Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-05-01

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a___-'A«_£a F^¥
with guests
Josephine Wiggs Experience
Sunday May 11
Fichand's On Fichartfs z._.i
Monday May 2o.£?5n
now playing!
Friday May 30
Graceland .^^.p,
4MaiK«>   «.«*M*
iFritfay, CM'aij
Camp Lo and guests Coolbone
^*, ;\?'| Wednesday
T    /June 11
July 7
The Orpheum
The Rage
E_ffl____^__^5S 5L
MAY 19 9 7
Man ... or Astroman?
Squirrel Nut Zippers
Mina Shum
Dirty Three
miko hoffman
art director
kenny paul
ad rep
kevin pendergraft
production manager
barb yamazaki
graphic design/layout
atomos, ken paul,
lisa chen-wing, andy herfst,
erin hodge, stu marvel,
tristan winch
barb, lincoln clarkes
james b, nelse b, brady c,
chris c, christian, christtna,
julie c. sean c, bryce d, glenn
d, cnris e, gth, heather h.
sydney h, tara i, anthony k,
paul k, John I, janis bmc,
adam m, clinton m, kris r, June
s, markus s, Caroline t, dave t,
marlene y
program guide
namiko kunimoto
megan Im, barb
stefan udell
matt steffich
us distribution
discorder on-line
ben lai
linda scholten
Issue   #172
0   L   U   M   N   S   :
Cowshead Chronicles
Vancouver Special
Interview Hell
Diary op Jonnie Loaf Boy
Between the Lines
Seven Inch
Under Review
Real Live Action
On the Dlal
May Datebook
C   0   V   E   R(
Tune in, turn it on and blast off on the
Discorder rocket ship as we sputter into
orbit with a course set for disaster.
Cover designed by astrogoy Atomos.
t.v. art lifted from project infinity by
Art Chantry. (Thanks Art I) Photo by
Barb Yamazaki.&r
C "DiSCORDER" 1997 by th* Stud.nf Radio Society of
tho University of British Columbia. All rights rosorvod.
Circulation 17,500.
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payable to DiSCORDER Magaiine.
DEADLINES: Copy deadline for tho Juno issue is May 14th.
Ad spaco is available until May 21 st and can bo booked
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available upon request. DiSCORDER is not responsible for
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drawings, photographs and transparencies), or any other
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(Mac, preferably) or in type. As always, English is preferred.
From UK te Langley and Squamish to Bellingham, CiTR
can be hoard at 101.9 fM as well as through all major
cable systems in the Lower Mainland, except Shaw bl
While Rock. Cal the CiTR DJ fine at 8-2-2487, our office ot
822-3017 ext. 0, or our news and sports fines at 822-3017
ext. 2. Fax us at 822-9364, e-mail us ah citr«unix9.ubc.ca,
visit our web site at http://www.ams.ubc.ca/media/citT or
just pick up a goddamn pen and write #233-6138 SUB Blvd.,
Printed     In     Canada
* Studio time used to record drum tracks free of charge
•Offer ends July 1, 1997
0 0 WM 0 TO 95 TO
f   217 W. HASTINGS street (AT CAMBIE)  prf 604 689- 7734
*b VANCOUVER. BC. CANADA V6B  1H6  FX.604689-778 1 dearf\*j
Sgt  233-6138 SUB Blvd.,'7        " 1
V    VancouveKB.C. V6T]<m  1
■%    * cttr@j)nfxg.ubc.ca
r*y y*^""^!
*    *   '*     *                     «  '       * <**m\
You   hove a fine publication. You also hove access to a Canadia
treasure that is (under) used ii
Thank you,
Brian Foss
Seattle, WA
Nardwuar is, indeed, a valued contributor to the pages of DiSCORDER. He is a truly unique interviewer. Unfortunately, his interviews are often too long for us to give him justice — we all know he
could produce entire zines full of onfy his stuff. In other words, it's great to read but with the limited
space we have to give our many writers, it's hell to edit... especially when he himself won 'I let us try.
Don't worry, he 'II be back, we 're sure. For now, be sure to pick up Chart magazine — they regularly
publish Nardwuar's interviews — and check out his website at hltp.//griffen. multimedia, edu/'-cleo/
!»?____£. 1     |5?I
Tha Communion \abei is
distributed in Canada
by Scratch*
Lou Bartow and
John Davis have
paid their dues.
Pick up their fine
new album and
help them pay their
*> w j^h^ ad    chr </n y c
he knew where she was going, the look she had Left with
said nothing of who she was going to meet, but he knew
exactly where the car was headed as it left the garage,
a drink with the girls she had told him. maybe two.
some food after, could be late, she didn't know for
sure, she said she'd call later and let him know where
she was. he knew where she was. as if talking in her
sleep she had told him time and time again about her
attraction, as if it slipped from her lips without her
knowing, like she wasn't really giving up anything,
maybe she really didn't think she was. giving up anything, doing anything wrong, not that she had. yet. but
she would soon, tonight as she lay in the arms of
another she knew deep down she was breaking his heart
and there was nothing she could do about it now. he
knew where she was going, he knew the house, he had
been there before, in the room where his wife was
"about to have drinks with the girls." where she'd
"call him later to let him know what was up," " where
she was." maybe she'd tell him exactly where she was.
as if it didn't matter, maybe it didn't, he could do
the same thing, but for some reason it wouldn't be the
same, cheating was cheating, in bed he thought of her
still out there, maybe it was over by now. the lights
crossing across the bedroom wall signified her return,
the front porch screen door slammed as she makes her
way into the house, keys hitting the counter, fridge
door opening, closing, a glass quickly set down after
a drink from the tap. a fast pass through the bathroom
and bedroom and says hi. tells him how she's sorry she
didn't call and that she meant to but ... her skin is
cold as she settles in next to him. then he smells it
and knows he's been right all along, she had been with
her. like he had been with her. the pot. the kettle,
both black,
gth. . .
Pacified CD and Cactus Eye 7" Available Through Scratch Distribution
Ph: 604 687 6)55 Fax 604 687 0488 email 9cratch@dfie|,cove.com
"Prog rock fans that moved away from it by practicing in
dark basements for years consuming the mushrooms
that grew in its damp corners" - Rob Dayton
"They sound like Exene and John Doe guesting on
a Zappa record" - Chart Magazine
"Cactus Eye Don 1 Matter has lyrics so artfully
cloying that I wanted to break this record"
- In Hell's Belly
"I just don't like it. (please don't hurt me)"
- Discorder magazine
Performing during Music Waste at
Deserts 4127 Main Fri Mag 9 9pm
Step ahd a Half Muuukdu
ph: 6B4 879 8748 email: esymons@direct.ca
you Just never know when one of those steps
Is going to blow your mind... by dale sawyer & janis mckenzie
rnrirn mnnTn
The Circus in Flames
Imogine a kind of late '90s Vai>
couver version of Woody
Guthrio singing with a voice
a little reminiscent of Stan
Ridgeway's and backed by
a mandolin, banjo, acoustic
guitar, stondup bass, accordion, and a snore drum played
with brushes.
Now imagine that this
singer/songwriter is Doug
Andrew, who used to front Tin
God, and before that Shanghai Dog, two distinctive, well-
respected, and influential punk
bands. Yes, it sounds like a
strange combination, but oddly
enough the mushing together of
these disparate elements results
in a very enjoyable (yet brooding] sound that inspires elated
crowds to synchronized
drunken swaying (really — I've
seen i«).
Doug calls it sheet-metal
country, but postmodern/
postpunk/folk drinking music
may not be far off the mark
Oh Oh
The faint of heart may well
shrink away from the CD cover
with all the racy underwear
(and the singer wearing a —
gaspl — leash), or be spooked
by the lyrics of the very first
verse of the very first song: "I
just got laid in a position/ That
i never tried before/ One leg
going this way/ One arm going thot way/ My cheeks
pressed into the floor," but the
faint of heart would be missing
out on a pleasant surprise.
