizarre and so out there that I couldn't even describe it. When I woke up I just freaked. I couldn't believe that I had had a dream where reality was that altered. Ron: I had something similar to that, where it was, what was it colled? Affirmament or something, when Hie water and sky switch...Well, it doesn't matter. I had a dream • this isn't Hie strangest one, but it's along those some lines. I hod figured out how to defy gravity, I understood all the makings of what happens. I went to the centre of the earth t4 FEBRUARY 1996 somehow and understood it completely. I got in this other dimension and I was so proud of myself that I knew how il worked. I could breathe underwater and I could defy gravity. Then I woke up and was still trying to figure il out: "It's going, it's slipping... damn." It just didn't work out in my head and I couldn't write it down. Brenlly: What's your strangest dream? One of the strangest, I think, was when I was being chased by super models. There's another water theme here, 'cause somehow I was able to traverse this lake by foot... (At this point in the interview. Cod and Don of show openers Destroyer enter the room in search of coffee) Do you enjoy playing acoustic sets? Barbara: Yeah, I'm not afraid of il. Last time I was here I played the Malcolm Lowry Room, ond if wos acoustic. I played with Duolron, Couch, and, what is Keith's [Parry] crazy bond called? CaH: Twerdocleb. Barbara: I was gonna play wilh ihem lhat night but Hiey wouldn't let me. Carl: Well, you know, Hiey're getting a litde serious. Barbara: I guess. They were gonna let me play drums but as soon as they heard me play..(laughs) CaH: You see, that's just...would you play drums for us? Barbara: Yeah! Tonight? But I don't want to mess up your sel. Dan: The set's already messed up. CaH: That's my job already. Barbara: I know you're nervous os you are... CaH: Come on, go on out there and drum I BrenHy: Yeah! Barbara: Okay. I will. But I have to get another beer. [exit the Destroyer clan plus Barbara Manning.] Does the name Dan Sutton mean anything to you? Brenlly: No, I don't think so. From the Matador newsletter, I read a letter from this Dan fellow who is defending himself against someone at Matador calling him the 'date rape Idng of Cambridge" for something he did to Barbara... Brenlly: Oh yeah, we know about lhaf. Can you elaborate on it? BrenHy It was a guy who showed up at a show and was asking Barbara some extremely personal and sexually nalured questions. She told him she was uncomfortable wilh [his questions] and he continued to pursue lhaf line. She was by herself and she kept tolling him that it made her uncomfortable. Then she finally gol away from him. He was oul of line and ridiculous, and makes himself look even more so by writing this letter to Matador, that they printed! The letter was apparently also posted on Sub Pop's listserve on the internet. BrenHy: (reading) He doesn't believe his actions were inappropriate? That's so outrageous! Where was he? ... (laughing) I'm listening to Barbara playing drums! Ron: You're getting this on tape, right? Is there anything I didn't ask you that you would like to answer? (long pause) Ron: (laughs) I was thinking, swear to god, then my attention got grabbed again by the drums... We decided it would be best if we stopped chatting and went out and watched Barbara play, rather than be distracted by listening to her. No matter what you may think, she wasn't such a horrible drummer. There's a certain style, you might say, to her approach to drumming. Her added touch to Destroyer's opening song (a lo-fi, uncensored version of Alanis' - as we know her in Canada - song "Hand in My Pocket") made it absolutely magnificent. And the SF Seals set? No less than I expected. They were enchanting, laid- back, ployed musical instruments raHier Hian chairs, and played a nice selection of old, borrowed, and new material, from "Every Pretty Girl" to iheir current album's pop hit, "Pulp." Fun stuff ... even if Brenlly wasn't wearing diapers this lime 'round. We all know it, but let it be said again: women know how to put on a party. This is exacHy what happened to the unsuspecting St. James Community Centre last December 16 when miko hoffman and Megan Mallett organised on all- ages benefit show for Women Against Violence Against Women (let's call it WAVAW from now on, shall we?), featuring Hie likes and licks and outspoken chicks of ten days late. Gaze, Vico, Paizuli, Wandering Lucy, and Trish Kelly [as herself). Not only was Hie lineup eclectic and independent, but it successfully shouted out the message lhat violence against women happens a lot more than we core to admit - and ihof it really sucks. All of this was rounded out wilh a very healthy shot of "we hove to fight for change" consciousness raising. To put it mildly, this was the opportunity for chicks and their friends (boys, natch!) to rock out in an asshole-free space. Yup, this girl-claimed space was teeming with Hie rainbow-haired youth of today, sippin' Sprite and siltin' cross-legged on Hie floor. I don't know what these gals did for fun during their formative years, but the all-girl + Henry (of Vico) line-up proved that right now women have no qualms about playing hard, or being centre stage. And while Hie sound system at Hie St. James seemed determined to mangle the sounds of the musicians as Hiey plunked and hollered, it was once again proven lhal attempting to drown oul a roomful of women with something to say is beyond futile - ha ha hal As spoken word artist around all Hie time, egos and that • you know how guys are - but there's none of lhat here. Tanya (Vico)- There's not many all ages gigs out there, [so there are] lots of teenage boys coming to this and getting ihe message. It's good to promote bands with women in them, ihough not simply because it's an oil women thing. I don't think il matters what sex you are - ten days late are a great band wheHier Hiey are men or women. Devon (Paizuli): When I was in high school I didn't know any giris who were in bands at all, and if Hiey were Hiey just sort of sang every once in a while - some pretty little song in a folky band. Or worse, Hiey played Hie tambourine. In -what way do you hope your music/spoken word/noise will influence your listeners? Trish: Because I'm doing spoken word and I'm not doing it with a band, I can be a little bit more to Hie point about my political agenda. I don't have to worry about fitting it in with Hie music; I just write about what I'm feeling. I want to be a political voice here as opposed to being in a band that just sounds good. People have to listen to my voice 'cos there's nothing else for them lo dol Tanya (Vico): When I was in high school I didn't really have any musicians lhat were women as role mod els... hopefully people will come out tonight and see all these women doing it and realize you don'l have to be a guy to be in a rock band. I wish I had picked up Hie bass when empowerment and independence from Hie often self-defeating shelter of a "big strong arm", or an escort home. A lot of Hie musicians thought that Hie idea of an all giHs show was unusual, possible, and very cool, but were weary of being clumped together only with other giri bands, forever. This concern results from the sexist altitudes as rare in Hie music business as flies on a piece of shit - you know, lhat there are "girl bands" and regular bands. I can see the frustration of ten days late , eternally being compared to 17, Bikini Kill, Babes in Toyland, elc. etc., when they sound quite different from these bands and are rarely compared to "regular" (i.e. male) bands. But as o first step in just getting women together, and proving that real female talent exists, ihe benefit and other all or predominantly giH shows are essential. Yeah, it might keep some guys at home 'cos they're scared or surprised by "angry" (i.e. "aware, unafraid") women, but if these guys onfy realized how many gigs women go to where they have to deal with being insulted, belittled, harassed, pinched, ass-slapped, poked, and even strangled (I'm not making this up!), Hiey might be a little more supportive. Women are so accustomed to being in situations like these while al bars, clubs, and gigs, we often get used to it! Loads of gals at Hie benefit were amazed al how much Hiey could thrash in a girt-friendly environment - especially wilh Trish Kelly patrolling the mosh pit for disrespectful boys who hadn't WAVAW Trish Kelly would remade to an inattentive audience member, "Hey! Where do you think you're going with lhat cigarette, when I'm not finished yet?!" In order to get the lowdown from the performers, Heavy O and I set up shop in Hie St. James kitchen and interviewed twelve giH musicians and Henry. We asked them all a set of four questions cleverly crafted to elicit their personal opinions regarding iheir music, Hie benefit, and violence against women. Here's the word from Hie kitchen: Why did you decide to do this gig? Henry (Vico): [If it's] for a good cause, I play ony show I can that's offered to me. Trish Kelly (plays with herself): Because I Ihink lhat WAVAW needs money and I think it's important lhat Hie Vancouver music scene gives money to organizations like WAVAW. We need things lhat are politically charged in this community; otherwise, we are just stupid indie rock and punk rock kids. We have to be motivated to help organizations that need money and need our support. Valeria (Gaze)t I've worked with WAVAW before, and I'm very supportive of [the organisation]. They kept Hie crisis line open during the holidays from iheir homes. Lana (ten days late ): I think it should be called People Against Violence Against Women - men feel shunned away even though they believe in it jusl as strongly as everyone here. I jusl think thai maybe men and women should work together - maybe have a man speak to teach other men, ond to make women more comfortable with men. [The focus] shouldn't be so narrow; I know a lot of guys who would like to gel involved, but they don't feel welcome. What do you think about the (almost) all-women line-up (we later factored Henry into this equation)? Kara (ten days late): It's really affirming for giHs to see other giHs doing stuff like this. It's not the standard. I don't really have a lot of issues about needing segregation - " an only women kind of thing" - but I think it's really rod. Henry (Vico): I enjoy playing with Deanna and Tanya; it's a better experience lhan I've had playing wilh most guys. There's lots of attitude flying I was 14 instead of when I was 22. Henry (Vico): I guess tonight I just hope that Hiey don't hate me 'cos I'm a manl Lana (ten days late): We hope lhal we can get people ta forget about the bullshit and have fun. A lot of my guy friends thought that tonight would be about a lot of angry girls...because of Hie spoken word! Kim (ten days late): Hmm...influencing our listeners...we have listeners?! How has/does violence against -women affect/ed you? Lana (ten days late): I guess its been more mentally; I've never been physically abused. There's a lot of mental abuse. Deanna (Vico): I haven't been physically violated, bul I've known people who have been raped and it pisses me right off. Trish: It's been a motivator for me because it's something thot I realize is fucked up in our society; I can do something about changing that, and empowering other women so that it doesn't hap pen to so many other women. Every woman in this society is aware of violence against women. It's not just a matter of being in an abusive relationship wilh someone, it's a matter of looking at the media and looking at every aspect of the society around us lhat hates us. So I think that it affects every one. Marcy (Paizuli): Well just today a friend of mine was attacked in front of her own house - in front of her own house in Hie middle of Hie day on a Saturday. That affects whal I do and where I go; I mean, lhat affects everybody. The WAVAW benefit followed on the heels of a benefit for Vancouver Rape Relief, also to raise money to support the fight against violence against women. Interestingly, while Hie WAVAW benefit was overwhelmingly a show of women musicians, Hie Rape Relief benefit drew crowds wilh boy bands like Sparkmarker and Facepuller. While I think that it's important for men to understand and support the issues surrounding violence against women, it is also really great for young women to see other women sharing experiences in a safe space and making noise themselves about stuff lhat pisses them off. Young boys and giHs have to become aware about women's noticed mat Hiey didn't fuckin' own Hie space. Organizer miko said lhat it was Hie most comfortable show she had ever been to, period. I think lhat all those boys who avoided Hie show for fear of being gang-wedgied in a dark corner should stop feeling so sorry for themselves and come and parly and listen for once. Or they should organize their own benefit to support Hie fight (Hiey could coll it BAVAW...hmmm, though that does sound suspiciously like Baywatch, or conversely, bow wow... anyway). The only disappointment in the whole evening was mat Hie event was definitely not a sex positive one. All references to sex were framed with words like 'assault', 'rape', 'bad', 'nasty', 'cold'; the traditional equation of "girl+sex=misery, pain" was unfortunately reinforced. This was a result of mosriy Hie need for a lot of women to share their negative experiences regarding sex and men. Now I think lhat this is totally useful and certainly feels freeing, and is an important part of fighting violence against women, but so is exploring your sexuality. When giHs figure out how to groove on their own sexuolity, alone, wilh a giH or with a boy, then isolation, shame and oppression are harder lo dump on women. Ironically, it was the Iwo women who represented WAVAW who failed to bring up this point (that women con ond should demand sexually respect and action) or any olher, I'm afraid lo soy. I'm no crisis worker (but I play one on tv) and I know a bad sell when I hear one. These two women were supposed to give us an idea of whal WAVAW was all about, but instead Hiey literally read out the organisation's pamphlet and hemmed and hawed with all Hie creativity and panache of dental technicians. I know that it could have made a whopping impact on all Hie young'uns in the audience if they had gotten people psyched about Hie great work lhat this organization does for society. Oh well. All in all ihough, Hie night was lots of fun for all the giHs and boys who trooped home lhat night high on Sprite and giH-energy. Everyone left hop ing that there would be other such chances in the future for women to get up on stage and make noise and wank around... shomelessly. by Natasha Lena fs mgg°mim useen Nfcmcouver's premiere party-rock sensations, the Smugglers, have, been packing halls around the continent since their humble beginnings at the annual Mod Scooter Run in Vancouver in 1988.1 After their first full-length release oi Nardwuar Records, At Marinelam (1991), the band hooked up witl Conrad Uno, owner of Seattle's Eggl Studios, and released their Seconal LP, Atlanta Whiskey Flats (1992), on Popllama Records (Fastbacks,) Posies, Young Fresh Fellows). Soonl after, an explosion of international] interest blanketed the band, and the) Smugs released a shower of 7"| records with labels in Spain, Italy, Germany and Japan. The past year has been the Smugglers' busiest yet: they completed their fifth North American tour, toured Spain, and recorded two releases for their hometown label Mint Records, who recently agreed to a co-release merger with Berkeley's Lookout! Records (Green Day. Riverdales. Pansy Division). The first fruit of this union was a spirt EP with the Hi- Flves entitled Summer Games (1995). and will be followed this month by the Smugglers' fifth fulHength record. Selling the Sizzle (1996). Renowned for their energetic stage performances and sassy fashion smarts, the Smugglers are arguably Vancouver's most vibrant musical entertainers. DISCORDERs long-lost definition of rugged machismo, Sean Raggett, caught the Smugglers In the act. The Smugglers are: Bryce Dunn - drums; Beez - bass, backing vocals; David Carswell - guitar, backing vocals; Nick Thomas - guitar, backing vocals; Grant Lawrence - voice. Why have the Smugglers never been featured In DISCORDER! Grant: Ask Dave. I don't know