Never mind the leash —Janet
Panic sings positively sweetly,
the melodies are very nice indeed, and the rhythms would
go quite suitably with Stan
Gotx. So don't be afraid — a
little 10 Ft. Henry never hurt
Once upon a time there was a
Vancouver joke band, Tho
Groovaholics, which was
made up of various stars from
the local punk firmament who
wore polyester and played
'70s chestnuts ranging from the
theme from Shaft to the most
cringe-inducing disco hits, all,
of course, with an ironic, over-
the-top twist. But times have
changed, and here comes the
debut CD from Volour3 (I think
the 3 may be silent), three earnest and highly competent
young musicians who likely
never saw Dave Gregg and the
other Groovaholics cavorting
under a disco ball, and who
apparently feel no shame about
employing synthetic strings and
their trumpet-playing friends in
their cop-show-flashback-inducing pop songs.
Live, they make a lot of
nice, catchy noise for a three-
piece, and the two who don't
have to sit on the drum stool
jump up and down, grinning
charmingly, without missing a
If you can resist them — if
you can help but grin right
back — you must be a harder-
hearted critic than I ami
All you gotta do to WIN a
is show up at the CiTR business office
(233-6138 SUB Blvd. UBC; 11am -6 pm. Mon-Fri)
fc answer an ethical question that has been
plaguing us for years:
Are ass tattoos allowed in heaven?
Pirst come, first served.
Tho PhQitl__t_>nc I III
I lie Ullm raldllo UH
"Telliif Stories'
1b Daia^iM^
llu u_ulh immmiimiK. mM
It includes the first single "North
^Country Boy" as well as two special
bonus tracks that you won't be
fc able to find
anywhere else!
\yeste%doy I ytxu allocked   AAy story is fomiliat: I was      ^htening^ | w« fertile with i#erpreth|*» p>
yesterday, I was om?cked. Aty story is familiar; I was
waking home alone, minding my own business, when
this young guy irtlentionally walked iip to me and
punched me on the side of my head. Surprised, I impulsively
grabbed him and threw him against a nearby bridge roiling
(this incident look ploce near the Broadway Skytrain station,
at lhat point along Commerciol Drive where there is an overpass crossing some train tracks}. Of course he wos not alone,
there were five or six of his friends close behind him, several
of who rushed to assist their momentarily stunned accomplice.
Together they punched ond kicked me several times more in the
face, head ond neck. Suddenly, for some reason they stopped,
and I hurried away.
I was lucky to have escaped serious injury I have no broken
bones or teeth, only a slightly torn earring hole and ugly bruises
on my face and neck. I'm fine, just a little sore and swollen. Thankfully, I am not overcome with fear, anger and depression, characteristics that often accompany victimization such as mine. Several
of my close friends and a famih/ member have been attacked in a
similar fashion: seemingly arbitrary, unexpected, vicious and un-
provoked assaults, usually by young men. The young men who
attacked me were dressed in sports clothes and expensive looking sneakers. They looked to me like hip hop guys; they also
looked noticeably poor. In comparison, my brother was attacked
in a quiet suburban area by richer looking young men. However,
I would not jump to any conclusions based on this (any) set of
features. Violence of this type seems indifferent to class or style-
cultures. The question remains, what inspires this behaviour?
This question seems unanswerable by any general theory or
observation. But it is more than just circumstantially located. It
seems that complex sets of pressures are at work, constantly changing and surging with the moment; a dynamic instance of immediate and sensuous happenstance flattening in combination with
culture, history, psychology, flesh and bone. As a moment of intense energy, or of passion, my attack was a flash of social collapse and recreation, a pocket of no-place, a moment of transgression. However, in the wake of a fight, particularly from my
end, one wonders about the glory of transgression qua transgression. This period of suspension was sharp and violent, full of
punches and, apparently, non-thought. In it my perception also
flattened out, and although at the moment it was hardly en-
j^ssifeitflles wooing
for Olten*v_ thinking after the foct (no* the lea* of which being: are they following me?). But this event wos not a Void,
empty ofofl cognition, it was packed full of interaction, choice
and meaning. Obviously the constraints of circumstance limited the possibility of ponderous reflection (and apparently,
discussion). In fact, a pause in the flow of activity, where I
hesitated after throwing the first person against the bridge
railing and thought about my actions, impeded me from fighting or fleeing until the next pause. Like junctures of assessment
and reorganization, these pauses striated the smoothness of
the violence.
The violence was sequenced and enveloped by other events
as well. Before my attack, I overheard the other young men
encouraging the first person's oction, thus also informing me
of potential danger. This notification granted a fraction of time
that enabled me to ready myself, somewhat, to respond. This
seems important in retrospect for several reasons: I was provoked into excited awareness before the assault ond, because
I was aware of the situation I invested it with a framework of
personal meaning, qualifying the situation for me. Also, I feel
that this shift in attention helped me to understand my victimization later. When my brother was attacked, he was first kicked
in the back of the head, taken completely by surprise and
knocked unconscious. For him, the situation was completely
beyond his control, occurring without his conscious participation. He is still angry about his assault, which took place several years ago, and this is understandable. For him the situation is closed off, a darkness, a complete exclusion, removed
from his involvement. He was left to make sense of his experience from the outside, absolutely in the f>ast tense, yet with all
the physical damage done to his body as evidence of the
experience. His frustration is well justified.
I have been in other situations where I was threatened or
antagonized. Normally I do not respond aggressively I have
always either ran away or endured my attacker's attention.
Not surprisingly, I always left such situations with frustrated
anger and depression. I am not proud or upset with my choice
this time, but for some reason I acted impulsively. I became
active and physical, at least to some degree, in my defence.
Although now I feel no exaggerated anger and no apparent
sarfly ond always respond aggressively when confronted. I
feeithat my situation was uncommon, particubrfy in thot I
seemed to hove surprised my attackers by fighting bock; I
do not believe thot they were looking for a fight exactly, it
seemed more that they wanted to oct out oggressivefy, intimidating people without resistance. I think my octions resulted in the second pause I referred to, the one that I took
as my opportunity to leave (when they stopped their impulsive oction, the beating). At thot point, I did not run, and
they did not follow. This may be because I did not conform
to their expectations, possibly I disrupted them to such a
degree that they were token off guard. Although it is hard
to say, I believe they paused in their beating the same way
that I paused after throwing the first person against the railing: for assessment. Again, my experience was unique. I
benefited more from confusion than from my octions themselves. Moreover, I was simply very fortunate. My assault
could have been much more severe than it thankfully turned
out to be.
Admittedly, there does seem to be a certain gruesome
harmony in violent action, directed by intuitive and impulsive strategy, synchronized with its own physicality. This may
be the significance of transgression, which I would classify
my assault as. But it also establishes that transgression may
not be significant becouse of itself, in the sense that it can
be removed from interpretation, as it is lived, philosophized,
etc. In other words, it cannot escape from the gravity of
meaning. This seems obvious in that, for example, a right
needs a left, or a diverse web of "ands," even without "ei-
ther/or"s. So then, what is the important feature of transgression, the event itself, the thinking around it, or is it caught
up in a complex and dynamic interplay: an oscillation of
immanence, transcendence and banality, not just mind, not
just body, not just the world, but experience disappearing
and reappearing. Undoubtedly my attackers left that overpass feeling exhilarated and proud, supplied with another
event to exaggerate into a mythic story of their strength,
bravery and toughness, while I left shaken and nervous,
concerned that I had broken bones. More to come ...»
kitty poulin
So, May is Asian Heritage Month and, Hke Jenny Kwan,
I've gotta vent a bit about some things I've found
upsetting over the years: racial identity, specifically,
and how it messes with your head if you make yourself believe that you don't have one. Uke Jenny Kwan, J want to talk
about taunting and teasing too, but later, later.
I'm half-Chinese. My father came over on the boat when
he was a small child. My mother is 10094 European extract,
by way of Alberta. They met, fell in love, bore two happy,
healthy boys, my father became a bom-again, and they divorced. All by the time I was four. That's fine by me. I don't
need the emotional baggage that comes from remembering
and comprehending your parents' divorce. In any case, my
mom got custody of me, and my dad got my little brother.
It's a white society we live in, in case you hadn't noticed.
Pretty much everything is geared toward raising nice, white
people in a safe, white environment. It's changing a bit now ~
- not fast enough for my liking — but inch by painstaking
inch. J mention this so you will understand when I teft you that
my father was bad. I don't mean that he tortured stray dogs
for fun, I mean, well, let me put this in the simplest terms; my
mother was kind and caring, my father was the discipline figure, and we weren't fiving with him any more; hence, he must
be bad.
My dad is bad. My dad is Chinese. Ergo, being Chinese is
bad bad bad. Guilty by association.
I didn't speak any Chinese (I inherited stubbornness from
both my parents, and refused to learn it when my dad tried to
teach me), and I had no real knowledge of Chinese culture or,
for that matter, anything Chinese. I can't fault my mother for
that. If I had shown any interest in any of the aforementioned
topics I'm sure she would have trotted me down to the library
and taken out a stack of books for me. But i didn't, and she
didn't, and it never happened.
It wasn't that I had forgotten who I was, or what my roots
were, but I didn't think about them, and I didn't discuss them
unless they were brought up by someone else. By the time I
was in elementary school, I had convinced myself, if not everyone else, that I was a nice, average, white boy. It wasn't so
much of a stretch. I didn't look Asian. I received my share of
rtobing and teasing in the school yard as well, but that was
more because I was disliked personally, as opposed to racially.
I got taunts about my last name — "Eng Thing" (a bombshell
levelled upon me by a guy named Darren, also Chinese), and
the rather baffftig, "Eng, Eng, that's a suffix! Hey, suffix! Ha
ha!" I never really could figure that one out. Thankfully, I never
had to put up with "Chink* or "Nip" or "Slope." Nobody could
figure out what I was.
tt was a mixed blessing. Not being a visible minority, I didn't
get the racial taunts which occasionally reared their ugly,
draconian head around the tetherbaH courts, but conversely,
my skin didn't possess that driven snow quality either, and
while I wasn't excluded from the class majority on the basis of
my race, in my gut I knew I wasn't white, and that was what
made the difference. A lot of my withdrawal did stem from the
fact that I wasn't the most well-Seed kid in my class, and I got
(probably more than) my fair share of harassment, but I owe a
lot of my personal isolation to a deep-seated concern in not
belonging racially to any group.
Around grade ten, I took a long, hard look at myself and
asked all of the harsh, probing questions that nobody likes to
think about, let alone actually try to answer, like: "Why don't
more people like me?" "Why aren't I more popular?" and their
ilk. I sat alone in my room for days, giving myself a brutal,
internal third-degree and when I was done, I was pleased. 1 felt
that I had made myself a more rounded, pleasant individual
(ha ha) and became firmly entrenched in the belief that if people stiH didn't like me they could go fuck themselves.
About the same time, I fell in with the punks, to whom
owe a lot. They were my first real group of friends that accepted me unequivocally and totally, solely on the grounds of
who I was. Hey, nobody accepted them either, who were they
to refuse me? I hung around with a crew that was charitable
and generous, and I owe them many things, the least of which
is peace of mind.
After two decades of self-delusion, I was finally happy with
myself, and I had a group of friends that would have done Just
about anything for me, and I them. I was finally ready to come
out to myself.
It was a stunning personal moment when that closet door
swung open wide ami I could raise my voice and say, "I
I said it. I said it and it felt good. It felt good to come to terms
with the fact that I have a rich heritage on both sides of my
family. It felt good that J didn't have to feel ashamed when I
wrote my name down on a document. It simply felt good.
I have regrets, sure. Not learning Cantonese was sure one
of them, and I regret not coming to this conclusion sooner,
but I get the feeling that if I had, it might not have meant so
much to me. That if I'd accepted who I was when I was a child,
I might have taken it for granted in some way. I'm not sure
how, but it brings to mind that old adage that anything worth
having is worth working for, and I'm sure a sense of identity
and pride in self falls in there somewhere.
Twenty years of alienation never really goes away, but
I've taken those feelings and made them work for me. So I
live outside the system, is this a bad thing? Hell, no. Being a
pariah has made me who I am today. I am fully aware of who
I am as a person — racially and sociafly — and I can now look
in the mirror in the morning aid say, in a quote from one of
the great cinematic celebrations of Chinese culture: "Give me
your best shot, pal, I can take it."«
6     amy  1997  <m? Who are you (names, ages, instruments
Scott E. Moil: vocals. Skittles: keyboards, Che:
lead guitar, Mishka: bass, Skaliberte: trap kit. Tin-
tin: rhythm guitar, fog machine
And featuring the Four Hornsmen of the
Skapocolypse: War: trumpet. Pestilence: saxophone. Death: trumpet. Famine: trombone
Hey, to avoid any further confusion in
Vancouver 'trade papers,' please write
the proper way you want your name to
be spelt, OK?
War: Eilher Les Malchiques or Malchixdiggit.
We're all illiterate anyways.
Have Thee Malchiclu ever entertained the
notion of wearing suits?
>: Suits, along wilh any olher clothes, only
serve lo hide ihe fabulous physiques thai all 10
Malchiks possess. We were an all-male revue long
before we were a ska band.
Bee Gees, and a lovely duet between B<
Yeltsin and Anne Murray. Plus there's ihe o<
sional snippets of Nardwuar interviews. Coll
943-5091  to get a copyl Only $41 Operator!
ore standing byl
What turned the Mammalchiks on to
SKA? Was there a single, underlying
Mishka: Four years ago, we realized lhal the
impending arrival of ihe Hale-Bopp cornel foreshadowed the collapse of ihe millennium. Then,
after months of psychic Ouija research in a top-
secret mountain laboratory, a crack team of
Russian and American scientists working for ihe
United Nations finally deduced lhat SKA actually
stood for Satanic Kazoo Anarchy. We had no
choice but to reject our Judeo-ChrisHan ethos to
odopt the consciences of rude bwoys.
Are you signed to Canadian ska bastion
STOMP yer?
Skittles Do you guys have some kind of telepo-
ihetic dimension X mind-scanner device? Well if
you do, you'll know ihe answer is yes ... the CD
comes out in September, and will have been
recorded mostly wilh ihe [studio] time we won
from Shindig, Watch lor a giant media barrage
involving billboards, beer commercials, an interview in maximumrollingstone, o Planet Hollywood
gala, and a vast 1/4 page ad in ihis very own
DiSCORDER magazine
Ask yourselves two questions
and answer them.
Who are you (nam*
Marlies: screaming hedge clippers
Noan: chainsaw
Lauren: butcher knives
Tara: lawn mower
Pick five words to describe your band.
Please take DiSCORDER readers through
ie experience of playing the
Dewie Pardie and
Howe night club
in West
local bands ihot were on the bill, aside from us,
were Spiritual Heroine, It's Not My Onion, The
GoOevils, Sunny, Liquid Amber, Hissy Fit, Jobber,
Celestial Magenta, The Dirty Harriets, Mtorto and
Puncture. We had ihree American women groups
join ihe bill as well: Jessica Rose, Lisa Dewey and
Jen Wood. The Columbia has never experienced
such an overwhelming crowd size and block-long
line-up. The bor was very crowded and hot.
Everybody got laid. It wos a happy time.
Naan, which instrument do you enjoy
playing better, bass or guitar?
Bolh, I'm bi-curious.
What's the biggest thing you've ever
stolen from a department store?