the answer to that. Dave: It's just that same old...people love tt when you're fresh, and we're not that fresh anymore (everyone laughs). We're still here, you know? (More laughter) People shouldn't think any less of us, but we're still here! It's hard convincing them that records are still fresh when It's, like, the third record, and then the fourth record. It's hard to be the latest thing (laughter). Beet (laughs) I'm withdrawing my comments. Dave: Really? Beez: Well. I was thinking about saying that the DISCORDER sucks, and I decided that maybe that's a little harsh. Dave: It's so easy to hate. Beez: It's so easy to hate If you're not participating In It. I mean. If I think It sucks so much, then why don't I do something about It? Dave: Right. Beez: And what am I doing about It? Nothln'. But Vancouver should be your breeding ground, .for the world! Grant: Weil don't get it wrong, we do great In this city. I think we have a great, great fan base here, and we've been able to get lots of people out to our shows. But if you're asking that question, you should talk about poor old Bum, who had their last show last night. Now that's a band that didn't get the proper recognition. I think we've gotten fine recognition. Well, not with DISCORDER. Dave: We've never been featured on the Fox. either. Nick: I've heard us on the Fox! One time, while I was dish washing at this restaurant, I said to the chef, "That's me on the radio!", and he said (in stern foreign accent), "That's not your radio!" (laughter). Have the Smugglers ever played a high- school dance? Grant: Oh yeah. Our second gig ever was at the West Van High Halloween Dance. Were you going to school there? Grant: Yeah. And, to add Insult to Injury. In a total conflict of Interest. I was the Student Council president. I was given the budget for the dance, so I said. "Well, I think we're worth about five c-notes" (laughter). Nick: We were nervous before going on. Everyone's favourite social studies teacher came In and gave us a big pep talk on the Rolling Stones. Grant: And he told us we were the new Grames Brothers. He was, like, "They're over, they're gone, they're graduated...you're It!" The Grames Brothers went to the same school! Grant: Oh. yeah. She Stole My Beer - our school...you can see this deep-rooted hippie scene... There are a lot of hippies in West Vancouver? Grant: Total hippie scene, Volvos with Grateful Dead stickers on the back...it's a total hippie scene. Nardwuar and our group, the Palmerston Posse, were the only kids with any sort of style or grace In West Vancouver (laughter). Who is the cutest Smuggler, and why? Grant: The cutest Smuggler hasn't joined the band yet. Dave: I wear the shortest shorts. Grant: He wears the shortest shorts, the tallest cowboy hat. and the whitest cowboy I boots, so that makes him f the cutest. Who were the Leather j Uppers? Dave: They were the I greatest band that ever walked the face of this earth. Two young boys from Ontario, classy Cralg-o and Greg-o, and together they wreaked unholy hell on this planet. Grant: It's a shame. Bum goes down, the Leather Uppers go down...the clothes they wore, everything they did was over the top. Every single time they got on stage, their outfits matched exactly. Nick: When we saw them they had these black tees with a sparkly Iron-on that said 'punk', and an Iron-on razor blade, and they had Adidas shorts. Grant: Short shorts. Anyway, they were totally wild...two guitars and drums, and they put out one fantastic album called OK. Don't Say HI. and they have a couple of 7"s out, and we tribute them every time we can. We cover their song "Supercar" on a Flipside compilation, and we cover their lat- "When you sucked on my tongue i got bored of your forehead you taste like a peach, and i'm sick of especially you" - from selling the sizzle (l 995) est song "Smokin' Monkey" on a Spanish EP called Senior Pants Down. They deserve to be heard more. Are they getting back together? Grant: No. Craig has a new band now called the Stlnkles. They are doing super-well, they're on the cover of Now. which is the Georgia Straight equivalent in Toronto, and they got signed to Sympathy For the Record Industry. You can't do much better than that If you're just a gritty, baHs-out rock 'n roll band. And believe me. when he's wearing those short shorts, chances are his balls are hanging out. you know what I'm saying? (everyone laughs). Does Grant practice his stage moves in front of a mirror? Grant: Of course I do! Whaddya think? Nick: And in front of his buddies (laughter). We rate them. Grant: Of course I practice my moves! Beez: He's working with Karen Jamleson this year, trying to get some new moves. Grant: I mean, does the cast of Cats practice? Beez: Of course they do. Have the Smugglers met any famous Canadians? Grant: Are you kidding? Are you fucking kidding me? Have the Smugglers met any famous Canadians? , Grant: We...OK, let me put tt this way. Do you consider this meeting? Alan Thlcke once pogoed across the stage when we were playing a song on national television, OK? Where did this happen? Grant: This was at the YTV Achievement Awards In Ottawa In 1992. Nick: The year before us. the Barenaked Lades won the same award. That was basically where we got our big list of famous Canadians that we've met. We met the Governor General, and Grant and I were on a talk show with Preston Manning. Grant: We met the Crash Test Dummies, who now have a book published about them. Beez has met Margaret Atwood. and of course we're friends with Terry David Mulligan. You're friends with Terry David Mulligan? Grant: Yeah, of course! He starred In our first video, "Vancouver, BC". and has since become a great friend and supporter. Everyone is friends with Terry David Mulligan. Who is your Canadian hero? Grant: My hero at the moment would probably be Rebecca from Lick the Pole. Who is Lick the Pole? Grant: Lick the Pole is a band with more notoriety than anything else, I would think. I have yet to see the much-talked- about Lick the Pole, but I know that I have seen the lovely Rebecca who's In the band, and I do think she's lovely! They're known for their wild, sexy shows and certain sexual acts that have occurred on the floor of the Commodore at the Cramps show...things like that. Tons and tons of rumours abound, and to be quite frank, that's what rock and roll Is about, and they got It down pat. If you know what I mean. Nick: I think they formed a supergroup with the guys from Rash Bastard. What do the Smugglers think of Flash Bastard, glamcore revivalists Flash Bastard? Nick: We've heard very good things. Grant: Yeah. Nick and I have been trying to see Rash Bastard for a while. Maybe soon we can work it in sometime (Nick laughs). It's true! Which Vancouver bands have released more 7"s than the Smugglers? Nick: Sparkmarker. probably. Grant: Sparkmarker has about Tne cutest smuggler hasn t six out. My first reaction would joined the band be to say nobody, but D.O.A. could very well have. Art, no Art (Bergmann) yet." stopped putting out 7"s a long time ago. -frnnt Bryce: cub are getting up there, actually. Grant: Yeah, cub are up there. They're at around five or six. maybe seven. There's a lot of bands hovering around the two or three level, but I think we're at about twelve, so I would say Just In spanning the globe it would have to be the fabulous Smugglers (pauses). Oh. that's us! (laughter). Smugglers favourite hangouts? Beez: The Railway, of course. Standard. Grant: My favourite Is called City Picnics, and that's right here In Vancouver. I eat lunch there every day. Fantastic food, very fast, run by a Czech couple. You get to do the joke 'Check please'...ha. ha. ha. They say 'yes?', and I say, 'Check .they say. 'Yeah, right here!' (laughter). Nick: I go to the Eldorado a lot and play pool. You can catch the classic act Texas Rood in the background, a Stevie Ray Vaughn tribute band. It's not too bad; you run Into a few shady characters. Beez: Reno's, for me. Reno's restaurant on Main at Broadway. Nick: Or the Cottage on Commercial Is pretty good. Bryce: I like going to Cafe S'il Vdus Plait on Robson and Richards where Amie from knock-down-ginger works. I also discovered a place on Granville called Normandy's. What happened to Dave Carsweil's moustache? (Beez laughs) Dave: It was never a real moustache - It was painted on (Grant laughs). I just wanted to go truck. I did tt. It worked, and It was good. Nick: And that TV series got canceled. If the Smugglers were to take a visitor from out of town for a tour of Vancouver, where would you take them? Nick: All the classics. Stanley Park Is always In there, and we also go to the Tomahawk - Grant: - for a Skookum Chief Burger, usually with Nardwuar. so he can do his spiel about how a Skookum Chief Burger is three meals In one. and he does all his lettuce, bun. chicken routine. Bryan Adams dish washed In the back, so that's definitely a landmark. Then we do the little known Lynn Canyon Suspension Bridge, which is way scarier and way freer than the Capllano Suspension Bridge. Then we go down to the cliffs and show people - Nick: All the tattooed bangers jumping off the big cliff at the top, which Is nicknamed "The Motherfucker". Grant: So then we go to the salmon hatchery where all the salmon run. When people want to go downtown, we used to take everybody to the Bourbon. That was the Smuggler hangout of all time, but it got pretty goddamn shady. Nick: There's always the battle between young and old. and the young won at the Cambie. and the old won at the Bourbon. The Jades were the house band. Grant: That was the end. when the Jades were fired. It's the one thing that Terminal City columnist Rob Dayton and I agree on. Is that the Jades are a fantastic class act. A great band, and great people. Nick: They actually still do exist. The other guy who left went into a band called the Hl-Hats. It's quite sad now, when you walk through ■ Stanley Park and you hear this lonely saxophone playing. That's the guy from the Jades entertaining the kids with stolen country songs. Do the Smugglers have any groupies? Grant (in Ralph Ferley stud voice): Yeah, I've tended to attract a few over the years (Bryce laughs). Bryce: One in particular? Grant: Yeah, one of which Is named Dodle. I have a filing cabinet dedicated to the mall she's sent. Nutty, nutty bird, that Dodie. She has sent me gifts on ALL holidays, not Just Christmas or my birthday, but on Valentine's Day, Easter. Thanksgiving... But Bryce has a ton. Bryce had a 'zine written about him! Bryce: (sheepishly) Yeah. There was a girl who writes a "zine called Montgomery. She came to the show in Kingston last year, and said she wanted to do an article on the Smugglers, but more specifically she wanted to do an entire 'zine about me (everyone laughs). What was the 'zine called? Beez: ftyce Is Nice (laughs). Bryce: It was called Overbryced. and it was a supplement to Montgomery. I don't know If you can still get It. If you want to find out, write to Montgomery 'zine, and they may still have some. Beez: Or you can go to Bryce's house and get the 500 copies left over (laughter). The Smugglers recently toured Spain. What Is the story behind that? Grant: It was great to go to a new continent, it was wild. It was like a normal tour. Monday, Tuesday it would be so-so. "It's so easy to hate if you're then as the weekend approached the shows would get bigger and not participating m it. bigger Madrld on Saturday I mean if it sucks so much, n|9nt was reallv hu9e-We recorded a live record, and it was a great why don't we do something show. But it's Bum who are the stars there. * . r> How did you get past the lan- about it. guage barrier in Spain? -Beez commenting on Discorder. Nick; Most peep1**--* know a certain amount of English, and so the first few shows we had written out a few things to say In Spanish that were kind of like...lame Jokes. Like _ (speaks Spanish phrase), which means "We are very happy to b here". That was one of our more serious ones. What were some other phrases you learned? Nick: (Says Spanish phrase) That means "We are pregnant". Grant: A phrase I was using often was "What the hell are you saying to me. you dirty little man" (laughter). I was saying that In English to people. Nek: We'd tel people "We are the Stones". "We want to father some children" was another. What are your plans now that Mint has j merged with Lookoutl records? Grant: Well, we're under more pressure now I to produce and to perform, which we ! haven't been before. Before, we would tour ] when we wanted to. Now It's like, when the record comes out we are expected to be on j the road right away for a good chunk of time, and to cover as much territory as possible. As I soon as our record comes out it will be on Mint In Canada, and Lookout! worldwide. We will be heading off on two different tours, both of which we're not sure where we're going yet. but one will most likely be with the Mr. T Experience, and we may end up with some dates with Rocket From the Crypt as I well. We plan to cover as much ground as possible In the U.S., and then we plan to tour I across Canada as well, because of course that's very Important. We're going to spend a large part I of 1996 selling the sizzle. Where does that ("selling the sizzle") come from? I Grant: Well, it's a common selling phrase, and I what happened was this guy coined the phrase j in the '30s. He was a salesman. You know now I how they have Infomerclals? Well in the '30s, they I put It on vinyl and sold tt as a record that said. "This I wtll help you sell more cars", or whatever. So this I guy's point was. If you're selling a steak, don't sell 1 the cow, sell the sizzle. (In other words) sell what j makes people's mouth water. We always pride ourselves on the live show, in which we try to be as outlandish and as energetic as possible, so we tried to ] translate that on to the album, and now we are trying to sell our sizzle. The Mint/Lookout! merger is a big thing; potentially, that could make the Smugglers very big... Grant: Well, yes and no. That would be great, but what \ a lot of people forget Is that Lookout! has Operation \ Ivy, Green Day. Screeching Weasel and the Queers, bands that have sold hundreds and thousands and millions of records, but they also have a bunch of bands that \ don't sell hundreds and thousands of records - the HI-FI are moderate sellers, the Potatomen, bands like Squirtgun - and we're going to be In their class, I would think. If we sell a } ton, that would be surprisingly great, but If we don't, I we're just going to be happy working with a competent label. Nick: It will Inevitably increase the fan base just because more , people will hear the record. It's got great distribution. Grant: Lookout! are so gung-ho; they're talking about Japan c Europe. Not only will the record be distributed there, they expect IV their bands to play there, so It's pretty exciting for us. We're really il overwhelmed with it coming up so fast, trying to ,-,. e . figure out our lives, how we're going to do this. The Smugglers Shindig score card and how much we're going to do. etcetera, etcetera. from 1989. It's a whirlwind, for sure. __,_«*_ Gaunch or ginch? (As judged by Bill Baker, now owner Beez: Ginch. r jl|. . Reoorcl„ \ Nick: No. that's pre and post. . Everyone: Ginch is clean, gaunch is dirty underwear... Nick: Going, going, gaunch! Best pick-up line? Beez: "Hey lady, you'd look hotter if you shaved that moustache". Grant: That's a good pick-up line. Nick: It was used on Beez (laughter). Any last words? Nick: The last words ate "Grant said". Beez: The last word of every Smugglers Interview Is "sorry". Grant: Oh. sorry about that (laughter). For Smugglers newsletter info, write Mint ^f Records. #699-810 W. Broadway, Vancouver, ^1 BC. Write Montgomery fanzine: 565 Gilmour Street, Ottawa ON, KIR 5L5. All photos by ^<, PaolCIark^> n- ■ Please Introduce yourself. My noma it Mork Emery. I'm the publisher of Cannot/ Canada, the proprietor of Hemp BC, and agent provocateur of the legalization movement for the Canadian publi On January 4th the police raided your store. Hemp BC, and confiscated thousands of dollars of equipment and merchandise - why did the police wait until now to raid your store when you've been in operation since 1994? Well that's probably precisely the reason: to do the most financial damage they could possibly do. We now wholesale to thirty