From ihe old Woodward's department store, we stole ihe coin-operated, riding vibrating pony. We hoisted
il into our van, Vageena, which broke
down    only    a    block    away    from
Woodward's. She hod to have a hysterectomy so we left her at ihe side of ihe
and we rode ihe Woodward's pony
oil ihe way homel And it only cost 10 cents.
Ask yourselves two questions and
answer them.
What are the pros and cons of defining literacy f
Revulva was invited to leave our vehides with the
Hale-Bopp comet but hod to decline becouse we
are so hooked on phonics lhal we didn't want to
leave our language behind. Child, tell ihe devil
where your allegiance is. Don't let my mommy
die! Sound it out, spell il oul!
According to Luce kigoray, the psychoanalytic discourse of mastery can only be disrupted from the
outside, by the coming-intobeing of on 'other' logic,
another discourse, another subject. How does this
theory of 'other' affect femininity and oppression?
Tin-Tin, guitar god of the Mall-Chicks, is
your other band Public House mad that
you are ska-ing all the time with the
'Chicks? What are they up to?
Tin-Tin: They're not mad. They like the rnlchks
even ihough ihey don't like ska lhaf much really.
One of ihe Public Housers, our drummer, is currently in Australia recovering from our 30day, 30-
city tour of Yemen, Egypt and Morocco. Our violisl
is busy because he recently opened a line of clothing stores across France, so he wosn't able lo
make rehearsal. Public House will be playing al
ihe Sound-fest all-ages show in Richmond on May
10. (shameless plug)
as  born  in Riga
it achieved fame \
Are there any other bands from
Richmond/Tsawwassen the readers of
DiSCORDER should know about? Isn't
there some sort of compilation tape
floating around?
Pestilence? You are correct ... various members
of the Skalchiks put together the Droogie Records
Compilation, which has an hour worth of various Richmond and Tsowwassen bands including
SNRG, Public House, Portal B, Aerosmith, The
1 898 and fir
PotemJbn in 1925. Although he completed only
six films before hb death in 1948, he is considered one of the most important filmmakers and
film theoreticians.
How did ska become reggae?
Ska is considered to have begun in
1959 and flourished until the summer
of 1 966. That summer Jamaica had
experienced a heat wave and some of
the DJ's started playing ihe instrumental tunes at slower speeds, because no
one could dance at full speed.
However, here in Canada it's too cold
to dance slowly so the Malacheks are
devoted to the production of higlweloc-
ily mania for your skanking pleasure.
Anything else to add?
Tin-Tin: Yes, we'd like to add three
girls to our band to do the backup
vocals, because quite frankly I'm tired
of singing falsetto. Applicants should
provide their own
4-lrack contraband bootleg of
"Lonely Rudie' lhat is at
CiTR somewhere.
Live version of "Loverboy"
on the Droogie Records
arrived at Dewie Pardie
and Howe to play our g'tg, we were welcomed
with line dancers. We were excited by ihe free
lessons given before we soundchecked. We were
two-stepping with the West Von Matrons, who
were grooving wilh us until we got on stage and
started, 'You drive me crazy, I don't wont lo sleep
wilh you!' They all went squealing off in their
Mercedes sedans, purring their boots to ihe metal.
Nevertheless, we felt at home because there
was a sign above the front door thot read,
'Wives and sweethearts, may ihey never meet...
Revulva' — we added our sticker to the wall to
complete the sentence. One West Van boy heckled at us, whining that we were giving him a
headache — good thing we have a song called
'Migraine;' actually, it was called 'Big Bad
Girlfriend,' which we changed to Toke it from
ihe Top,' but we rorely ever play it ot the beginning of a set. This West Van whiner asked us to
give him a break, to which we invited him to offer
his neck. He ran off wilh somelhing between his
legs, but it probably wasn't his tail. A group of
faithfully subservient boy fans told us ihot they
'took care' of him.
What was Oirifeast? Who played it? In
the end, how did it turn out? Is the
Columbia the coolest club in Vancouver?
Girlfeast was ihe unprecedented, first annual festival featuring mainly local bands dominated by
women. It was a threeday, sold-out event. The 1 2
Irigaray's theory of feminine specificity is an assertion of that otherness pyschoanalytic describes,
an affirmation of what woman is said to be. This
affirmation explains her description of lhat specificity of femininity: women don't know what ihey
say, their pleasure is 'beyond the phallus,' but
ihey can't explain it, iheir joissance involves a
privileged relationship with the vulva. According
to Irigoray, psychoanalytic theory ... utters the
truth about the status of female sexuality and
obout its sexual relation to ihe vulva.
irigaray's strategy is to pursue these truths, to
articulate lhat silent ground of feminine desire so
lhal it may lake its place on ihe stage of aggressive vutvic music. What ihis means is what woman
produces is a discourse of hysteria, a discourse
lhat is no longer criticized as the affect of subordination but which is celebrated as the manifestation of the truly feminine vulva. Woman is not a
subject like man, divided by the repression of otherness; she is the repressed olher, ihe matter of
ground of masculine representations. Now, the
Revulva audience is left questioning, is ihis a theory of oppression or is this theory oppressive?
Upcoming shows:
May 2: Town Pump
May 10: Music Waste © The Anza Club
Contact name and number:
Marlies Revulva: 8-2313 Victoria
Dr., Vancouver, BC, V5N 4K8.
Live From
I liiin<Ierl*irtl
Radio Hell can be
heard Thursdays from
9-11 pm on CiTR 101.9 f Ml
* m®m^ •fry   Varbfnn
SWARM is a Vancouver-based ensemble which
engages in an interdisciplinary approach to
rhythm and music. The artistic direction that the
ensemble has taken coalesced during its two month
residency at the Banff Centre for the Arts last
mer. A few weeks ago, SWARM shared its work to
Vancouver audiences when it performed in concert at
the Vancouver East Cultural Centre.
From March 6-8 of this year, a few hundred fortunate folks made it down to the VECC to check out
the Symphonic Work Assembly of Rhythm and
Movement: SWARM. Some people might have found
the performance to be reminiscent of Taiko drumming
or of performances by ensembles such as STOMP, but
SWARM has a totally unique approach to rhythm and
movement that could only be derived from its unconventional instruments and the experiences of
SWARM's individual members.
Being a group which primarily came together
through ads in the Georgia Straight, the combined
experiences of the six members of SWARM (Patrick
Mitchell, Kevin Lacroix, Bill Wallace, Scott Bishop,
Dave Hatfield, and Gregory Kozak) are as diverse as
they are impressive. The biographies of the band
include more than a pile of Bachelor of Fine Arts
degrees. One can also find experience in music genres
such as classical, jazz, Cuban rhumba, punk, a capel-
la, world music — and, of course, all kinds of percussion — and the diversity of the band's experiences
in the arts extends into dancing, painting, jazz choir
singing and even Shotokan karate.
It's a good thing too: that range of experience is
needed to explore the curious line up of instruments
that are integral to SWARM. These hand-crafted
instruments include a variety of interlocking drums
and a drum tower, a ?5 pound "Buddha belly" suit
made out of cast iron which hosts a drum on the
Buddha's belly, a 24 ft. "long string" instrument
which looks like the world's largest banjo (the performance reveals a very different playing technique),
and one "marimba river" — or rather, a marimba
that personifies a couple of waves with its rolling surface. Each instrument is designed by Wallace and built
with the use of post-industrial materials. Any material which can be used — from PVC pipe to canisters to
a computer — is being used in the design and construction of the instruments. "The piano-tuning team
from the Banff Centre (for the Arts) took a huge
interest in the Long String instrument, and helped
;ely in coming up with a computerized
measurement system for a very exact tuning of that
instrument," Dave Hatfield recollects from their
intensive Long Term Residency at the Banff Centre.
Mobility is central to the concept of SWARM. The
instruments are designed for action drumming, they are
mounted on wheels and are moved around the stage
enabling them to become an animated part of the performance. With all the movement going on between
the performers and the instruments, the audience
quickly becomes involved with the pleasant task of
choosing how to distribute both the time and focus of
their attention. If you are lucky, you will be caught
off-guard in public spaces around Vancouver by
SWARM's "Guerilla Performances:" they pull up to a
chosen destination and unload whatever they could fit
into their van to unexpecting audiences.
SWARM also loves playing in the environment of
a folk music festival, as they did at the Mission Folk
Festival last summer. Hatfield said he had "volunteered at the folk festival here for years and [his]
experience is that it's just such a buzz, such a high.
People come together for a really good reason and
really beautiful things happen out of that." On the
note, Lacroix responded that "Mission was a ball.
People were totally friendly, it was a super environment, and in folk festivals particularly, people can be
very, very friendly and accommodating. Yeah, I'd love
to play at another one."
So keep your eyes and your ears open for SWARM
this summer. Their multi-disciplinary performances
will satisfy any appetite for entertainment. With hard,
driving rhythms and movement, spoken word pieces
and just plain innovation, SWARM's performances
will please and intrigue people all summer long ...
make sure you're one of them!-
You can check out SWARM's website at
http://info Jiipxon/swarm
Gimmie Gimmie Pop Treatment!
CD $10
LP $8
8   .,__y  1997  <& SMJNPi
by Chris Corday and Clinton Ma
Please identify yourself, your name, your
musical instrument, and your instrument of
Birdstuff: This is Birdstuff from Man ... Or
Astroman?, and I am the person who programs himself to be a drum machine.
Please explain to us the origins of Man ...
Or Astroman?
Birdstuff: Well ... to make a long journey into a
short story, Man ... Or Astroman? is from Grid
Sector 23-B61, a place that we thought was rather
dull until we landed on the Planet of the Earth. Did I
just say the planet of the earth? Actually I think that
would be the Planet of the Apes. Before here we
were on the Planet of the Apes and we made
Charleton Heston put his shirt on. So eventually, we
landed in this state called Alabama, which is about
as close to space as there is a place. Since then
we've been looking for parts to our ship because
everything kind of exploded across this tiny, little,
blue-green space rock you guys call home. We
thought, 'What better vehicle to accomplish that
goal than a band?' Thus, the smelly, sweaty space
regalia you see around you at this time.
Being from Outer Space, what do you
think is the main difference from your
home grid sector and Earth?
Birdstuff: Generally, people are vastly more intelligent where we come from, and you guys are just
now stepping out of the primordial ooze, just putting
that one cell right out of the muddy waters. It is vastly different. Everything is direct neutral where we
come from. There's no need to interchange thoughts
or sound, thus explaining why we've never even
heard our own music.
Does Man ... Or Astroman? have an
alliance with the so-called 'Heaven's Gate
Birdstuff: We're the away team. We were late.
We played in San Diego about a week ago and we
met some friends in Rancho-Santa Fe, and after that
we somehow misguided the system and the extravehicular paths didn't quite happen when we thought
they would.
But would you have joined them in their
mission to travel to the Hale-Bopp comet?
Birdstuff: We would have picked those guys up,
and we had room, but I don't know. Everything's
turned out OK-we have a Nike endorsement out of
If and when Man ... Or Astroman? takes
over this planet, who would you like to see
Birdstuff: That's another misnomered conception.
We don't really have any interest in taking over this
planet. It'd be kind of like the equivalent of you guys
taking over anywhere in New Jersey. It has no real
interest for us to own a total dump of space, a hunk
of space rock. It's not really interesting to us by any
means. Our main objective, as I aforementioned, is
to just get off the planet. We may destroy the planet
in the process, but that's just a peripheral thing.
We're thinking very futuristically right now. It's made
for TV, the residual's coming in to capture the Earth
exploding in fiery cataclysmic ball. Write a book.
I'm using earth terms to make you understand what
I am trying to convey here.
So you would consider destroying the
planet, but would rather your fans be
spared? Do they have anything to gain
from being loyal to Man ... Or Astroman?
Birdstuff: Possibly, if you do purchase Man ... Or
Astroman? products, which inadvertently funds not
some ridiculous organization that hasn't done anything since the mid-'70s like ... oh ... NASA, or even
this fumbling of all these endeavours that the ESA
and the Japanese have done. So you're actually
funding a successful space program, being that
we're from there already.
What does surf music have to do with
outer space?
Birdstuff: Nothing that I can readily conceive of
at the moment. At one point, I believe when we were
on a time-delay transmission, what we received was
music of the early '60s. A lot of guitar-led instrumentations. Those sounds of the guitar brought us to
the planet Earth. Link Wray and the Ventures and
various sounds from that era. Recently we've been
very modernized by your planet and we only listen
to Marilyn Manson, No Doubt, and Live. We like to
call it 'New Bad Rock.'
What are your favourite playing spots on
this planet?
Birdstuff: Probably near our current home grid sector, which is near the Alabama-Georgia sector. As
well, we had a rather interesting show in Tasmania,
and I think there's some sort of parallel window connection between Tasmania and Alabama. We cur
rently have a research team investigating that as we
speak. You know, Man ... Or Astroman? is always
busy at work. It's not just the four exoskeletons that
you see moving around. There's a vast underground
network at work that does whatever we want them to
Tell us about Servotron?
Birdstuff: Servo? Say again?
[Starcrunch peeks into dressing room.]
Starcrunch: Servo?
Birdstuff: Is that a car? Or is it a movie? What is it?
Servotron, the band?
Birdstuff: I don't get to buy much earth music. Then
again, we mainly listen to the various sounds of
outer space, and pick up what radio frequencies are
transmitting out in the great dark beyond. You know,
currently doing this quasar thing.
Could you tell us about your connection to
the earth television show, Mystery Science
Birdstuff: Well, people have come and studied
us, and I think when we've been in the Minneapolis
area and played shows there, we've had various
experimentation   done  on   us   by   Dr.   Clayton
Forester. Other than that, we're mere guinea pigs in
the great cog that is, or was, Mystery Science
Since you are able to manipulate space
and time, is there anything you could tell
us about the future of this planet and your
[Coco the Electronic Space Monkey walks into room.]
Coco: You know the rules, Birdstuff!
Birdstuff: The future of Man ... Or Astroman? is to
sell one billion records. If you thought the Michael
Jackson Thriller era was a very exciting thing, if you
think he was big enough to justify that 15 minute
film that they showed — the making of Thriller— if
you thought Saturday Nighl Fever was huge enough
to allow the Bee Gees to actually show chest hair,
then Man ... Or Astroman? is moving far beyond
that. But you won't be able to take any of our
biodegradable music with you when we leave and
destroy the planet. Am I not correct, Coco?
Coco: You are correct.
[Coco has returned to the room after having shaved
the hair off his face. He explains his research on
this earth process, that is so foreign to these space
Birdstuff: How did your experimentation go with
the earth substance known as 'shaving cream?' It
looks fine.
Coco: There seems to be a bit of irritation involved.
But in regards to the thermion's relationship to the
removal of hair from my epidermis, the two seem to
have very little in common.
Birdstuff: It looks like the problem is that you're
using the circuit board from the electric razor in the
thermion. That could mistake number one right
Coco: That is for sure. They do share a
ponents, but Remington makes a fantastic thermion
logic board.
Birdstuff: Which is why you bought the company.
Coco: I own the whole business.* cm
what beats being in love?
ois*. "Jack shit nothing. But.
eating candy is pretty good.
After an unsuccessful attempt at
interviewing the lovely Lois Maffeo
after her set at the Digging Cthonlc
Culture night of underground pop
and performance, DISCORDER caught
up with her at souncheck before her
show with Built To Spill. She was. this
time, a member of The Lois, accompanied by Heather Dunn (formerly of
Tiger Trap) and her friend, Jason
Traeger, an accomplished songwriter
DISCORDER: If you weren't In The Lois,
what would you be doing with your
Lois: I do a lot of stuff besides being in
The Lois. I run the Capitol Theatre, in
Olympia ..