olher stores, so they were able to seize five cars and a whole 24-foot truck full of things, worth $105,000. It's a huge loss to us. Thot inventory pays for our 24 employees, now down to fourteen; it allowed them to have decent wages, now cut by 45%; and I'm looking at life imprisonment and $120,000 in fines, along wilh three other employees, for selling seeds lhat were seemingly fine for the previous 13 or 14 months. Basically, they want to devastate the legalization movement. We received o lot of American publicity - The Wall Street Journal, Notional Enquirer, High Times magazine, endless TV stations - one from Seattle is in today - and they constantly film what we're doing, and the liberalization lhat's going on in Vancouver and British Columbia, and I guess some bureaucrat in the DEA called the moyor of Vancouver, ond of course, you know, people <Jp^()|n^^^ig|jtf^^^^»l°l||gg|P^^^S> here jump when the American government calls, and jf§L i_> that's what they did. And then all of sudden in the last RgjriL-. —^ __-. _-- \M ^^^^r^^^t^^^^^m^Y^ ITjpTl WMC cil about revoking our business license, ond other kinds of \ T "~T T_. ^Hs_ punitive measures. All those are responses to the fact thot \ \A7C)T_1_LCJ_ JO£~^ we are getting international attention, that we are causing » a revolution here in Canada. There are these hemp stores in almost every city selling seeds, bongs, pro-marijuana propaganda, ond our battle is being won. The majority ore clearly sympathetic to us. So is the whole police line that they bought seeds from your store and were waiting for them to grow just bullshit, basically? Well, no, it's probably true insofar as they'll prove to the court that the seeds we're selling produce morijuo- na. But substantially, who cares? You don't need to do that kind of thing. First of all, it's going ta introduce a very tricky problem for the police in court, lhat in fact what I sold is not going ta be introduced in court. I sold seeds. That would be like holding someone responsible for o bootlegging operation during Prohibition becouse he sold them grapes and they turned into wine, or hops that became beer. You were arrested for possession of seeds with intent to traffic, and the other employees were charged with trafficking in seeds... Right, and they were merely the clerks on duty that day. I mean, it's not like the police ever bought their seeds from them - I don't even know if they were observed selling seeds. Those charges ore bogus and will probably be dropped. Is there actually any THC in seeds? None whatsoever, so there's no drug quality to them. We're gonno win on the face of it - we're just going to make the Crown try to prove their case and we don't believe they con. Your store was raided once before in November when the police came in and arrested three people for less than a gram of pot between them. Was anything taken then, any merchandise? What was their rationale for raiding your store then? They came by and said they were there to deliver a political message, that they didn't want people smoking pot in the store. They made a clear point that they weren't interested in interfering with ony other part of our business, and they weren't going to hassle us for selling seed; they had no problem with thot. And of course, you know, like all cops they lie, so they went back on that. How would you characterize your relationship with the police before these raids? 'Cause I know they've known about you since the beginning, and I'm sure you've talked to ihem before.... Yeah, and I've always been polite, I've always done what they told me, ond I've always been responsive to any concerns they had. And they know that. I mean, they're going against the tide here, because we're clearly seen as a good influence on the community. Just a few people in senior levels of government find us uncomfortable, -and that's because we're successful. If we were unsuccessful, or nobody come to our shop, or it just continued to be a discreet, quiet hole in the wall, we'd never get this attention. But because we're seen by international mogazines of the stature of Tfie Wall Street Journal now, we have a lot of power and influence in the media, and the city's trying to curtail our power and our influence. o You see, there's no passionate following anybody on city council. They couldn't get a thousand people to come ta a meeting just to hear their ideas; they just hove a bunch of trough feeders who are on the gravy train, and that's iheir following ot city hall, or at the provincial level. But we actually hove a real following, an ideological movement based on ideas, based on human liberty, based on freedom, based on changing this terrible bigotry we have in ihis country. It's o cultural genocide that's going on right now against cannabis lovers and cannabis connoisseurs. I mean, they buy advertising ta malign us and slander us, they stop us from traveling, we get criminal records, they round up millions of plants every year ond burn ihem, they seize books about marijuana, they seize clothing [made from] marijuana, they take away our pot when we have it, they take away our pipes and our bongs. If you label if for tobacco use it's legol; if you label it for marijuana use it's a $100,000 fine. Non-marijuana smoking Canadians don't care about [what's basically] a pogrom that's gone on against marijuana smokers for twenty five years, and it's time they opened iheir eyes. And that's what we're asking them to do, 'cause it isn't marijuana smokers persecuting other marijuana smokers, it's the non-marijuana smoking public attacking and supporting the state that's attacking marijuana consumers. And even, I'm sure, some marijuana smokers; I'm sure there are police officers and politicians who are enforcing these laws who do smoke occasionally. I was reading an article in Vancouver magazine, for example, and they talk to Sgt. Undo, the head of the drug squad. He indicates that he thinks there are politician s and judges who smoke pot. And his attitude seems to be that the whole thing is fust a game. (Readlng)t "Undo goes along, bearing growers no III will. When he's in a good mood, he'll commend them on a particularly Innovative or sophisticated operation...". He doesn't seem to think that mariiuana Is a threat or a danger; ifs just that thafs the law and he's there to enforce if. Yeah, but that's what makes him such a sick scumbag of o bastard, because he'll go around and ruin people's lives and punish them and torture ihem, like he did to me. He actually came into my cell during the night and told me that after cleaning me out they were going to go out for a drink and that I was a bad parent because I let my 16 year old son have a joint. The guy's a sick twisted fucker and I wish the worst plague of AIDS to hit him and kill him fast. He's a very bad person, and the fact thot there's a sadist like that in charge of the RCMP shows what kind of people they recruit. Why is Bill C-7 (the Controlled Drugs and Substances Act) a bad bill? Well, you can go to the editor of Cannabis Canada for a fully articulated explanation of that. But, basically, it doesn't help marijuana smokers at all. It increases penalties for all other substances; it adds a whole bunch of new substances 25% of all patent med- ihat weren't illegal before - like psilocybin mushrooms, which is a relevant concern in British Columbia; it gives the police wider powers - it allows them to sell you pot to convict you for buying pot; it allows them to expedite your trial so lhat you have fewer defenses, fewer opportunities to defend yourself; it takes away jury trial for trafficking. And there's absolutely no benefit in Bill C-7 for industrial hemp, or for legalizing or decriminalizing marijuana. So it's a very bad bill, [and it] perpetuates this crazy War on Drugs mentality that's really only an American policy. Worldwide, people have no interest in that. I was reading the transcripts from the House of Commons debates on Bill C-7 (available through the Hemp B.C. homepage) and ifs kind of fascinating reading because there's so much garbage in there. They draw parallels between marijuana and cocaine, which seems to me to be completely ridiculous being as they are completely different drugs with completely different effects. Also, Hedy Fry mentions that a large number of Canadians are at least tolerant of soft drug u»e, but points out that ifs illegal for Canada to decriminalize marijuana because of international laws. What are these laws? What is she talking about? Well, Hedy Fry is an intellectual lightweight, so it's no surprise that you're confused by her remarks. What she's referring to are the Single Conventions on Drug Trafficking and Narcotics, which were passed way back in the stone age of 1961 by Harry Anslinger, of the United States. Basically, they do not permit any country which has signed that agreement to legalize any of those specific drugs. But Holland is also a signatory to that, and while they don't exactly legalize [marijuana], you can buy if in thousands of coffee shops. There's no punishment for having marijuana in Holland and they still haven't been accused of violating the treaty. The treaty allows people to have alternatives to punitive police enforcement as a way of dealing wifh their drug situation. And we can always just break that treaty. It's not like anybody'd give a shit, except the United States, which just shows fhe guflessness of Canadian politicians. We have an injustice where millions of Canadians suffer brutally all the time at the hands of ihe police, and that's still nof enough to override our obedience to the American government's international needs. [The treaty is] just on excuse for the government not to act on an obviously grotesque human injustice that goes on in this country. But what do you expect from a liberal, wimpy cabinet minister wannabe who really just doesn't have an intellectual bone in her body. And the irony is, too, that she's a doctor, and a doctor's first oath is 'Do no harm', - that's right in the Hippocratic oath. Well, every day she sits as a Liberal Member while Canadians every hour of every day get prosecuted and jailed and arrested, guns at their head, over some pot plants in the corner of their house. I mean, she's a criminal, and, unfortunately, she hos to take a fair bif of the responsibility for the kind of brutal cultural genocide that's going on now. She's in the Cabinet, she's | on the government's side, she's guilty. Wasn't hemp originally outlawed as I a textile more th as a drug? Well, the excuse used | ta justify its banning ir the '30s was that it | was a drug without ony social purpose - even though 50 years prior it was in, like, fS FEBRUARY 1996 icines, and Queen Victoria used it for a number of maladies, ond things like lhat It was used as an industrial rope, cloth, sail cloths - lots of things • for three or four hundred years. And, yes, it's suspected that the petrochemical industry and the newspaper industry - Hearst and all that - conspired to drive it underground. They used racism as their cover; they just said Mexicans and block people became arrogant, untrustworthy, dangerous and violent on marijuana. And, of course, playing upon white fears of blocks and immigrants from Mexico, this wos a very successful strategy. Also, Prohibition had just ended, so there were o lot of people used to going around busting people, and they recruited these people from the Bureau of Tobacco, Alcohol and Firearms into the Bureau of Narcotics. So there were some very ready circumstances in the United States to allow the banning of marijuana to pass virtually unnoticed and then to create this complete police state. Do you think there's any sort of pressure from the alcohol, tobacco, or timber industries to keep hemp llegal? Do they care? Not really, no. I don't think so. Remember, big business will just go into this business when it's all mode legal. They'll be there with more money and more influence than anybody. They've already got all the channels, and they've got ihe government regulatory system locked up. So, no, they'll be the biggest entrepreneurs, the biggest business capital going into those fields. "Oh - it'll be decriminalized at the end of this year." Reading different articles about you - and ifs other people writing about you, so I don't know whether ifs a very accurate portrait -1 get the impression that you're more of a libertarian than a liberal. A lot of what you've done in the past has been as a small businessman trying to fight for your right to do business... Well, that's just part of it. I just don't like government. I'm basically a capitalist, a libertarian. I believe in total utter freedom; I believe in the primacy of the individual over the state under all circumstances, with no exceptions. I don't believe in ony kind of censorship, so I fought a lot of censorship battles; I don't believe in any kind of unionization; so I fought unions. I don't believe in any kind of government control over the economy, so of course I'm opposed to every kind of tax. And basically, I've always been opposed to marijuona prohibition, and there's nobody in this country who I think is more qualified to get this revolution underway. I believe we've certainly kick-started the revolution towards legalization with all these hemp stores across the country, with our magazine Cannabis Canada, and with all the extensive coverage we've received. So we're accomplishing goals in an area that wos in neglect before we came by. Would it be fair to say that in many ways, you're more of an industry lobbyist. Oh yeah, absolutely. We do it all. We lobby for the industry; we promote the integration of marijuana and hemp into Canadian economic life and Canadian culture. It's already part of our culture, so what we're trying is to get it legitimized, acknowledged, tolerated and promoted so that we con sell more. We've got a hundred million marijuana smokers worldwide, minimum, who want what British Columbia produces, and we've got even more people who can use the industrial hemp that British Columbia could produce if it were legalized here. Huge, huge - I mean, it is already the biggest industry in the province, ond we're the industry spokespeople for It So, you know, thot could, theoretically, make me the most powerful moninBC. And it will. It will. Speaking realistically, what do you think the chances are that marijuana will be decriminalized within the next ten years or so? Oh it'll be decriminalized at the end of iiis year. You think so? Oh, absolutely. I guarantee it. By the end of December 31, 1996 - it'll be a banner year - we'll see some courts strike down marijuana prohibition somewhere, we'll see the governments coming to discuss this, we'll hear the Lidone commission being brought up, we'll see provincial politicians, local politicians, ringing about it. I might even get elected to city council myself - I'd make a great moyor. Anything else to add, anything you want to say to our readers? It's really important for the people out there who do or do not smoke marijuona to bear in mind lhat more often than every hour of every doy, every week, every month of the year, somebody is being arrested, somebody's being jailed, somebody's being fingerprinted, somebody is being hassled by cops because of marijuona in their house or on their person. Some people are having urine tests done to them right now, as we speak, to deter they smoked a joint three weeks ago. Other people are having their kids taken away from them; others can't travel; others are in jail. It's the biggest form of cultural genocide. It's o worldwide phenomenon. It goes ocross borders. Every single marijuana smoker in every country in the world except Holland has to deal with death, capital punishment, ten, twenty year penalties or life imprisonment, as I'm facing. It's a cultural genocide that'i wide where we see millions of plants burned, our whole lives ruined, families destroyed worldwide. It's the worst injustice today, I think, that's legally sanctioned by governments legally sanctioned by the public. It's a horrendous situation and people have thing right now to correct it. OK, thanks for your time. 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 A benefit for Hemp B.C. is being held on February 22 at the Town Pump • see page 7 for details. Visit the Hemp B.C. homepage - http://www.hempbc.com/ I HE FIRST BOOK REVIEW OF THE YEAR IS Supposed to be a fairly charitable affair. Composed when we're past the bleakest time of the year, when our seasonally affected disorder is on the wane, it is the book reviewer's best opportunity to draw upon the milk of human kindness before it once again clots and sours in our nether regions. What better lime to review some things that avaricious publishers euphemistically call 'early work'. A writer's early work tends to be treated with varying degrees of respect, depending on how successful lhat writer goes on to become in later life. When you first put pen to paper everything you write is shit. Period. You may have a few good insights about how one thing is like something else; you may (even in a post-literate world) have enough of a grasp on ihe language to express that relationship in metaphorical terms. Still, the fledgling writer is unlikely to write anything worth reading, simply because the impulse to write invariably precedes eilher ihe skill to write or the experience lhat gives her something to write obout. Skill requires practice; lhat is, lhal you repeatedly do it wrong until you get something half-right. Unfortunately, for a number of reasons, most young writers don't practice. The most common reason is lhal, no matter how convincing our affectations of cynicism, we all harbour a romantic belief in 'the muse'. We all believe lhat, if only we can get close enough ta ourselves, art, beautifully forged and instantly gratifying, will burst out of our navels like pop tarts out of The dozens (and dozens) of pages of shit you generate while getting it wrong is your 'early work'. It tends to be seltabsorbed, indulgent, noTve (especially if you're trying to sound worldly), riddled with cliches, ond generally embarrassing in later life. If you're trying to write poetry, which young writers stampede toward in droves because it appears as vague ond formless to us os our sense of self, then the process is ten times worse. Yet, mysteriously, early work sometimes manages to gel published. Earfy Work (New York: Norton, 1995) is a collection of writings that Patti Smith set to paper in Ihe 1970s. This collection was probably culled from the best of Smith's earfy stuff, but il still displays most of the characteristics of juvenilia, good and bad. There is a rebelliousness in the form and content of ihe writing, and a tendency to take on a wide variety of issues that were contentious ot the time - from race ond nationality to sexuality. Stylistically these works bounce around from short-line poetry, to verse-repetitive pieces lhat have the aspect of song lyrics, to longer bits of blank verse that read like heavily symbolic prose. In content, ihough ihe poet's feminine sexuality is evident in the poetry's most powerful lines, she is also preoccupied by mgs derive from the same source. These pieces were clearly formed by a mind intent on self-exploration and, at times, accompanying the poet through her tortured interior and exterior journeys can be a little trying. The problem is partly one of clarity, which is difficult to avoid given the inward focus of the writing, and partly one of intensity: the imagery is sometimes so raw, so dense that you find your patience wearing thin during some of the longer pieces, maleness and many of her personas are male, as B«=ouje *™ moterial '» » *&*Y loaned on *» in "rape": author s experiences ond her own secular icons, some of the stuff seems a bit dated twenty years ... i'm a wolf in o lamb skin fro/an. ohh yeoh that's hence- '• doosn'' ,invite ridi1cu!° liko a lo' of **• **•«** hard that's good, now don't tighten up. open up from «• 1960*. but it might be difficult to relate to bebop, lift that little butt up. ummm open wider be- *"»■• of Smirtl'$ exl™""" trough ihe jaded lens of bop. come on. nothing, con. stop me. now. ohhh l"e "'"••'es. ahhh. isn't that good. my. melancholy be-bop. The cultural references are eclectic, from such pop culture cohorts as Jim Morrison and Bob Dylan to an odd pan rheon of historical figures: Pablo Picasso and Jackson Pollock, James Joyce, and Arthur Rimboud; Jeanne d'Arc, Amelia Earhart, and Georgia O'Keefe; even Harry Houdini inspires a poem. Another recurring theme is that of ihe desert and, oddly enough, Islam (or ot least Smith's perceptions of it). Islam isn't assigned any definite value (positive or negative), but is used to invoke the exotic - often the exotic Smith sees in herself: "... i desire him and he is absolutely/ ready to serve me. in house i am moslem. in hear! i/ am an american artist and i have no guilt." The collection's cultural references make it an interesting historical artifact of the 1970s, a period of particular interest these days (ihough I'm not sure why). Of course, this book was not written as a piece of cultural history. EaHy Work is, more particularly, an artifact of the decade as refracted through the consciousness of Patti Smith: / keep trying to figure out what it means to be american. When I look in myself I see orobio, venus, nineteenth-century french but I can't recognise what makes me american. I think about Robert Frank's photographs—broke down jukeboxes in gallup, new mexico... swaying hips and spurs... ponytails ond syphilitic cowpokes. I think about a reid, white and blue rag I wrap around my pillow. Maybe it's nothing material maybe it's just being free. Freedom is o waterfall, is pacing linoleum til dawn, is the right to write the wrong words, and I done plenty of lhat... The collection's main poetic strength is the freshness of its imagery and outlook, its energy - characteristics usually ascribed to 'youth'. But its shortcom- WO OTHER SAMPLES Of EARLY WORK CROSSED my desk recently, both from a small local press called Pink Flamingo Works. David S. Purvis' Big Vacant Hollow, and S.R. Duncan's In Transit are effectively the first published collections of both poets (ihough Purvis seems to have produced a chapbook previous to ihis). On the surface, these two slim volumes (Purvis' book contains 17 short poems, Duncan's has 11) have very little in common besides their publisher. Purvis' poems have an inward- looking quality, while Duncan's are intended to be "snapshots from familiar places"; Purvis seems more concerned with the formal aspect of his poetry (rhyme scheme and the like), Duncan's writing lends toward blank verse. What bonds the two works is the inexperience of their authors. I'll refrain from discussing ihe pronouncements of the 'Author's Note' al the beginning of Big Vacant Hollow, but the back cover warns the reader lhat Purvis is 'contemplative,' and as you read his collection you see that the poet, or at least his persona, spends much of his time contemplating himself. There is nothing particularly damning in this: poets are generally a thoughtful crowd, especially when it comes to themselves. But, precisely because it is done so often, poetic whining and navel gazing demands interesting imagery if it's to be done successfully. Purvis is not necessarily successful in this. Take, far instance, his poem "Desolation Isle": Alone om I upon this cloud of human being desolately proud— ond dreaming thus resolutely I'll slay with the wind om I endless blown away. This isn't the stalest imagery ever found in contemporary poetry, but neither is it fresh enough ta make ihis particular statement worlh while. The reader is left with a vague 'Yeah, so what?' forming in the bock of his mind. When a subject is 'contemplated' in a style lhat features a more traditional rhyme scheme, the (probably undesired) effect is amusement. Thus: "Mirror, mirror/ on the wall/ whose frames contain/ a deathly pall/ upon a face/ so splendor free—/ curtain to chance—/ That can not bemel" When Purvis looks outside himself, as in "Down on Hastings Street", he finds a subject lhat the reader can more readily relate to, even if the poet's impressions seem more menacing than ihe reality of the place. More generally, there are turns of phrase and the odd bit of wordplay lhat suggest lhat there is some talent for metaphor here. For instance: Subconscience every thing like a ravenous rag Conscience leaves laying there. If David Purvis' collection il mainly wilh its own poetic persona, the poetry of S.R. Duncan considers a broader range of affairs. Though the poet's persona is never absent, it wrestles with issues of mortality, poetry, 'the world', but especially wilh women. The voice in these poems expresses the sentiments of the average, somewhat sensitive (probably white) male. The poems lhat examine women display lhal all-too-common mixture of fascination and resentment, as this excerpt from the opening poem, "In Transit", demonstrates: Waiting also brings neurotic girls, as unreliable os buses e expensive. They ride me then get off, leaving me empty like on old bus. The poet does periodically demonstrate a good eye for detail and image ihough, with my favourite lines coming in "Gypsies": "on a hot August day/when the air is so heavy/ even the wind can't push it..." Duncan's consideration of broader, more worldly issues echoes the sort of ambivalence that comes from not giving a damn about the misery in ihe rest of the world, but knowing lhal you should: Then he'd tell me the plight of a notion I know only quaintly from its coffee, as watered down in this country as my passion is. An old room-mate of mine used to call ihis sort of poetry "Bruce Cockburn stuff". As may be apparent, of the three works, I liked Patti Smith's the most. It's a little unfair lo compare the early work of Patti Smith with lhat of Purvis and Duncan, if onfy because Smith almost certainly imposed a lot of unseen editorial control over which of her juvenilia made its way to press. Her collection also can'I be compared lo the olher two because, as a retrospective, it contains a lot more material than the olher Iwo do. Also, since the Flamingo works go for a couple of bucks each, anyone buying them will be doing so for very different reasons than someone interested in Smith's work. Still, comparing the early work of someone who's 'made it' is not a bad way of evaluating the quality of legitimately new writing. It could have been worse. I might have compared them line-byline. & §Ks°gig3 Mectarine Mo 9 Saint Jnck Davey Henderson, of fire Engines and Win fame/lack there of, and crew continue re-constructing the pop song. On Saint Jack, you can't help but feel you are listening to a band that knows they've hit their stride. From the inverted comma set; "...it shits confidence. It really is that good." If you are looking for a great read, pick up Irvine Welsh's book "Trainspotting?. The band are currently working on a sound-track inspired by the book... Also available: The Mectarine Mo 9 Niagara Falls 1 EH mKi u* E.QTARINE N°9 ft mi Starting this montth with a bang. Mint and Lookoutl Records have co-released Summer Comes, a split EP featuring two of ihe best garage rawk bands around. West Vancouver's The Smugglers kick it all off wilh 'She Ain't No Egyptian* (which also appears on their new 15 song fulHength Selling the Sizzle), and then keep the sound full, fast, and tight for a power- poppin' cover of Brenl TV's "Elite Monila". The baton is then passed to the wonderful Hi-Fives, California's answer to our Smugglers. Formerly the Ne'er Do Wells, these four wacky guys begin by introd< The Vacant Lot Shake Well The third album from Brooklyn's finest, and it certainly is their finest! Produced by Bryan Martin (That Petrol Emotion), 14 pop gems. There's an inherent quality to this stuff that leaves mosl ofthe ilk still counting r.ff ...2, 2, 4... Years of reading others hype sheets rears it's ugly head- Hype or not we're happy and I guess that's what counts. Also available: The Vacant Lot Because They Can The Vacant Lot Wrong the elv ■Don't forget our 7 page mailorder catalogue with all sorts of cool" ^tuff. Mice prices, quick turnaround, friendly or snotty service you£ e choice. Mice ponytail, nice sideburns...we got it all! ■ QHAKE THE RECORD LABEL 59? VICTORIA CP. 265?7 ST-LAMBERT, QUEBEC J4P-22? wilh their song "Meet the Hi- Fives", o short but snappy little ditty that's sure to get your toes a tappin'. Rounding off Ihe record is "I Need Your Lovin' Like a Chicken Needs an Oven (When I'm a Little Bit Hungry)", which probably has the biggest ratio of length of song title to length of actual song. Four songs of summer fun guaranteed to melt away your winter blues. (Mint Records, P.O. Box 699, 810 W. Broadway, Vancouver, BC, V5Z 4C9) Two other punk Canadian releases worth checking out are The Dinks' DOA-sounding "Go Home' 7" and the latest slab o' vinyl from The McRackins, a band which never seems to run out of songs! This one is a split 7" wilh Germany's The Cheeks, on Screaming Apple Records. (The Dinks c/o Mealheod Records, PO Box 29024, Thunder Bay, ON, P7B 6P9; The McRackins c/o the Hen Hut, 92737 117th St., Delta, BC, V4C 6B6) It looks like we've come across yet another cool Canadian indie label: dead bum recordings, based in Ontario, hos sent us a compilation featuring four examples of what lhat province hos to offer. Entided The Greatest Love of All, the record opens wilh The Double Feature Creatures, an all-female group who have produced an oul-of-con- organ-driven son called "Jello". Next up Christian Johnston, a.k.a. Me Against the World, playing Moon-socket type guitar wilh sweet boy vo- cols claiming lhat "(He's] Not Psycho Really". No Clu have the prettiest insert of ihe bunch, with sparkly blue glue, and their song, "Bug", is the happiest on the record. Finally, Kate Beckett is another boy band continuing the weird trend of naming themselves after a woman. They have three Iracks on this 7", all of ihem extremely short and noisy, (dead bum recordings, 70 Hydepark, Hamilton, ON, L8P 4M7) Evading the Devil's Darts is a compilation of seven acoustic Iracks by various artists, the first of whom is North Carolina's Will Simmons. Singing and playing all the instruments on his song "Hours We Wait", Simmons reminds us of Ben Lee (Noise Addict) in a youth-pop kind of way. Pennsylvania's Yak Brigade, formerly Yak Ampersand and who knows what they'll be colled tomorrow, contribute a funky little noise-pop number, while Ihe geekyyet charming Doormouse offer up "Maybe I'm Big in Europe", in which they complain that "a doormouse is such a stupid thing to be". Olher artists on this record are Charlie McAlister, Mean Spirit'd Robots, Edith Presler, and Vancouver's own Mark. (Catsup Plate Recordings, PO Box 375, Sworthmore, PA, 19081) As part of the Australian Pop Series, Spit and a Half Records has released a split 7" by Ashtray Boy and Clag. Ashtray Boy features Randall Lee, who's deep-throated vocals transform the surprisingly country-folk oriented "Golden Fingers" into a strangely soothing lullaby. Clog's first track, "Bike", is cute kid-punk you can squaredance to, whereas their second, "Running Amok", is a harder, distorted track, (distributed by Endearing Records, PO Box 69009, 2025 Corydon Ave, Winnipeg, MB, R3P 2G9 e-mail: endeor@mbnet.mb.ca) Lonesome Pine Records has sent us a tastefully packaged split by The Lune and Karate. The Lune's music is hard to describe: sort of like jazzy art-rock with a twist of lemon. Karate (with Geoffrey from No Duh zine ond the band Secret Stars) is more to our liking, possibly because the band plays the same sort of soft/ hard, intricate, fretful songs os Seam, a band we love to mope to. (Lonesome Pine, c/o No Duh, PO Box 921, Allston, MA, 02134) Recently, we were fortunate enough to receive a sweeHookin', limited edition split featuring Su perchunk and Superchunk's "Kicked In" showcases (if you can call it that) Mac McCaughan's Portastatic. With "She's Cracked", Tsunami join the long list of bands who have covered Jonathan Richman's songs. Their version is from an older four-track recording, and included at the end is Tsunami's trademark answering machine soundbite. (Honey Bear Records.) Veronica is three Texan gals who play upbeat, unpretentious pop. Their drumming is charming and iheir guitars are jangly; our only complaint is lhat the vocals sound a little forced. Check out their 24 Hours + 2 record on Jody's (Team Dresch/Hazel) Candy Ass Records. (Candy Ass, PO Box 42382, Portland, Oregon, 97242) Olympia's K Records finally found it in their hearts ta send us ihe new Belmondo record, "Lake Front" b/w "Grey-Eyed Lie*. Belmondo feafcres Pam Berry