Jason: Which is the centre of Olympia cul-
Lols: Yeah, it's a 750 seat movie house
that was originally a vaudeville house,
and it now houses the Olympia Film
Society which shows films Sundays
through Wednesdays. And then we have
rock shows on Thursdays, Fridays, and
Saturdays. I write for publications — I'm
in the middle of writing something for
TVme Out New York on Yo La Tengo, and
I wrote something on Built to Spill not
too long ago, for the Seattle Stranger.
Jason: That's how you got that gig.
Lois: Uh, yeah. And I wrote about Ani
Difranco for CMJ. As of last week, I am
a published poet in the Olympia literary yarn. I raise chickens — that's a lie,
Jason: Musical chickens.
Lois: I'm in another band called Tommy
and we haven't done much yet ...
Jason: And the other half of Tommy is
Carrie Brownstein of Sleater-Kinney, very
famous   band,   very   famous   person.
Beloved Olympia figure.
So do you actually make enough money
to live off of?
Lois: From all these things, combined
... yes.
Jason: She does very well.
Lob: Yeah, I live in a mansion on the hill...
Jason: She's part of a group called the
Penthouse Players, of which I'm a proud
member myself.
So what beats being In love?
Lois: Jack shit nothing. But, eating candy
is pretty good. Um, what beats love? I
think joy can sometimes surpass love,
'cause love can sometimes be really awful
and terrible. Joy is pretty much always
pretty great, but it's really hard to maintain; there's not like a lot of highs and
lows to joy. Probably giving birth might
be  pretty  great;   I  wouldn't  know,   I
haven't done it ... yet.
Jason: You give birth to music.
Lois: [laughs] Shut up!
Have you ever experienced love at first
Lois: [pause] I'm positive that it exists ... I
think that the feeling that I had when I
first saw Calvin Johnson walking down
the stairs at Evergreen [College] — and
he had a bandana tied around his knee
— was the same kind of feeling I have
now: sort of love crossed with ... a complete repellant feeling. I think that that
[feeling] has lasted for 15 years. That was
a form of love at first sight.
Jason: Love at first fight.
Lois: [laughs] It was probably a few days
later that he walked in to my dorm room
and looked in my refrigerator, and I said,
"Who are you?' It's weird because I don't
usually love people for the way they look;
for me, I think there's love at first joke
more than there's love at first sight.
So what was the Lumlhoops all about?
Lois: Oh, that was a great band. Here's
what happened: I had this job working at
a hot-tub place. There were all these people working there: Tim Brock, who writes
symphonies and is on K with his movie
soundtracks and scores. He worked there
and his wife at the time, Jan, and this
other woman, Sharon. Every year at the
Christmas party, they have a little talent
show, and at that time, I had a guitar, I
didnt realty play it though. So I thought
we should start a band for the talent
show, 'cause Sharon was actually on her
way to graduate school to be an ethno-
musicologist; she was a very advanced
player of many instruments, including
medeival recorders that were four feet
long. She had a hurdy gurdy ... We played
two shows: one at the Smithfield Cafe
and one on the radio on KAOS, in
Olympia. That's kinda the genesis story of
my relationship with Pat Maley and the
band, Courtney Love, that we later had
become. K has been discussing releasing
some of the Lois juvenalia.
You married a strong, feminist persona
with really beautiful musk. I think that's
a great slap in the face to anyone who
thinks that you have to play all these
power chords and hot licks to be a
"woman In rock music* today. I think you
stand out with a handful of others, Hke
maybe Rose Melberg ...
veins popping out of their neck and I
always think, 'Oh, God. Does that hurt!'
But that's OK. I love the way both of them
sing. It's just not the way / sing.
Do you still have the policy of doing one
Lynyrd Skynyrd cover per show, or has
that fallen by the wayside over the years?
Lois: We've moved on to doing a classic
rock opera entitled 'Bohemian Rhapsody,'
with sock puppets.
Can you talk about your Involvement
with  Free To Fight [Interactive self-
defense project/CD/tour]?
Lois: Heather?
Heather: Free to Fight was a pretty awesome, intense band situation.
Lois: Yeah, the tour, ft was just a really
great project, no matter what. We're kind
of laughing, because the tour had eight
women in the Hazel van — a shitty van ...
Heather Shitty van. Hazel!
Lois: Heather and I [were] the onfy people in this van who had ever been on tour,
and suddenly, we were going to all these
places with self-defense experts up there
demonstrating, doing this strong, intense
[self-defense] stuff. And then we'd get in
the van, and we'd be like, 'Oh, I want to
go to Dennys. I wanna go to Taco Bell!
Omigod, how long 'til we get there?!' It
kinda seems a bit comic, in a sense.
Heather: Pretty high-tension atmosphere.
Lois: But it was good, because you got to
go to a show, and like, kick people. It was
Jason: I was just gonna say, I read a Softies
interview that said that exact same thing
about them, saying that their music being
so pink and fluffy is as much a statement
as Sleater-Kinney being all raucous.
Lois: And gnarly? But if you look at the
Fakes record, there's a testimony in the
front which I'm assuming is written by
the singer of the Fakes. She felt that
women were hiding behind their pretty
voices, and we have to be more intense. I,
of course, disagree with that, but that's
just me. I really feel like people can only
sing the way they sing. Sometimes, I'm
just like, 'OK, I just wanna go gnarly.' I'll
hide out and go run in the woods and go,
[attempt at transcribing Lois being
'gnarly'] 'Aaaghaghh!!' and see how it
sounds. First of all, ft hurts. Second of all,
it sounds like shit. You know, I don't sing
like that. [But] I think that some people
naturally do.
Jason: And there's the rare person, like
Gwen Stefani [of No Doubt], who can
actually do both.
Lois: [laughs] You're ill. But when I see
Corin [of Sleater-Kinney) sing and Kathleen
[of Bikini Kill] sing, they get these weird
great. Very high praise should go to Jody
Bleyle for the idea and to Donna Dresch
... the people who put it out. I wish more
music had that value-added, information
package with it.
Where exactly do you fit In to the media
as it stands today?
Lois: People used to say, oh [she's] like
Suzanne Vega, or Tori Amos. It's
depressing to me. When people say
things like that, I think, 'Do I suck that
hard?' Neither Heather nor I listen to
music like that.
Heather: I think the fact that the only
comparison is Suzanne Vega, Tori Amos,
Morisette, whatever, just so you don't
have to break that down.
Lois: I'd much rather be compared to
Beat Happening, [that's] more appropriate. Or Mecca Normal — anything that's a
more stripped down thing. I think people
are looking for the easiest way to
describe it. Oh, woman and an acoustic
guitar, well, starting with Joni Mitchell
and going down to Kristin Hersch ... that
music doesn't inspire me to write at all. I
probably wrote more songs after seeing
Nation of Ulysses.*
10   may  1997  <e? 3SSIBB1
by &une Scuaefer
Xorth Carolina's Squirrel Nut Zippers produce an energetic version
of'20s ragtime that is mostly comprised of original tunes. There
are six Zippers, including the Billie Holiday-sounding Katharine
Whalen and the two I interviewed before the show at the Gate in February,
the hilariously gregarious vocalist/guitarist/saxophonist Tom Maxwell and
the more subdued guitarist Ken Mosher. The Zippers were a little
surprised by the overwhelmingly enthusiastic response the sold out
crowd gave them. This is a bit of a strange interview; more politics than
music were discussed.
In celebration of "Hell," much played song from the Zipper's latest
CD, Hotl, I gave Tom and Ken a Chinese Bank of Hell Note, which lets
you buy your way out of perpetual burning if you've been extra
naughty. This caused much excitement...