of Glo Worm ond assorted other bands on vocals and keyboards, Trisha Roy of Heortworms on 12-string guitar ond vocals, and R. Scott Kelly on drums. Together, ihis trio plays pretty giH/boy pop in the vein of ihe Crabs and the Softies - or a jush sounding Beat Happening. (K Records, PO Box 7154, Olympia, WA, 98507) Featuring members of ihe Vindicators and ihe Fallouts, Illinois combo Milk Duds is a superstar garage quartet of sorts. It's also essentially a parody of one of Billy Childish's bands, Thee Milkshakes, complete with bond member's "stage" nomes (Billy Boyish, Micky Hamster, etc.), and, on their Shake EP, interpretations of five of Childish's songs, along wilh one previously unreleased track, "9/1 Oths (Of Your Love)". (Square Target Records, PO Box 19673, Seattle, WA, 98109) While we're on the topic of Billy Childish, Japanese Irio The Pebbles have released a 7" on Planet Pimp Records, the highlight of which is iheir cover of Childish's tune, "Comanche*. I'm Sitting By the Window contains three songs in total, all of them sparse, cutesy, Comes complete wilh an entry form for Planet Pimp's Crazy Caption Contest, where you can win "BIG prizes". (Planet Pimp, 1 800 Market St. #45, San Francisco, CA, 94102) Sit'N'Spin's "I'm Sick" b/w "Shofto Road" wins the award for coolest record cover of the month, featuring cool cartoon art by Yoshiko Fujii. Of the two Iracks on this Planet Pimp release, we prefer the mid-tempo, retro surfrock a la the Smugglers on ihe A-side. It's nice to hear women wanking for a changel (Planet Pimp, address above.) The first of our two picks o' the month is from Boston's Skinner Pilot, who take their name from a test pilot who crashed inloMf. Skinner. This band also features a somewhat all-star cast, wilh Elizabeth Sharp, formerly of New Radiant Storm King, and Steve Healey from Frances Gumm. Andrew Zarou's vocals on the Sin Side's "New Sun" sound very Mark E. Smith (The Fall) -like , while the music reveals the influences of Unwound and Slint. The Good Side's "Stimulus/Response" boasts beautifully angst-ridden vocals by Sharp, plus Jason Lowenstein (Sebadoh)-styled sounds. (Good Sin Records, 215A Street 5lh Floor, Boston, MA, 02210) To end this column on a nice note, we'd like to introduce you to New York's Varnaline, who, upon first listen, will make you want ta keep 'em on your turntable forever. Their slow, lush-sounding "Party Now" certainly doesn't make us want to party, but lhat's o.k. On the flip side, "The Iron Horse" is a bluesy, Grifters-esque pop song, all the more appealing for its Eric's Trip-like recording quality (i.e. tinny and lo-fi, but slill full sounding). Varnaline's sound is captured by ihe record sleeve: on one side, it's intense, smoky, and mournful; on the other, it's calm and blurry. (Clubland Records, 7095 Hollywood Blvd. #651, Hollywood, CA, 90028-8903) Ever wonder how February became the month of depression? My theory is that any monlh without a paid working holiday is a real downer. Furthermore, the only calendar worthy date is the 14fh - Valentine's Day (yuck). Statistics show lhat North America's attempted suicide rate is highest during February. Plus, people get less exercise in February, which can lead ta backache, headaches, ond fatigue. And don't forget lack of sunlight (those who live in basement apartments know what I mean). Andrea ond I suggest eating green leafy veggies, long hot baths and ordering these uplifting zines. Design #816 #0 (5.5 X 4; 20 pgs) Being alone or isolated always tests one's ability to survive. Michelle of #816 seems to be coping. She is a straight-edge vegan living in Milwaukee "brew city" Wisconsin, where her immediole environment offers no one wilh common beliefs. A lot of us may be able to relate to feeling like an outsider, even when surrounded by friends or peers. As a newcomer to the straightedge lifestyle who maintains friendships wilh those who are not straight-edge, I've noticed that many people are intimidated and not understanding of straight-edge, which is an extreme lifestyle involving total abstinence from drugs and alcohol. Michelle explains her personal reasons for going straightedge, as well os a few political motives. She also writes about her day job, being working-class, ond punk. What impresses me is lhat she questions her identity within the context of these things, and also how she as on individual has developed values and overcome obstacles herself, instead of letting a 'peer group' make decisions for her. #816 is the first zine about straight-edge I've read that doesn't sound preachy, condescending or over- emotional, and it demonstrates thai sometimes feeling alone or isolated is a worthwhile price to pay to be true to yourself. Send a stamp, trade or spore change to Michelle, 816 P.O. Box 11496, Milwaukee, WI, 53211. GiH Fiend MB (5.5X4.5; 24 pgs) Christina went from \«*-- gelting her first kiss to losing her virginity in oneweek.She uses the zine format to write about her first Iwo sexual experiences and how ihey affected her. She is honest and open about whal went on between her and her partners and her own attitudes about sex, which she is trying to overcome. She writes aboul various problems, among them miscommunication with her partners, and how she felt uncomfortable with her own body when she was with her skinny boy partners. This zine disturbed me because I'm not used to reading about people's sex lives, and becouse of the screwed-up dynamics of the relationships. It made me realize that these communication problems are more common than we'd like to admit, and that sex isn't os much of a wonderful thing as it's made out ta be. Send $1 to Christina, Hampshire College, Box 960, Amherst MA, 01002-5001, USA. I'm Jonny and I Don't Give a Fuck MI (4X5.5; 37 pgs) Andy, the creator of this zine, says lhat he wrote it becouse he needed to 'document a bunch of dumb shit' he did as a kid. Andy's writing is so descriptive and humorous that, as I read his 31 tales of misadventure - which document his interesting you'll, growing up in Niagara Falls, and his many road- trip fiascos - I gasped out loud, sighed, and laughed hysterically, leading everyone oround me to ihink lhat I was completely insane. Now I can simply look at the cover and smile, remembering how bizarre and funny ihis zine is. If laughter is the best medicine, this is the best $1 cure you'll ever find. Write Andy at P.O. Box 21533-1850 Commercial Drive, Vancouver, BC, V5N 4A0. Deep Girl #5 (8.5 X 6; 24 pgs) I picked up a copy of DG #5 during my last trip to Seattle, immediately noticing the fancy-shmance, full-colour cover gracing the comic. Deep Girl is on its way up. In fact, Ariel Bordeaux has announced lhal back issues of Deep GiH are sold out and she will no longer oo cept trades far her comic. However, the news isn't all bad. The new look of Deep GiH is fantastic. Inside are seven strips, the best one definitely being Tit Chat", where Ariel describes her experiences as a big-breasted woman, and attitudes towards breasts in general. And it contains the cartoon favourites Lucky Penny and her pal Crabby Cathy. I suggest ordering while you can because, by ihe looks of Deep GiH , it won't be on unknown comic for much longer. Write Ariel Bordeaux at 573 Scott St, Apt L, San Fran- CA,94117. Funeral (8.5 X 7; 44 pgs) I get excited when I see other wimmin of colour writing zines. Sugar is a queer, working-dass chicana who is a survivor of sexual abuse and currently employed as a sex trade worker. Her zine is about lhat and so much more. Zines like ihis are so amazing and powerful becouse it's by a womyn refusing ta let people shut her up. Sugar uses her poetry and drawings ta tell her story, and she means to disturb her readers. She questions the institution of punk-rock boy and rich white girl feminism and how ihey really aren't working for change because they Iry ta be the voice for people who haven't lead the same privileged lives thai they have. This zine is angry and it's what I personally need as I work out some of my cultural/class confusion, especially when I'm surrounded by people who can't 'identify' wilh my experiences os an immigrant and as a womyn of colour. I recommend this zine to anyone who is ready to have iheir privilege questioned, and far those who had never had il. Send $2 US or trade to Sugar, 2754 Harrison St, San Francisco, CA, 94110, USA. Quiet Boy (8.5 X 5.5; 20 pgs) Quiet Boy is about white boy privilege and misogyny at its peak. Each piece is brief and badly thought out, leaving me offended by the mass of contradictions and woman hatred. Anthony, the author the zine, talks aboul changing Canadian currency so lhal there are Canadians on the notes, bul he only suggests white entertainers as the face of the new currency. He thus exdudes First Nations peo ple or people of colour, and people who have worked for real change in society. Most of the material in this zine is about his distrust and haired of women. In one piece he talks about ihe struggles of ihe working class and how they are the true proletariat, wilh ihe statement below the piece saying RETHINK THE REVOLUTION. I suggest lhat Anlhony rethinks the revolution, because in his revolution women and minorities don'l play a part; we are the enemy. $ 1.50 to Anlhony, 5751 Ludlow Road, Richmond, BC, V7C 2Z5. Blue Roses #5 (8 X 5.5; 20 pg,) "She walked 27 blocks home from Kinko's, alone at 3am, screaming all the way." I swear I could hear Geneva screaming when I read Blue Roses, or maybe ihe noise I heard was her heart hitting the floor and breaking into a million pieces. I fear I might portray BR #5 as for too emotional, but I literally embraced and was touched by her every word. I even got that gnawing sensation in my stomach. Falling in love and letting go is no cut-and-dried topic. Not only is Geneva facing her love and frustration, she discusses her existence as a lesbian when almost all her friends are eilher straight or bisexual. Her honesty is so admirable, especially because she challenges many unspoken ideas about being queer, such as the media portraying queer culture as hip or fashionable, and how that belittles her commitment to being a lesbian and ihe genuine trauma of coming out of the closet. I must also praise the cover art and illustrations, as they add to the personal and heartfelt nature of her writing. Blue Roses is a split zine, wilh Lie for a Lie #3 by Jason Pruift. His half is great too, although it is very emo. I let Andrea review it. Write Geneva M Gano, P.O. Box 40674, Portland, OR 97240. lie for a Ue #2 X 5.5; 20 pgs) The main focus of Jason's zine is a critique of emo from the perspective of someone who is heavily involved in it, the main criticism being lhat it is mostly a boys-only atmosphere. Words mean nothing without action; so, he wonders, that you have the ability to openly express emotions, what are you going to do next? Femi- >mething lhat involves action ond lhat is why it can not be a part of emo. He talks about the cliques and cults lhal happen in punk and hardcore and how, instead of trying to separate themselves from mainstream society, they are becoming il instead, with their sexist and homophobic ideals. Jason also talks about the importance of volunteer work, because the only way lhat you ore going to change things is if you get involved in your own community. Send a dollar to P.O. Box 40674, Portland, OR, 97240-0674, USA. MCA CONCERTS CANADA An evening of spoken word with T 11 PUBLIC INSOMNIAC IMO- TOUR 11 THE VOGUE straight 8 PM ***T«REE SAN6S PER SHOW***, SB HAJ5EI tlieei# *AU AGES SHOW* W*N0 MINORS EVENING* DOORS 2PM-SHOWTIME 3PM DOORS 7PM • SHOWTIME 8PM first up - steel Woof, then first up - the enptys,then Hazel, then sparknarher steel wool hazel closes SATWU>AYm.3, I THETOVNPUNP * 1 111 (3 X r -)- with guests SALT and LOCAL H FRIDAY FEBRUARY 9 THE TOWN PUMP: REAL ROCK EARLY SHOW! DOORS 7PM TIX $10 AT THE DOOR For Henry Rollins available at: all Tl CKETMASTER outlets or Charge by Phone 280-4444. Tickets For Mystery Machine & Hazel. Sparkmarker, Steel Wool & The Emptys at the door only! jppierrwiM. THE BONADUCES Matching Socks, Misting (Charlotte's Web Record.) The Bonaduces is a band lhat includes members from other Winnipeg groups, including Cheerleader and the sadly defunct Banned From Atlantis. On Matching Socks, Missing Feet, the band has made a definite ode to modern-day pop culture, with images of Claire Danes and David Hasselhoff on the sleeve, song-titles like 'Judy Blume Weekend', and the band name itself. Pop culture references abound in the lyrics at well, which are as interesting to read at the titles of the songs: 'Megan is a Frvirioop", "Really Powerful Telescope' and The Early Ayn Rand'. The music is power, power, power-pop to the hilt, often sounding like the best parts of Chixdiggit, Pluto, Gob ond Small 23 put together, wilh a vocal style reminiscent of Propaghandi. Energy and melody ore everywhere wilh this guitar-based quartet, and it's not at all boring like so much of this genre has become. It's maybe a little bit early for such predictions, but the Bonaduces' cassette could very well end up as one of my favourites for the CADILLAC TRAMPS Cadillac Hearse (Doctor Dream Records) Cadillac Tramps died a year ago, but their spirit is far from the grave. The raw, unfiltered power of the band screams, as driven as ever, throughout the twelve cuts on the recently released compilation, Cadillac Hoarse. The album, honouring the band's seven-year history, is gritty and rages in classic Tramp-style from beginning to end. Il is a collection of remixes and live, pr^produclion otftokes, all of which display the power and angst that followed the Tramps wherever they went. The classics, such as "Don't Go" and "Life on the Edge", are there as well, reminiscent of earlier days and re-igniting the spark lhat the band always seemed to inspire. But Cadillac Tramps are gone, end of story. If nothing else, the album delays for a while the inevitable truth that the boys from Oronge County won't be making ony more records. Cadillac Hearse is a monument, an epitaph, and a last dying scream. Jeremy Lanowoy CUSTARD Wisenheimer (Ra Records) From the lads who gave us the masterpiece lhat is Wohooti Fon- dango comes another beautiful album, the ecstatically brilliant Wisenheimer (apparently it means 'smarty pants'), which could also be entitled Reasons to Love ond (Still) Believe in Songs of the Pop/Rock Genre. It's lounge, ifs punk, it's a little bit country, it's a little bit rock 'n' roll, it's pop, it's noise, ifs cheezy, often all within one two-minute song. Most importantly, David McCormack ond his merry crew have senses of whimsy, mischief and humour which make the songs on this offering both a light- hearted joy and an excruciatingly well-written survey of the current musical landscape and life in general. The great skill of Custard is that they toke the otherwise banal details of quotidian existence and turn them into items worthy of Dionysian celebration and emphatic worship (os long as they provide the soundtrack). They also make biting cultural observations, as in "The Synthesizer is Rapidly Overtaking the Guitar as the Most Popular Instrument in the World", and write cutesy romance songs worthy of the name: "Leisuremaker" and "Venus Flytrap ond Lightning Bug", in which McCormack declares, "Ifs violins for our relationship". Ah I The poetry and wonder and musical brilliance of it all is almost overwhelming. I love 'em, and you will, too. (Available through Warner Musk Australia - ifs well worth having it imported.) Sophie Hamley DJFOOD A Recipe for Disaster (Ninja Tune) I picked up DJ Food thinking it was DJ Krush, Japan's best mixmaster and club gun*. My mistake. DJ Food is actually the eiectrofreaks also known as Hex and Coldcut, two anonymous blokes who have been playing on the fringes of underground star status without a grasp of firm reality (but at least a grasp of virtual reality). Unlike their Hex/ Coldcut reincarnations, DJ Food leans towards trip hop in the vein of the Chemical Bros, or Depth Charge instead of...well, whatever the hell Hex/Coldcut do in the daytime. Recipe... is damn fine trip hop with the extreme amounts of indecipherable weirdness that Hex & Coldcut are known for. A good companion piece to FSOL on a strange night, when the moon turns green and the clouds pink. Christian FOR SQUIRRELS Example (550 Music/Epic) For a full-length debut, Example is quite remarkable. Unfortunately, their legs were knocked from under the quartet before they had a chance. Last October, two members died in a car accident on their way home to Florida after a concert in New York City. While Ihe band nicks from R.E.M., Ihe Pumpkins, and a host of others, it is influence, not theft. A froth of styles and hooks bubble to the surface, yet with one swipe of an invisible wand, For Squirrels sound distinctive. Slightly burying the vocals, Example places the guitars upfront with a rhythm section logging not for behind. You've heard it done before, but if it isn't broken, why fix it? What makes this debut so potent is the band's muscular song structures. Musically and lyrically they con write a song that producer Nick Launay has little trouble buffing into a glistening bauble. Example sustains an edge yet never loses its cool, from ihe opening chords of "8:52 P.M." to the final blast of "Eskimo Sandune*. Whether they give a nod to Stipe & co. on "Mighty K.C." or look bock at the heyday of the Clash/Specials for "Long Live the King", For Squirrels can hardly go wrong, which makes iheir probable demise all the more tragic. Pieter Hofmonn GOLDEN SMOG Down by the Old Main- (Rykodisc) There's a tendency to consider Golden Smog as a 'supergroup' of sorts, as it indudes members of Soul Asylum, Wilco, ond the Jayhawks. However, as greal os this collaboration may seem, the results are sadly disappointing. Down by the (Did Mainstream is a collection of mostly average, country-tinged, lifeless acoustic numbers. The high points for me are the tunes sung by Wilco's Jeff Tweedy, such as "Pecan Pie" ond "She Don't Have to See You". Unfortunately, the high points seem few and for between. Don't set your hopes too high, as I did, or you'll likely be disappointed also. Fred derF GRAND THEFT CANOE Bolivia + Argentina = Paraguay (Prospective Records) I first heard Grand Theft Canoe a year ago when I was given a cassette release of Bolivia... With a few changes for the belter (improved album artwork and remastering), the band has now released a CD version of quirky pop music that makes me think of Syd Barrett meeting XTC in a medieval British village. The songs on Bolivia... are almost everything you wouldn't ex- pecl from Winnipeg if all you knew was its punk scene. The focus on melody and arrangement lead me to believe that if you placed the band in a studio for three or four months, they would produce something approaching a masterpiece. GTC's use of simple melodies exploring the most ear-calching notes of the chords they play combined with occasional intensity make a really good album. Brkm Wieser THE HAIL MARYS Sex Child (Panic Stricken Records) The Hail Marys remind me of Mollies Revenge, sans cello. Singer Jackie Strano has a powerful voice, and great range. The first seven songs on this disc are upbeat, catchy tunes. Strano's voice is well complemented by these riff-driven tunes, quirky lyrics and all. His voice is best showcased on the final song (and tide track) "Sex Child". Recorded live ot a gig, this acoustic number is the icing on an already-delicious cake. Peter Stevens HEAVY VEGETABLE Frisbie [Cargo) "Locked. Trapped in the cupboard. Kicking and scratching all night, half-blinded by fluorescent light. It's still moving." These words, taken from the song "Still Moving", could be the thesis of Frisbie. Trapped and kicking, scratching and half-blind, and slill moving. Exactly. Think movement, think energy. Slop-and-start, then go. The songs are frantic, blurring fragments splashed wilh chaos and racked by convulsions. The tempos are jogged and fast and they actually define the mood of perpetual motion rather than support it. And the songs come out of nowhere, raging, head-on, and then they're gone - quick as they came, only to be replaced by another. Twenty-two of the twenty-eight Iracks are under two minutes long, so the pace rarely lets up. Figure in the catchy guitar riffs, ihe smooth, dreamy vocals, and a few breathers here and there, and the picture is clear, if not vivid: Frisbie is a forty-five minute storm that re-defines the relationship between peace and frenzy. Jeremy Lanowoy Be a DETECTIVE OUH-Al. SCH00l»i>tVE«riGMi<» ] ~i HUSH HARBOR Hush Harbor EP (Up Records) All of Hush Horbor's songs ore full of anger, but I think thot the slower songs seem to work better. "Looking for a Ladder" is one of these slower ones (my favourite), a moody song about trying to escape from undesirable circumstances. Sunny Day Real Estate showed that emacore works, and Hush Harbor have done the same. Il should be interesting to hear what evolves from this out- take in the future. GQ RICHARD H. KIRK The Number of Magic (Warp/TVT/Wax Traxl) R. H. Kirk (love the namel) may be familiar to those who like the now defunct Cabaret Voltaire. Kirk was a member of that '80s outfit, whose electronics inspired both New Wave ond today's ambient techno. His solo debut. Virtual State, set new boundaries for the intelligent technooriented, putting him in the same category as Eno, Fripp, Cage and Cale. True, his tunes are for the computer nerd set, but so what? So is Block Dog, B12, Aphex Twin, Autechre and other bleeporienled outfits. The best way to listen to the LP is straight through, ifs that stimulating. Christian MEAT PUPPETS No Jokel (London) The first thing one notices about this album is how accessible it is. The second thing is that the house of music the Meat Puppets entered at the ground level is now representative of a style of architecture yawningly prevalent all over town. Nonetheless, this is quite a good album, less reminiscent of the music of their former collaborator Kurt Cobain (the Puppets' Kirkwood boys appeared on Unplugged) thon of Monster Magnet ond...ur...those Live/Collective Soul-type bands (not in the same songs, mind). The songs are solid, and disturbingly catchy (Should grunge be catchy? What ore fhe rules now?). Unfortunately they also sound too much like eoch olher. The lyrics are more interesting than the music, ond one suspects there is a theme at work here with song titles like "Scum", "Nothing", "Vampires", "Predator", "Poison Arrow' - yup, I suck, you suck, we all suck - "I'm a hole in this time/In a time full of holes/ You see it/I'm nothing" ("Nothing"). The piano and cello work on "Head" is nice, and is a better accompaniment lo the morose vocals than a more electric deal would hove been, and "Taste of the Sun" is surprisingly melodic. But, opart from that, it's fairly unremarkable. Sophie Hamley JOEL R.L PHELPS Warm Spring Night (El Recordo) When Joel Phelps was still in the band Silkworm, he was my favourite Silkworm guy. I thought he was cool, and you know why? 'Cuz he wore horn-rimmed spectacles and he never seemed to appear quite comfortable on stage, especially when he had to sing and play guitar at the same lime. Watching him teetering on the edge of his stool, I thought his kind of non-attitude was charming and endearing. Kinda geeky, but pretty refreshing. The songs that he wrote and sang were so passionate I felt like crying, but thought better of it. Then, he quit Silkworm ond I was sad. But heyl No need to be so sad musical creations courtesy of Mr. Phelps, on the same label lhat released Silkworm's latest fulHength Libertine. Same wonderful guitar sounds and quiet/loud (always emotional, but never melodramatic) vocals. When his voice strains, Phelps is reminiscent of Neil Young, but the music is on the same line as bands like Codeine and Seam. Most of the tracks ore slower, windy, ballad- style, but he also throws in a faster, dare I say, rock song: "God Bless the Little Pigs". Phelps is accompanied by a full band, including horns and flute, but he could just as well be playing alone with an acoustic guitar. Listen to it. He don't need to be on Matador to be good. miko THE SHOEBOX COUPONS Eh (Independent) If imitation is the highest farm of flattery, then North Vancouver's d.b.s. con hold their heads high. Okay...perhaps that sounds a bit cruel. Actually, I quite like Eh. It is full of blaring guitars, endless energy, inconsistent rhythms, silly lyrics and the chants of four prepu- bescent boys from Kamloops. I think that I am justified in saying the Shoebox Coupons are yet another punk-ish band inspired by the success of Green Day, Offspring, et al. While I couldn't simply sit down ond listen lo Eh in its entirely, ifs great to play a few songs when I am just in the mood to mosh. Who says the Interior doesn't rock? Peter Stevens SHOW BUSINESS GIANTS Let's Have a Talk with the Dead (Essential Noise) Show Business Giants' latest, Let's Hove a Talk with the Dead, is a testament to the fact that it is fun to be in the music industry. Just reading the track titles is entertaining: "The First Pygmy in Space", "I am the Lickspittle ofthe Animol Kingdom", and "I Can't Get Russell Johnson Off My Mind*, to name a few. Some of the songs could be sold on a t.v. advertisement far songs 'in the style of Elvis', but others are pure punk- rock. The bond is a compendium of west-oast rockers such as John Wright, Scott Henderson and Tom Holliston of Nomeonsno, ond Ford Pier from D.O.A., so ifs no wonder that some of the songs - the best songs, in my opinion - sound similar to Nomeansno (i.e. the second track, 'Mothra Has Send cheque or money order to: SuSs c/o CiTR 233^138 SUB Blvd — ~ — ""*1 Vancouver, BC V6T 1Z1 Yes! Send m DiSCORDER" And the CiTR Stkker button and magnet! i Taken Tokyo*). Have a listen to Let's Have a Tolk with the Dead because it is AOK. took THIRTY OUGHT SIX Hag Seed (Mute America) New York's Thirty Ought Six are obviously preoccupied with Classical culture: Hog Seed contains songs wilh names such as "Ado- mantine', 'Eris", 'Hussar' and "Analept", ond is decorated with photos of Roman statues. Much art poles in comparison to lhat from the ancient world, and this album does likewise. While Hog See J is by no means an offensive disc, il doesn't really contain any standout tracks. The major challenge facing 3006 is that iheir sound is not unlike thousands of other garage bands across North Peter Stevens VARIOUS ARTISTS 110 Below Volume 3 (New Electronka) Ifs called 110 Below because all tracks featured on this compilation are below 110 beats per minute. In addition lo the slowed pace, there is an overall tribal- dub-elhno influence which permeates throughout the grooves of this compilation, making it danceable but also great for the chill-out room. There are a lot of great cuts, including Future Sound of London's 'Smokin'Japanese Babe", Material's 'Mantra*, Muslimgauze's "Khan Younis*, ond Squid's 'Overdub*. Overall, 100 Below Volume 3, like its predecessors, is a good slow groove that brings together some of the best artists in the business. Try to grab a listen at your favorite record emporium. Brian Wright VARIOUS ARTISTS Ambient Time Travellers (Cleopatra/Hypnotic) Hypnotic has rounded up a number of tracks from their diverse harem of artists to create an eclectic feast far the imagination. There are several tracks lhat really stand out on this compilation, including Anubian Nights' "Soul Herder", with its eastern influences conjuring up images of ancient Egypt. Another enjoyable ethno-influenced cut is Dilale's "Udism", which also employs the sounds of the Middle East with overlying tribal tones. However, the standout track for me is Spaceship Eyes' 'Sea of Steps', which is a slow, moody, bootless massage for the mind. Other artists include: 7, The Brain, Dark Matter, Zero Gravity, Xylon, Giez and Surface 10. Overall, there's a little something for all fans of the 'ambient' genre. Brian Wright VARIOUS ARTISTS Secret Agent S.O.U.N.D.S. (Mai Tai/Dr. Dream Records) Thirteen super-spy instrumental cuts can be found on this digital dossier (which doubles os a decryptograph for all you really investigative types). Among the featured crime-busting combos are Laika and the Cosmonauts (doing the theme from 'Mission: Impossible'); the scariest band in the world, Deadbolt, wilh the "James Bond Theme"; Man...or Astroman?, Los Stroitjackers, ond the fearless femmes folates, the Neptunos, doing an ode to underwater underwear, "DoubfaD Seafoam*. A medal-winning release to be sure. Bryce Dunn VARIOUS ARTISTS Seek Refuge From Your Intolerable Situation (Garden of Delights) Cool indie UK label Garden of Delights has compiled a 23 band 12" vinyionfy release, with proceeds going to the Women's Aid Federation in England. The selection of bands spans the globe, although many of the bands are from the UK, such as Momus (doin' his own brand of thought- provoking pop), Red Chair Fadeaway (psychedelic folk-rock), and the Pastels (legendary Scottish version of Beat Happening). My eors were olso treated to the sounds of North Carolina's quirky gal Rebby Sharp, New York's queercore folks God Is My Co- Pilot, and Maryland's 4-track songstress extraordinaire Linda Smith. There's even one sole contribution from Canada: one of cub's oldest recorded ditties, "The Day We Met*. Other highlights on the record are by the Television Personalities, Azaiia Snail, and Mambo Taxi, but there isn't a sour grape on this bunch I These group all explore ihe boundaries of what we now know of as 'indie pop*, *lwee-pop*, or *lo-fi*, whatever term you associate with the genre of music that is more concerned with artistic expression than production. Say NO to mole violence, support a good cause, ond listen to some lovely tunes. VARIOUS ARTISTS Step On It • The Best of the Ska Parade Radio Show (A to Y Productions) I picked up the particular recording in question because it features a number of great ska bands, many recorded live on the John PeeUsque *Ska Parode*, an exclusive ska/rock steady show on KUCI 88.9 FM in Irvine, California, hosted by Tazy Phyllipz and Albino Brown. Featured are Let's Go Bowling, the Voodoo Glow Skulls, the Skeletones, the Schmedleys, Skankin Pickle, the Mudsharks, and Roland Alphonso of ihe Skatalites, among many others (including some great covers, such as Turning Japanese" by Sparker and "Solid as a Rock" from 1958 by Ocean 11, and Mancini's "A Shot in the Dark" by Jump with Joey). Not all the recordings are ihe greatest quality, and some songs do not necessarily represent the best stuff by some of these groups, but as a collection, if you are into the scene, it is worth picking up if you can find it. (A to Y Productions, P.O. BOX 5766, Irvine, CA, 92716-5766, USA.) /. Boldt VELVETS' CHRISTIAN COMICS PART"*Ql ©IW 8MWELyi*»uR«R 27 £ufe°H>S2 • A:-:c--■■■■':■■■ :'■■'*'**■-V^A.^*?