DiSCORDER: 1 had to give you those bank notes because the song
"Hen'' is getting so much airplay at CiTR.
Tom: It became the single, after people started playing it! [laughspts
no more appropriate or inappropriate than any other song on the
record, as far as I'm concerned. If people latch onto it, thats great.
For people that are interested in this style of music, are there tny
artists or albums you'd recommend?
Tom: Fats Waller, Cab Calloway, Duke Ellington, all the Cotton Club
orchestras with Ellington and Calloway, Louis Armstrongs "Hot Fives"
and "Hot Sevens." Thirties Calypsos from Trinidad really turns us on —
love that stuff— and Louis Prima, Fletcher Henderson; theref;a million great bands from that time.
Ken: Les PauL
Tom: Yeah, people you wouldn't think of, like Johnny Ace, Howlta' Wolf,
Robert Johnson, The Beatles, Stax/Volt, Big Star. The Clash is up there for
us. If you're thinking of a small swing band from the '20s and '30s ..,
Ken: If you're thinking we're modelled after anything, there, really
Tom: But Fats Wallers small band, The Rhythm, was an unbelievably
good, small band and Duke Ellington would put together smalt bands
that were awesome.
So, this is your first time to Canada; notice any
Tom: The money "
Ken: Its the first -*-ha#\¥here I was asked if 1 ever had a
before playing.
know,    you    fuckin'    Limey!
] Give me a drink! So,
I've used you all, I've used you
alls good name, I'm sorry!
You're talking to a Southerner,
you  put  us  in  Chicago,  we're
fuckin'  fish  out  of water.   The
United States —  1  mean,  New
Orleans, LA, New York and Chicago
— you couldn't get more different
people. Then, North Carolina is a
completely different deal.
Ken: I thought people in Wyoming
and Montana were a lot closer to North
Carolinians than a lot of places.
One thing has puzzled me about the
US. Is there actually any difference
between    the     Republicans    and
Tom: Lord, yes!
Ken: I dont know, they're getting pretty similar.
Tom: But the roads to that end are quite different. Republicans are, by
and large, a dour lot ... how can I put it? Democrats wear corduroy
patches on their jacket elbows and Republicans all look like Bob Dole.
They all have frown wrinkles, tend not to leave their house very much
and are very distrustful of strangers,: And the Democrats believe the
government should subsidise an [laughs].
Ken: If you took someone from every state and asked them to categorize Republicans versus Democrats, you'd have the weirdest
break-up of..
Tom: 1 gttwup in this county in North Carolina which used to take up
three counties, but when the Civil V&r happened, everybody started
choosing side* and to this day, in the 120 years that have followed,
our rieighbouring county is straight up Republican and our county is
straight up Democrat.
Ken in Missouri,all the Republicans are farmer* and the Democrats
are rich and in North Carolina all the Democrats are hippies and all the
Republicans run everything.
Tom: If we had to make: a choice, we're all probably .„
Ken: Libertarians.
Tom* Yeah, that'd probably be more accurate.
I've always been iuteresiwt to the reasons why a lot of people in
the States are against having a real Party on the Left.
Tom: There, been this kind of annoying, right-wing bent ever since 1
got into high school which has never really gone away. When you compare us to, say, France, we never go too far Left and when it does,
record everyone gets real uptight and now, in the last ten years, the Left has
been so demonised and the word liberal' is so ...
Tom: No, we don't have criminal records! [laughs] I was in Canada      Ken,,J think its sort of political but fiKjhk it also has to do with money,
once when I was, like, eleven. I had family in Michigan and we went      1 thtnlc thett_"a lot of interest in keeping two parties, thats it, because
up to Canada and 1 bought a Coke with American money, so it was ;
completely useless enterprise.
Ken: This is my first time out of the country.
I sometimes find that Europeans lump Canadians and North
Americans together, but there's such a big difference. [I also mention my *91 trip to Chicago]
Tom: When 1 went over to London in '86, a lot of us would put
Canadian flags on our backpacks because we didn't want to get shit
about Ronald Reagan! No, I'm not American, eh! What do you
everyone* paid off anyhow. If you sun more parties, you may actually change something. 1 think Americans in general are dissuaded from
ever doing anything, especially when you have Ross Perot as a third
party — the richest man in America. 1 mean, what the hell! Its like
Mickey Mouse running for President.
Tom: Well, don't even think about it!
Ken: Because [Mickey] would be better.
Tom: But if you get passed a certain point, of course, in either direction
you get revolution. Of course, we had a horrible internal conflict 120
years ago, but America by and large is a pretty stable place, so there
hasnt been a call or plan for revolution. In Europe, situations were
such that people had to start thinking about things like this and how
to fight this oppressive system Even though a lot of time it stinks and
doesn't work, the system we have is inclusive and has gotten us, at
least, to this point after 2-300 years.
Ken: I think Americans are stagnant, too. They're unwilling to step out
and take a risk and do anything.
Tom: We dont know what to do because everyone's pissed off with
the system and unhappy and cynical and jaded and there, nothing to
make one feel any different, but how do you change it? Ws're trying
to figure out what to do. Do we get another party? ... You know, we
keep [voting] in people who say that they're not going to play the
game and thats the first thing that they start doing when you put
them into office.
Before we parted company, I asked Tom and Ken what they were reading. Tom, aptly enough, is rereading the history oj Hell, which covers
Gilgamesh to the present day and Ken likes to read about archeology and
natural history.
It was a treat to interview such interesting people, even if they take advantage of Canada's good name overseas!'
sounds fr«tf4
Santo "exit planet right"
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DA'SJ^C0RDS 2610 Cook St, Victona, BUST 3$l
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~   *>> 'i   I-    I V  > R        < by John Zaozirny
"I've always wanted to shoot an action movie. I've always wanted to shoot stuff that girls weren't told they were allowed to shoot.
Break glass, dump cars, shoot people, all this kind of stuff that
nice girls don't do. Nice girls tell stories about people who sit
around the dinner table. I've already done that. This time I wanted to do something that was really challenging, and shoot it in
anamorphic and come out with guns ablazing."
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may 1997
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From Melodlya Records out of Calgary, home c
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Somewhere between incredulity and overwhelming enthusiasm, Mina Shum finds herself at fhe
helm of her second feature film. Drive She Said,
fhe story of a woman, Nadine, played by well-
known actress Motra Kelly, token hostage from
her sale bank teller job and thrust into a dynamic life on the lam. On the surface, it might seem a
world away from the dinner tables and playground swings of Double Happiness, but peel
bock the layers and you'll find it's still the same
struggle for identify that Double Happiness was.
Originally written with Double Happiness lead
Sandra Oh and Chinese-Canadian culture in
mind, fhe script had to be completely rewritten at
the last moment when Oh become unavailable
due to on HBO conflict. "I rewrote fhe script thinking, OK, ony colour becouse
this film isn't really based on
culture, it's based more on gender. So I decided, I'N rewrite if
without any of the Aston refer-    y (
ences and see how it works.
Now if it didn't work, I would   I ■    **  •**  p   <*   .
hove folded the whole picture
and said forget it, /know I'm
not going to waste taxpayers'   i ,    <*  « P   ■  »
money. But it actually turned
out to be a better script without
the Asian references in it, and    .   e   e   d
in foct I thought if Sandra was
going lo come bock and do    "    °   "
the film, I would have given her    ,   c   t   d
fhe new script for her to play."
Though now pulled from the    *  ■   T ' '
usual Chinese-Canadian con-   . ,
text that she mined so effectively in Double Happiness, *- ■ * «
Shum feels the film still reflects
what one might call 'The
Continuing Adventures of Mina
Shum.' "I think it's still very
based, now more so, on my
life experience in that what I had to do was
relook at the script and say, toke out all the funny
jokes, take out all fhe cultural identify jokes, what
is my problem? What is Nadine's problem?