-A- febmary'96 LONG VINYL fe.nan'qg SHORT VINYL february'96 INDIE HOME JOBS 1 various artist* oh canaduhl lance rock | wandering lucy really truly k 1 *5 fuzzy head pills 2 th* aaps tha aap* aad/polydor 2 the acrackins life, hay aikey shreddar 2 squeeky three 3 voodoo glow skulls tLtm epitaph 3 pluatrae wetar had leaked... cdnaaonnon toast 3 destroyer karan is in roae 4t.hea shatners thee shatnars planet piap 4 the fiends she's not broken dr. aushrooa 4 gaze pda 5 t.wer docleb chalk fairy trackshun 5 hayden aild and hazy lunaaoth/hardwood 5 vico junior 6 tha softies it's lova k 6 eric's trip the road south sonic unyon 6 pipedraaa Saturday disaster 7 southern culture dirt track data gaffan 7 aocca noraal tha bird that wouldn't fly aatador 7 tha readyaada first bass is sleeping 8 2 foot flaae 2 foot flaae aatador 8 the cebe barns band she's a winner horsakitty 8 hayden on it on 9 rocket fron tha crypt scraaa dracula scraaa intarscope 9 brand new unit quickdraw richy rich heart first 9 floragore saq lOhellua suparball ep aatador 10 tha third sex feed ae kill rock stars 10 the aystarons bbq with alvis 11 aan or astroaan? live transaissions... hoao habilis 11 go sailor long distance slunberland 11 johnny ailleniua spsad 12hlur tha great escape food/eai 12 girl afraid/Z..flinching split pop kid 12 naardvark tha sanitary elephant 1 wanna get punched 13 varloua artists aallrats soundtrack 510/aca 13 fluffer what you're good for pasta 13 violet i step on all tha cracks Msicko chef boy r u dua eapty 14 pouaons new se think 14 space kid aolly ringwald 15 taxaa it tha raaaon taxas is tha reason revelation 15 soul junk go away sub pop 15 joexaas unknown 16 flowchart nulti personality... carrot top 16 red dye no. 5 not again you candy floss 16 nine days wonder sun 17 tuscadero step into ay wiggle rooa taan beat 17 bubby girl bubby girl boon 17 acre socks blends with pens 18 rancid and out cone the wolves epitaph 18 state cbaaps nevada downs daydreaa 18 dick'n'jana release ae 19 sonic youth washing aachine gaffen/aca 19 la donnas long legs scooch pooch 19 aeow nix productions sunnyassin 20 pizzicato five unzipped ep aatador 20 Moonsocket accept fear sub pop 20 1000 staap* poster child 21 the cardigans life polygraa 21 guided by voices aotor away aatador 21 freeloader not afraid 22 various artists sonic unyon rock hits sonic unyon 22 bikini kill in accordance... kill rock stars 22 disturbed coapany bootleg noons nine 23 sf seals truth walks in sleepy ■ hadows aatador 23 orange glass wait a day sappy 23 touch & go* Ugly 24 don caballero don caballero 2 touch & go 24 thinking fellers loc. 282everyday aaarillo 24 12 point buck flog 25you an i hit! way ra/wea 25 railroad jerk bang the drua aatador 25 pluap cold feet 26 lisa garrard the airror pool «ad/polydor 26 la grenuda fast girls, fast living. horsekitty 26 ak naoai fern 27 banco de gala aaya aaa aoth/atlantic 27 tha phantaa surfers survival of the fattest planet piap 27 ioo story the only reason 28 various artists ausic of joy division virgin 28 tizzy new jersey chunk 28 texture london 29 various artists rock for choice: spirit of "73 sony 29 gas huffer ooh ooh ooh] lance rock 29 jabber follow your voice 30 various artists blow hard and pop bubblegun 30 super hussy wa are tha best corporate 30 sturvis later 31 bunnygrunt action pants! no life 31 tan days lata out of tune klark 31 cool hand luke david 32 cub/potatoaen split cd aint/lookoutl 32 teen angels teen dreaa sub pop 32 trish kelly untitled 33 various artists the poop alley tapes win 33 paveaent father to a sister... aatador 33 kid chaapion luainites 34 fifi and tha nach ill 1376 1 + 2 34 goldfish fondly bonfire 34 paisley suitcase reconcile 35 noaaansno the worldhood of tha world alt.tentacles 35 f0» gold leather with heel detail genius 35 added height down tha highway MARY 1YIER MOORE SHOW 7 MOST BOUFFANT TKNGS nWf 1 ce be barns band horsekitty 7" 2 puncture snipe or .tMrve snap your neck 3 coaet gain casino classics xaas wiiija 4 the alien girl ca talogu. 5 palzuli's perforaance at the NAVAN benefit 6 rock she wrote eds e aacdonald and a powers delta books 7 when people find nu and interesting ways to connunieata 1 la banda gorda candela pura ap 2 patato, changuito y c restesritao y candela redwood 3 salif kaita folon...the past island 4 bigga r>»<H»n best of the best vol S ras 5 gloria estefan abriendo puertas sony 6 luciano where is the life island 7 king sunny ade e dido get up aesa 8 orquesta tropicana elboabazo indy 9 jane bunnett rendez vous brazil Cuba justin tiae 10 yellowaan around the world ra. LOVE SUCKS TOP TEN %m to* w bluafeld l'etat et noi big cat for carnation fight songs aatador grifters eureka ep shangrila heliua the dirt of luck aatador labradford a stable reference kranky rac hai handwriting quartarstick red red aeat bunny gets paid sub pop seen r u driving aa crazy touch and go Bone s t earth to tortoise caaera (and) cliff dweller 12" duophonic 1 orquesta da la luz sefue bag latin 2 raaon orlando al ven.o (reaix) karan 3 jose alberto quien coao tu raa 4 loa illagales la aorena bag latin 5 pochi y su cocoband al chisae karan 6 los haraanoe rosario duena del swing (reaix) karan 7 Willie gonzalez pobre tonto ap 8 gloria estefan abriendo puertas Bony latin 9 selena techno cuabia eai latin 10 tito goaez & tito rojas deja la ap 28 FEBRUARY 1996 SUNDAYS ARE YOU SERIOUS? MUSK 8:00AM- 1200PM All of time it measured by its art. Most broadcasting shuns art for incestuous market-music. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 1100-3:00PM Reggae ima all styles and fashion. LUCKY SCRATCH Aberrating 3.-00-5KWPM Blues ain't nomin' bul a good woman feelin' bad. Git down and git back up again - host Anna. RACK) BLUE WARSAW 5KJ06.-00PM join lum & helen in their quest for krupnik. HEATHER'S SHOW 6:00-8:OOPM Dedicatatedtolhe gay, lesbian, bisexual, and transsexual com-muniliei 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 WXM0-00PM Geelanjoli features a wide range of music from India, induding classical music, both Hindustani and CamaHc, popular music from Indian movies from the lyS^s to the 1990*8, Semi-classical music such as Ghazals and Bhajans, and also Quawwalis, Folc Songs, etc Hosted by J. Dhor, A. Patel and V. Ronjan. RADIO FRE AMERICA 10:00PM- 12:00AM Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think twice. Bring your tape deck and two C- 90s. Originally broadcast on KFJC (Los Altos, California). INTW GRIP OF INCOHERENCY 12:00AM- 4AM Drop yer gear and slay up late. Naked radio for naked people. Get bent. Love Dave. MOM-DAYS BREAKFAST WITH THE BROWNS 8:15- 11.-00AM Your favourite brown-slers, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! Tune in and enjoy each weekly brown plate special. THE STUPC RADIO SHOW 11:00 AM-IKK) PM With your hosts the Gourd of Ignorance and Don the Wanderer. What will we play today? Rog will put it away. MEKANIKAL OBJEKT NOIZE 1 *O0- 3.-00PM CiTR's induslrial/noise/ambienl show, all-ernating with SKINTIGHT BUFFOONERY - wimpy British pop, Beastie Boys, indie guitar swing, and techno thrown in for good measure. Hit your olfactory nerve centre with June scudelerQmindlink.bc.ca. THE MEAT-EATING VEGAN 3KXM*«0PM I en-deavour to feature dead air, verbal flatulence (only when I speak], a work of musicbyalwenh'eth-cenlu7compo$er— can you say minimalist?—and whatever else appeals to me. Fag and dyke positive. Mail in your requests, because I am not a human-answering machine. Gol a quarter then cal someone who cares. FEMININE HY-JMX 4:00-5*OOPM For women who sometimes don't feel fresh, bul always get fresh. Spoken word and music: light to heavy flow. " protection recommended for male listeners. Holy Hannah! It's a Femininst show. BIRDWATCHERS 5:304:00PM Join Colin Pereira for all the weekend sports shlock from the high altitudes and ihin air of Point Grey. POLYPHONIC alternating 7KX>-?:00PM Listen for all Canadian, mostly independent tunes, and band interviews al 7:301 THE JAZZ SHOW 9:00PM- 12:00AM Vancouver's longest running prime time jazz program. Hosted by the ewrsuave Gavin Walker. Features at 11. TUESDAYS THRD TIME'S THE CHARM 960-11-00AM Hearl Music that makes you feel burned alive on an altar of flame! Shake wilh laughs! Shiver wilh suspense! Tremble wilh thrills! Not for sissies or children! It's scary) It's screamy! It's screwy! MARY TYLER MOORE SHOW 3:00-5:00PM Women in music and grrrls in music; Iwo hours of info and rawk. Ya don't need a penis to be a musical Genius! KMA 5:30-6-OOPM News, issues, and concerns fixing Muslims throughout me world. THE UNHEARD MUSK 7:00-9:OOPM Meat the unherd where ihe unheard and the hordes of hardly herd are heard, courtesy of host and demo director Dale Sawyer. Herd upl RITMO LATINO ?:00-l<HX)PM Gel on CiTR lOLS £m board Vancouver's only tropical fiesta express wilh 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 itH give you a tan! ijRADfO SABROSAI! WOLF AT THE DOOR KHWPM-12:00AM Alternating Tuesdays. Live readings and the latest in techno bizzarre with hosl Lupus Yonderl>oy. AURAL TENTACLES MIDNITE - 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. The music, news and 2:00 WWOD hosled by Pierre may not be suitable for the entire family. WEDNESDAYS LOVE SUCKS 11:30AM-1:00PM Tune in for ihe musical catharsis lhat is Love Sucks. If you can't make sense of it, at least you can dance to it! MOIORDADDY 3:O0-5:0OPM 'At dub fundions ihere is to be no shooting of firearms or setting off fireworks.' ESOTERIK 6:00-7:30PM Ambient/ electronie/industrial/elhnic/ experimental music for those of us who know aboul the illilhids. AND SOMETIMES WHY 7:30-9*OOPM BOO GA LOO, SMELL MY SHOE, DOODLE TOO -secret stars, joel phelps, tarnation, strawberry jams...these are a few of our fave-oh-writ things. La la la! TROPICAL DAKXJHB9:O0-10:00PM Zouk, Soukous, Samba, Salsa. Yesl Even Soca. Enjoy ihisTropical Daiquiri with ElDoctor delRilmo. STRAIGHT OUTTA JAUUNDHAR 10:00PM 11-00 AM Lei D/sJindwa and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay*. Listen to all our favorite Punjabi tunes - remixes and originals. Brraaaah! THURSDAYS CANADIAN LUNCH 11:30- 1:00PM Toques, plaids, backbacon, beer, igloos and heaven. STEVE & MKE 1:00-2.WPM Crashing the boys' club in the pil. Hard and fast, heavy and slow. Listen to il, baby. JUSTIN'S TIME 2:00-3:OOPM If you like Shirley Hom or Oscar Peterson, tune in. If you don't know who ihey are, listen anyway. It's great jazz. OUT FOR KICKS 6:00-7:30PM No Birkenstocks, nothing politically correct. We don'l get paid so you're damn right we have fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30- 9:00PM Roots of rock & rol. LIVE FROM THUNDRBIRD RADIO HELL fcOO-llrOOPM Local muzak from 9. Live bandz from 10. BANDSTOBEANNOUNCBX FRIDAYS VENUS FLYTRAP'S LOVE DEN 8:30- 10*00 AM Greg here. Join me in the love den for a cocktail. We'll hear retro stuff, groovy jazz, and thicker stuff too. See you here... and bring some ice. XOXX TELESIS 10:00-11:OOAM Tune in for discussions, interviews & information relating to people who live with physical & mental challenges. SKATS SCENE-IK DRIVE! 11:00AM 12.-00PM The hottest, newest, cutest, bestesl, raging Ska tunes wilh Scolty and Julie. UTTLE TWIN STARS 2*00-3:30 PM Kiki liki Kiki liki NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:OOPM Have a good brunch! NATION 2 NATION 6:00-9:00PM Underground sound system- style masrermix rodio. FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio free America Series. HOMEBASS 9:00PM-12:00AM The original live mixed dance program in Vancouver. Hosted by DJ Noah, the main focus of the show is techno, but also includes some trance, acid, tribal, TUB THU SAT *reyvk serious music? vn*kf*it wfthtkt ffrowtaf third time's the charm fttffc musical interludes Vom FirrxAP't tot* Dm/ tkr SATURPAY EPCE DIGITAL RLRRH CHRONOMETER R-ttliU Fr-r-r WOMEN Telttit *• SWl> MM SNOW BLOOD ON THE SADDLE *"%£** love sucks CANADIAN LUNCH ISI-BMd ROCKERS SHOW IAMT1WATC1 POWER CHORD HEHHRIKRL OBJEKT IME 9ie6tl^vz0 SAM rill-In. girlfood justin's time LitetX****** Stars WVTAM«)/ Ikcky SCTAtck MMt-EAtfNj VMM Qet Til****** Jay! MOTOR DADDY HfXYOUR MHO AFRICAN SHOW NARDWUAR/ Ft-nlKlM Hy-\lnx Mary Tyler Moors Show Hettker's Show FUaliij CittTfllttr AWATA HOW*? ESOTERIK fett For Kfcfcf NATION 2 NATION THE SHOW (hiphop) polyphonic/ kip kop k**;t UNHEARD nusic and sometimes ON AIR WITH CREASED HAIR cobra. synaptic sandwich 6«T*NJ*U THE JAZZ SHOW RITMO LATINO trapi-?*! lUi^fciri LIVE FROn THUNDERBIRD RADIO HELL HOME BASS ONE STEP BEYOND: RADIO FREE AMERICA wolf at Ihe doer/ witchdocotor highball STtt Olttt-A Fill-in RADIO T.Y./ Groove Jumping IK THE GRIP OF INCOHERENCY SCReAMWG /rVGOrV- S/Sr£rVC/fS AVUAL Tb/TA(I£S IHEORUFR- LlVHf ffufc fill-in slot from hell SOMETHING etc... Guest DJ's, interviews, retrospectives, giveaways, and more are part of rhe flavor of homebass. UMPSINK 12.-00AM-142AM Hosled by the G42 players. The show that doesn't hale you.' with your friendly pals Friar Frilter Abfackeln and Postman Pal. And on alternating weeks join Dr. Killdare on 'The Doctor Killdare Show." Contact: limpsinkObroken.ranch.org SATURDAYS THE SATURDAY EDGE 8:00AM- 12:00PM Now in its 10th year on the air, The Edge on Folk features music you won't hear anywhere else, studio guests, new releases, Brirish comedy sketches, folk music calendar, ticket giveaways, etc., plus World Cup Report at 11:30 AM. 8-9 AM: African/World roots. 9-12 noon: Celtic music and feature performances. POWERCHORD 12:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Raltlehead and Metal Ron do ihe damage. THE SHOW 6:OO-8:00PM Strictly Hip Hop - Strictly Undergound - Strictly Vinyl With your hosts Mr. Checka, Flip Oul & J Swing on the ]&2's. SOMETHING l*00-4-00AM-You can tell by the way I use my walk. I'm a woman's man ...no time to talk." WHOM & HOW Arte Ian MdGmon Board Chair Harry Hertscheg Business Mgr. Otis Ashby Current Affair* Andrea Spence Demos/Cassettes Dal* Sawyer Engineer Richard Anderson Entertainment Kevin OToole Librarian Clarence Chu Mobile Sound Andy Bonfield Musk Megan Male* President Brian Wieser Production Aaron Robertson Programming Miko Hoffman Promotions Selena Harrington Secretary Chandra Lesmeister Sports Dave Ryan Station Manager Undo Schoiten Student Engineer Fern Webb Traffic BUS. LINE 604.822.3017 DJLINE 604.822.2487 MUSIC DEP7. 604.822.8733 NEWS LINE 604.822.5334 FAX LINE 604.822.9364 Programming News CHANGESlGroove Jumping has moved from Sat. toaltemating Thurs. from 11 pm- 1am. START PLANNING for INTERNATIONAL WOMEN'S DAY (March 8)! Call CiTR if you want lo contribute! The programming dep't. js looking for anyone interested in producing a spoken word/music show dealing with First Nations/Aboriginal issues; for info, please contact Miko @ 822.1242. 29 E£fe°3^3 REGULAR EVENTS MON: CiTR 101.9fM PRESENTS WORLD VIBES W/EL DOCTO D£L RITMO (WORLD BEAT) AT THE PIT PUB...Z00 Boogaloo w/ djs Spun-K and Czech (jazz, funk, reggae, hip hop) at the Starfish Room...Blue Room w/dj Isis (ambient) at Automotive...80's Dance Night w/d| Brian St. Clair otGroceland...Readings, Music & more at the Grind Gallery (every other Monday at 8pm)... TUISj CiTR 101.9fM PRESENTS INFUSIA W/DJS GANDORF & CO (JAZZ, SOUL, HIP HOP & FUNK) AT THE PIT PUB...Winter Mountain w/dj James Brown ot Graceland...The Magic of Disco at Richard's On Richards ...Aqua w/djs Isis and Markem (ambient) al Benny's Bagels Yaletown...Boogie Ave w/dj Maggee (70's old school) ot the Heritage House Hotel (453 Abbott).. Disco Night at the Commodore...The Greasy Spoon w/Slick at the Hungry Eye...Klassix Night w/dj David Howkes at Luv Yr Hair...New Wave/Retro 80's Night w/dj Atomic at the Twilight Zone...Aural Fixation at DV8 (poetry - sign-up 7:30, show at 8:00)...The Tongue of the Slip af the Glass Slipper (scheduled readers and open limited open mike • 9pm on the third Tuesday of the month)...Live jazz w/ dj Brian James at the Purple Onion... WED: Velvet w/djs T-Bone, Dickey Doo and special guests (deep house) at The Underground...Reggae Night at Graceland w/dj Silk...Ginger Snaps w/dj Mike A Soma and live electronic guests ot Mars...Mo' Funk w/ djs Soul Kid & Seren trip hop, acid jazz & funk) at Richard's On Richards...Gin & Sin Lounge at Niagara...Punk Rock Wednesday w/dj Twigboy at the Twilight Zone...Nitro (industrial progressive indie) w/dj Czech at Luvafair...Max Murphy Collective at Raffels...Open Mouth (open mic) w/host Carolyn Mark at the Malcolm Lowry Room (9pm - call ohead to read)...El Famoso (raregroove, funk, hip-hop, jazz, reggae) ot the Rea Lounge... THUR: Sol w/dj Markem and guests (progressive, trance, tribal, hard house) at Graceland...The Bottle w/djs Clarence and David Love Jones (soul, jazz & rare groove) at the Piccadilly...Soul V Funk in the Basement w/dj Marc and guests at the St. Regis (bsmt)...Nocturnal Injection Revelation w/dj Wonderbread at the Twilight Zone...Cat House w/dj Mick Shea (house) at Celebrities...Blowfish (soul, iazz, r&b, latin, worldbeat) w/djs Al Testa and Thomas at the Rea Lounge...Step Hard w/Andy B Luke at 898 Richards (2-41...Strictly Business with djs Luke, Andy B. and Wundertwins at the Hungry Eye... FRI: Sugar w/weekly rototiong djs ot Graceland...lowdown w/ djs Lovely Lisa and Dick at the St. Regis (bsmt)...Explorations in Outer Bass (ambient) at Melriches Coffee House (1244 Da vie)... Planet ov Sound w/James Brown and guests at the World (1-5)...Homo Homer w/di Jules (house & disco) at the Odyssey... Malebox w/dj Mick Shea (house) at Celebrities...Blitzkrieg (tribal, industrial, goth) at the Twilight Zone...Low Down (funk, jazz, hiphop) at the St. Regis Basement Lounge...Lounging w/ dj T-bone (house, jazz and beyond) at the Red Lounge...Groove w/djs Marc and Todd Keller, 154 W Hastings at lam... SAT: Noah's Arc w/dj Noah at the World (1-5)...Yo Mama w/ djs KiloCee and J Swing (hip hop) atthe Twilight Zone... Bad Boys Night Out w/dj Jules (house) at the Odyssey...djs Storm & Dickey Doo (house) ot Celebrities...Lounging w/dj Soul Kid (jazzy, groovy) at the Red Lounge... SUN: Uranus Invades Mars w/djs Dickey Doo and Quest at Mars... Alternative Jazz af Cafe Deux Soleils (every other Sun)...dj Jules (house & disco) at the Odyssey...Ska Night w/dj Pig at the Twilight Zone...Movie Night at the Railway Club...Pressing Poetry at the Press Club (7:30)...Lipstik Doom w/ Doctor Killdare at 1250 Richards 9pm-12am... IRREGULAR EVENTS FEBRUARY THURS 1 ten days late and Queazy at the Pit Pub...The Beauticians at the Railway Club...Strictly Business with djs Luke, Andy B & Wundertwins at the Hungry Eve...Knockin' Dog and Don't Ask at the SaiTioo PubThe Mystery of Rampo at the Ridge...The Best of the Northwest ot the Pacific Cinematheque... FRI 2 Drunken Monkey II w/ djs Mixmaster Mike, Zodar & others at the Starfish Room...The Beauticians at the Railway Club...Breathe Underwater with Flag at the Hungry Eye,..Noah's Great Rainbow at the Piccadilly Pub...Knockin Dog and Don't Ask at the Samoo Pub...Carrington and Clockwork Mice at the Ridge...Days of Being Wild and As Tears Go By at the Pacific Cinematheque...Diamanda Galas at On the Boards in Seattle; for info coll (206) 325 7901... SAT 3 CITR 101.9fM PRESENTS HAZEL AT THE TOWN PUMP. TWO SHOWS: ALL-AGES AT 3PM WITH SPARKMARKER AND STEEL WOOL AND EVENING SHOW AT 7PM WITH STEEL WOOL AND THE EMPTYS...Pussycat Benefit w/ the Evaporators, the Tonics, Manifold, Meow, Sister Lovers and more too at the Malcolm Lowry Room, 9pm, admission by donation...knock-down- ginger at the Railway Club...Blue Oyster Cult with guests at &• Commodore...Mad Pudding at Studio 16...Atlantis Bus and Green Room at the Piccadilly Pub...Paupers Feast and S.M.A.K. with Triskellion af the Hungry Eye...Knockin' Dog and Don't Ask at the Samoo Pub...Can*ington and Clockwork Mice atthe Ridge...Ashes of Time and Days of Being Wild at the Pacific Cinematheque...Diamanda Galas at On the Boards in Seattle; for info caH (206) 325 7901... SUN 4 NoFX with Snuff plus Sideways at the Commodore.. .Carrington a nd Clockwork Mke at the Ridge.. .On the Rood of Life and Jubiaba at the Pacific Cinematheque... MON 5 Lisa Loeb & Nine Stories with Once Blue at the Commodore (ALLEGES SHOW)...Seven and Devil in a Blue Dress at the Ridge...On the Road of Life and Jubiaba at the Pacific Cinematheque... TUES 6 Bob Marley Celebration at Graceland...Seven and Devil in a Blue Dress at the Ridge... WED 7 Bob Wiseman at the Glass Slipper...Moscow Fish at the Railway Club...Total Eclipse and The Run of the Country at the Ridge...Mamma Roma at the Pacific Cinematheque... THURS 8 The Colorifics and Astrid Spumant*** and the Velveelos at the Pit Pub...Sing Sing Deadman at the Railway Club...Total Eclipse and The Run of the Country at the Ridge...Mamma Roma at the Pocific Cinematheque... FRI 9 Mystery Machine with guests Salt and Smackmelon at the Town Pump...The Sweaters w/ 1000 Stamps at the Hungry Eye...Blade Runner and Strange Days at the Ridge...As Tears Go By ond Ashes of Time at the Pacific Cinematheque... SAT 10 Beth Winter at the Glass Slipper...Soul Candy ot ihe Piccadilly Pub... TCHKUNGI at the Hungry Eye...Emofion w/ djs Jacqueline Christie, Donald Glaude, Mike Stevens and others: for info call (604) 444 8030...Blade Runner and Strange Days at the Ridge...Chungking Express and Days of Being Wild at the Pocific Cinematheque... SUN 11 D.F.L. with guests gob and Another Joe at the Town Pump ot3:30pm (ALL-AGES SHOWII)... 10ft Henry atthe Malcolm Lowry Room...Blade Runner and Strange Days at the Ridge...The Third Bank of the River and Mamma Roma at the Pacific Cinematheque... MON 12 Canadian Bacon and Babe at the Ridge...The Third Bank of the River and Mamma Roma atthe Pacific Cinematheque... TUES 13 Happy Campers at the Railway Club...Canadian Bo- con and Babe at the Ridge... WED 14 Henry Rollins spoken-word performance at the Vogue Theatre...Peal featuring Julie McGeer at the Railway Club. ..Billie Holiday Valentine Special at the Backstage Lounge...Les Miserables at the Ridge...la Nuit de Varennes at the Pacific Cinematheque... THURS 15 The Deadcats and the Saddlesores at the Railway Club...Soul Crib at the Railway Club...Les Miserables at the Ridge...African Brushstrokes at the Pacific Cinematheque... FRI 16 Colin James with special guests at the Commodore...The Muscle Bitches w/ Punched Unconscious at the Hungry Eye...Knockin' Dog at the Piccadilly Pub... Gl Blues at the Garage Pub...The Crossing Guard and The Indian Runner at the Ridge...The Baby of Macon and The Draughtsman's Contract at the Pacific Cinematheque... SAT 17 Queen Ida and the Bon Temps Zydeco Band at the Commodore...The Muscle Bitches w/ Punched Unconscious at trie Hungry Eye...The Crossing Guard and The Indian Runner at the Ridge...The Baby of Macon and A Zed and Two Noughts at the Pacific Cinematheque... SUN 18 Ziggy Morley at the Commodore...The Humpers af the Railway Club...The Crossing Guard and The Indian Runner at the Ridge...The Baby of Macon and The Belly of an Architect at the Pacific Cinematheque... MON 19 The Messytones at the Railway Cbb...G_t Shorty and Saturday Night Fever ot the Ridge...Drowning by Numbers and The Cook, the Thief, His Wife and Her Lover at the Pacific Cinematheque... TUES 20 Billy Cowsill at fhe Railway Club...Get Shorty and Saturday Night Fever at the Ridge... WED 21 Billy Cowsill at the Railway Club.. .Kiss the Ground ond One Angel Down at the Garage Pub...The Doom Generation and Fun at the Ridge...Kaos at fhe Pacific Cinematheque... THURS 22 Billy Cowsill at the Railway Club...The Doom Generation and Fun at Ae Ridge...Narmaaa: A Valley Rises at the Pacific Cinemathecpje.,. FRI 23 The Real McKenzies at the Railway Club...Hellbilly Hootenannyatthe Hungry Eye... Wild Reeds at the Ridge...A Zed and Two Noughts ana Drowning by Numbers at the Pacific Cinematheque... SAT 24 Facepuller at the Hungry Eye...The Real McKenzies at the Railway Club...Wild Reeds at tlie Ridge...The Belly of on Architect and A Zed and Two Noughts ai the Pacific Cinematheque... SUN 25 Wild Reeds at the Ridge...The Cook, the Thief, His Wife and Her Lover at the Pacific Cinematheque... MON 26 Cleo Laine at the Vogue Theatre...Wild Reeds at the Ridge...Prospero's Books and The Draughtsman's Contract at the Pacific Cinematheque... TUES 27 Wild Reeds at fhe Ridge... WED 28 Wild Reeds af the Ridge...Ginger ond Fred ot the Pocific Cinematheque... THURS 29 Taste of Joy and Daytono of fhe Pit Pub...Wild Reeds at the Ridge... FRIDAY 1 CiTR 101.9fM PRESENTS SPEEDBUGGY, THE READYMADE, COAL, MARK AND THE TONEBURSTS AT THE ANZA CLUB AT 8PM... EVERYTHING YOU The Abyss 315 E. Broadway (side entrance) Almo Street Cafe 2505 Abo (ol Broodwoy) Anza Club 3 W. 8th (Mount Pleasant) Arts Hotline Ba.»ix 217 W Hastings (at Cowbiei Backstage Lounge 1585 Johnston (Granville Ulond) Block Sheep Bo6ks 2742 W.'4lh |ef MocOonold) Cafe Deux Soleils 2096 Commercial (the Drive) Cafe Vleux Montreal 317 E. Broodwoy (Mount Pleajont) Caprice Theatre 965 Granville (Granville Mall) CebbriHet 1022 Davie (at Burrard) CN Imax Theatre 999 Canode Place Commodore Ballroom 870 Granville (Granville MaH) Commodore Lone* 838 Granville (Gronvile Moll) Cordova Cafe 307 Cordova [Go»tawn) Cro»«town Traffic 316 W Hailing* (downtown) Denman Place Cinema 1030 Denman (Weil Enrrrd) DV8 515 Davie (downtown) Edison Eleclric Gollery/Cafe 916 Commercial (the Drive) Firehall Artt Centre §0 E. Cordova (at Main) Food Mot Bombs Vancouver Frederic Wood Theatre UBC] Garage Pub 2889 East Hading* Si (downtown) Gastown Theatre 36 Powell (Gastown) Glow Slipper 2714 Prince Edward (Mount Pleasant) Graceland 1250 Richard* (downtown) Greg's Place 45844 Yale Rd. (Chilliwack) The Grind Galery 4124 Main St. IMf. Pleasant) Hotting* Community Centre 2096 £. Hastings (near PNE) Hemp B.C. 324 W. Hastings (downtown) Hoiywood Theatre 3123 W. Broodwoy Kitsilom**} Hot Jozz Society 2120 Main (Mt. Pleasant) Hungry Eye 23 W.Cordova (Goslown} Jericho Arts Centre 1600 Discovery (Pi. Grey) Lo Quena 1111 Commercial (ihe Drive) The Lotus Club 455 Abbott (Gostown) Lucky** 3934 Main luvA*F«ir 1275 Seymour (downtown) Malcolm Lowry Room 4125 E. Hastings (N. Burnaby) Men 1320 Richard* (downtown) Maximum Bluet Pub 1176 Granville [downtown) New York Theatre 639 Commerciat jlhe Drive) Niogoro Hotel Pub 435 W. Pender (downtown) Odyssey import* 534 Seymour (downtown) Old Americon Pub 928 Main (downtown) Orpheum Theotre Smithe & Seymour (downtown) Pocific Cinematheque 1131 Ffowe (downtown) Porodi*e 27 Church (New West) Paradise Cinema 919 Gronville (Granville Ma8) Park Theatre 3440 Combie (South Voncouver) PicodiftyPub 630W.Pender [olSeymour] Pit Pub basement, Student Union Building (UBC) PitfGoKery 317 W. Hosting* (downtown) Piaza Theatre 881 Granville (Granville Mall) Rafy* lounge 1221 Gronvile (downtown) The Rage 730 Pocific Blvd. South (Plaza ol Naltora) ^.Cinema 3131 Arbulu* tot 16»b Ave.) Romper Room 639 Commercial (the Drive) RussionHal 600 Campbell (Chinatown) Scratch Records 317A Cambie (Gostown) Southhill Condy Shop 4198 Main (of26#i) Storfith Room 1055 Homer (downtown) Starlight Cinema 935 Denman (We*t End) Station Street Art* Centre 930 Station (off Main) St. Regi* Hotel 602 Dtswmlur (downtown) Theatre I 254 E. Hotting* (Chinatown) Town Pump 66 Water Street (Gottown) Track Record* 552 Seymour (downtown) Tree Howe Lounge 602 Dunsmuir St. (downtown) Twilight Zone 7 Alexonder (Gojtown! UBC CINEMA (iocoled in ihe SUM UBC Grod Cenlre Gale 4 (UBCJ The Underground 1082 Gronvile (downtown) Voncouver Eo*t Cultural Centre 1895 Venobles (af Victoria) Vancouver little Theotre 3102 Main {Ml. Pleasont" Vancouver Pre** Club 2215 Gronville [S. Granville) Varsity Theotre 4375 W, 10th (Point &ey) Vert 2412 Main (Mt Pleosont) Video In Studio. 1965 Main (Ml. Pieo«ont) Vogue Theatre 918 Granville [Gronville Moll) Waterfront Theatre 1405 Anderson (Granville I..) W.I.S.E. Hall 1882Adonoc (the Drive) Women In Print 3566 W. 4lh (Kitsilom*-) Yole Blues Pub 1300 GronviBe (downtown) Zulu Record* 1869 W. 4th (Kitsilano) SUBMISSIONS FOR DATEBOOK ARE FREEI TO HAVE YOUR EVENT LISTED, FAX ALL THE REIEVENT INFO (WHO, WHERE, WHEN) TO 822 9364. ATTEN TION "DATEBOOK". DEADLINE FOR THE FEBRUARY ISSUE IS JANUARY 191 IOUT EVERYWHERE 488 6219 222 2244 876 7128 684 2787 689 7734 687 1354 732 5087 254 1195 873 1331 683 6099 689 3180 682 4629 681 7838 681 1531 683 5637 669 7573 683 2201 682 4388 255 4162 689 0926 872 6719 822 2678 822 9364 684 MASK 877 0066 688 2648 795 3334 322 6057 255 2606 681 4620 738 3211 873 4131 688 5351 224-8007 251 6626 685 7777 875 9858 685 3288 685 0143 230 MARS 688 8701 254 3545 688 7574 669 6644 682 329! 665 3050 731 3456 525 0371 681 1732 876 2747 682 3221 822 6273 6816740 685 7050 473 1593 685 5585 681 1625 687 6794 738 6311 254 3545 874 6200 687 6355 876 7463 682 4171 6890096 688 3312 681 8915 683 6695 682 7976 8713090 682 8550 822 3697 822 0999 254 9578 876-4165 738 7015 222 2235 872-2999 872 8337 257 6205 685 6217 254 5858 732 4128 681 9253 738 3232 SO FEBRUARY 1996 The first Canadian b . •', d to the infamous Sub Pop label, Eric's Trip are sweetly brilliant, always using their unique ability for blending pop hooks & candid melodies with random explosions. With their third release, PURPLE BLUE, Eric's Trip continues to refresh the listener with unjaded, noisy pop and ambient moments of charismatic punk rhythms. "Sun Coming Up", the first single, instantly grabs your attention. PURPLE BLUE is truly a plethora of pretty persuasion not to be missed!! 1160 Robson Street • Park Royal Shopping Centre (North Mali) • GuildFord Town Centre Willowbrook Shopping Centre • Richmond Centre • Coguitlam Centre Eaton Centre - Metrotown • MayPair Shopping Centre / Victoria Hillside Shopping Centre / Victoria • Sevenoaks Shopping Centre / AbbotsFord i S232> Various Artists "Explorations 3" cd/ip Dancefloor jazz... a layered smooth-ride city sound, if you will. A Money-Mark meets c bilingual Brand New Heavies combination at times — soul hooks for chemist laboratories and basement suites alike. A little jive. A little horn. A little scat. 16?" CD • 12" LP Various Artists "Cocktail Mix Volume 2" cd "Cocktail Mix Volume 3" cd Hiccup...! If you want to be the life of the party, get lhat lampshade on your head, martini in one hand and cigarette in the other and cha cha cha all the way to Zulu to pick up Volume 2 and Volume 3 of Rhino's Cocktail Mix, bonafide classic '50s and '60s loungesoundz! 16** each CD Moonsocket "Moonsocket" co This endearing unbleached cardboard package garnished with | hand drawings and silver ink contains twenty fuzz-fi tunes aboul loneliness, secrets and guitars, courtesy of Eric's Trip's Chris Thomson and his one-man 4-track band. Acoustic, heart-warming and fretful, these songs are for the Lou Barlow fan in all of u Moonsocket is bedroom-pop at its finest. 12* CD "How I Quit Smoking" cDdoubie ip Lambchop is vocalist/guitarist Kurt Wagner's vision of a soft and desperate world cluttered with subtle truths and heartbreaking regrets. Wagner and his blissfully capable band gently take hold of the listener with tales spun out of the cracks and corners. How I Quit Smoking is an album that opens up with repeated listenings, rewarding the patient listener with gems cloaked in a smooth velvet dust. Available early February. 16" CD • 16s* double-LP Joel R. Phelps "Warm Springs Night" cd We were first introduced F to the wonderful songwriting sty I ings of Joel Phelps from his contri butions in fhe critically acclaimed but oft misur derstood band Silkworm His departure from Silkworm hasn't affected his propensity towards composing stormy lullabies full of meandering guitar sounds and intensely emotional vocals. The album indeed sounds kinda like a warm spring's- night—comfortable, intoxicating, and addictive. 16s* CD The Mekons with Kathy Acker "Pussy, King of the Pirates" cd/ip Enjoying cult status for the last two decades, The Mekons join forces with post-feminist writer extraordinaire Kathy Acker to delve deep into the intersection of politics and sexuality. Available early February. 16* CD • 12* LP Global Communication "Remotion" co A collection of hard-to- find remixes by Global Communication. What] Chemical Brothers are to progressive house—Global Communication an ambient music. Remixes of folks like Chapterhouse, The Grid, Nav Katze and more! 16* CD NOFX "Heavy Petting Zoo" co/cassette/LP Pull up to the NOFX pop-punk drive-in and catch their latest epic feature: Heavy Petting Zoo. You laugh a bit, you cry a bit, you get punk-rock in your eye a bit. It's more juicier than a shark meat burrito baby! Available February 1st. 14* CD • 10* Cassette • 10* LP Eric's Trip "Purple OlUeS" CD/Cassette With old wooden hou and rocky Atlantic beach-1 es in mind, the humble Canadian loners of Eric's | Trip have been staying up all night perfecting their quietly passionate music. For understanding fans or new listeners alike, Purple Blue has much to offer, from folky simplicity to energetic pop. Halifax's favourite introverts have added another enduring recording to their substantial discography (as a troop, or as solo artists). 14?8CD • 9* Cassette Turtoise "Millions Now Living Will Never Die" cb lp Tortoise's slow revolution begins at hor your listening room. Taking inspiration from many genres, Tortoise combine diverse sounds and ideas into a captivating new musical vocabulary (with attention, composition, detail and careful studio technique). With style, innovation and a collective talent overflowing with experience and potential, Tortoise are a new creative vanguard. Hard to describe, a pleasure to listen to, and easy to recommend. Available early February. 16* CD • 12* vinyl Greyboy "Land of the Lost" cd/lp Following up on last year's acclaimed Freestylin' release, Greyboy's most recent full length positions him at the forefront of today's smooth groove DJs. Land of the Lost weaves its amicable blend of beats into a cohesive canvas of soul/jazz/house heaven. Music to dance to! 16* CD • 12* vinyl Pavement "Pacific Trim" cd-ep Spotliting the instantly enthralling bubblegum classic "Give It A Day," Pavement pen another batch of diddies approaching unrefined rapture. File under: For those with an unbridled passion for pop music! 9* CD-EP kll sale prices ii effect until February 29 'SG LP H ym~' "SustairT W §1 by Paytcfaa _J on Zulu RjCTWBI
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1996-02-01
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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 | 1996-02-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1996_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 | 50bcab2a-2bec-4b22-9079-78f532eff56f |
DOI | 10.14288/1.0050053 |
AggregatedSourceRepository | CONTENTdm |
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