What is our problem? To me, the problem has to
do wilh women who ore at a crossroads. We're
coming info the year 2000, we've had our mothers raise children, get married, white picket
fence, the whole nine yards. That hasn't quite
worked out for us. Where do we go from here?
So I sort of distilled the philosophical question,
removed all the superficial and colour references
to it, and it became a much stronger story. In
fact, it's so autobiographical now, I think people
are going to come up to me and ask me if I was
ever taken hostage."
Now lacking a lead, Shum found luck wifh
her first Iry. "Steve [Hegyes], the producer, came
to me and said, 'Who do you want?' and I said
anybody? American, Canadian, Swedish?
Moira Kelly. Because I saw her in Cutting Edge
and ever since that film [I found] that she and I
shared a similar heart in terms of the kinds of
work we want to do. And in terms of our sensibilities. She's got a very wide range, she always
plays strong women who also have a vulnerable
side, and that's the kind of women I like to portray. So I thought, Bingo, done."
Drive She Said continues Double Happiness'
theme of the impossibility of pleasing others and
yourself by showcasing Nadine and her initial
decision to follow her parents' chosen path for
her with o safe job and a safe life. "Ifs a film
about a woman who's tied into fhe straight path,
who's decided, 'Yes, I will walk the straight line.'
And then she's forcibly taken out of that, taken
hostage, which I think we oil want ta do occasionally, be taken hostage from our boring lives or
our exciting lives. But whatever they are, we
ohvays wont to change channels, obsolve ourselves of responsibility ... Because she is stripped
from the world thot she knows and is comfortable
with, she has ta deal with herself. She has to say,
'What do I like? What do I dislike? Which way
should I go?' And she is very tempted by the new
world that's been introduced to her."
It's a choice Shum herself hos been forced to
make. Through her feature films and various
short films, Mina's trying to capture her life, her
choices, and why she's made them, through her
own eyes. "Every year from 1996, which is the
year I turned 30, 'til the year 2000, I'm going to
make a 20 minute film where
me ond my immediate and
chosen family reflect on what
we want, where we're ot ond
what we're scared of. So it's
a docu-diary, basically."
A graduate of UBC's film
program, which she found
"very conservative ... ocross
the board," Shum finds herself part of a growing circle
of UBC grads who've burst
onto the Canadian film scene.
UBC grads like Kathy
Garneau (Tblcyo Cowboy],
Lynne Stopkewich [Kissed],
Bruce Sweeney [Live Bail] and
Mina herself have all found
themselves at the centre of
attention with their features.
"Thot whole group that's
come out of the UBC film program, we were all together
when we were in school. We
came out of making a film
called The Grocer's Wife
together which is an indie film that no one said
could ever be made and we did it. Certainly
UBC provided training, it was great for that,
having a couple of years to concentrate on your
craft. But you can ask Lynne, you can ask Bruce
Sweeney, all those guys and ... there's some students who aren't doing anything. So it has to
do with gumption and stupidly believing in yourself, I think. You need to be naive, you need to
ask, "Why not? Why can't I do it?"
Still, Shum doesn't think she's a master of her
art form yet. "You have fo keep practicing. I
don't think I'm out of film school yet. I think that's
what has to happen. Just because you go to
school for two years doesn't mean you know it.
It means you have some experience, it means
you know what else you have to learn. That's the
most important thing."
Despite increased recognition for UBC
grads, most film students still find it requires
years of effort and unknown toil to gain any sort
of recognition in the American-dominated film
industry. For Shum, it took making the choices
for independence and freedom that her protagonists from Double Happiness and Drive She
Soid make before she could begin the hard
work it took to pursue her dream. "I think my
first glimpse of recognition was in 1993. I graduated in 1990, so it was three years of severely hard work. I decided to sacrifice the
comfortable life and live [the] artist life, which is
[making] 900 dollars a month, if you're lucky.
And you work on your work and you stay
autonomous. You stay independent — independent of needing money, needing anything, just
make your art."*
12   m»y  1997  *T wzmmwm
YOU ARE A (Check one):
(elaborate below)
DESCRIPTION (15 words or less):
BEFORE July 15,1997
_233-6138 SUB Bjvd., Vancouver, BCV6T1Z1 fax£604)822-9364	
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01 DiSCORDER: k it recording?
Warren: I've got no Idea.
Veah, ifs recording. You sound a little tired ...
Yeah, we jurt piayed last night in San
Francisco, and we had a bit of a show there
and then went out afterwards and I think I
might have got a bit drunk, so ...
How do you like San Francisco?
Uh ... I like it. It's kind of a ... San Francisco is a
bit special for u$, because It's the first place
we ever played In America and It has a lot of
nostalgia about the place. When we left
[Australia] two years ago, ft was actually nearly two years to the day when we played last
night that we'd left, and I think w« played on
about the tenth of March two years ago, and
that was our 'first ever' show in America. It
represented quite a great deal to us because
we'd got some money together, jumped on a
plane, woke up in America, danced around
and around the room together and went,
'Fuck! We made it here.'
Was that around the same time that you
played Music West with John Cage?
That's the one, yeah.
That was the first time I saw [the Dirty Three)
Yeah, that was the same year, but that was a
bit later on that we played with John Cale,
not John Cage.
Sorry, John Cale.
Yeah, that was the same time. We were in the
middle of doing a tour with Pavement ...
YesT*     ^CyPffi
OK- Yeah, we were doing a tour with Pavement
at that time and Laurie Mercer, who books the
stuff for that festiv-4-X's a festival is it? No, it's
like a thing. What's it called? South by
Southwest? No.
Oh ... North by Northeast?
North by Northeast. Right. He invited us up to
play at that show. [It was actually Music West.]
That was a funny show. There weren't many
people when you guys were on, and what
struck me about that show — more than anything else — was just how passionately you
were playing, even though the audience was
maybe 20 or 30 people in the Vogue Theater.
Well, maybe I've got it wrong but I remember
the response was really fantastic from the people ttiat were there.
Oh, rtrtainly.
Yeah, that's what I remember. I mean, I don't
ready care how many people come or whatever,
you know? But it's nicato play a place with lot
of people, but you know, we've never been
like. "Well if there's no one there ...' Usually we
play the best when no one's there, you know?
Some of the best shows that, collectively, we
feel we've done have usually been when there's
been three people or something, you know?
Right Do you find that you never catch the
best jams on tape, or nobody ever really sees
the best music?
Oh. no, I think they do. No, no, no, no. I think
recording is documenting something that was
like, 'That was then ..." It's like a time, and it
documents the space that the band is occupying musically, you know? I don't view the
recording process with much respect at all. It's
the way, it's a place in time. It's like if people
wanna go see a band and expect to hear it like
herecord and then they don't get that, then
beir bad luck, because I don't think any
group -\ meart unless they just play exactly
■^he same thkfg, and that's boring to me — I
kind of m/e\ like, you know, if you're gonna
ifcrneWe thi Dirty Three and wanna hear it like
record then you'llorobably be dispense it'll be difflfent.
you seeing that attitude, that improvising
more these days? I feel like I am, but...
In music?
Yeah, in live musk.
In general? I don't know. I unfortunately don't
have a lot of time to listen to lots of new things
and I don't really know what the current state,
really know what the current state of
musical trends is. But if that's the case than I
think that's good, you know, as long as we
don't get the Grateful Dead happening again,
[chuckle] I don't know if it's my hang up or
what, but improvising is really fantastic, it's a
really fantastic thing. There's a fine line
between self-indulgence and communication.
For me music's always been about communication, and it's about getting a message across to
people and it's about raw, simple emotions. I
think I've always felt this but I've never really
been able to articulate it because I think my
ideas are formed as a result of being asked
about it because basically the Dirty Three started playing in the corner of a room, because a
friend wanted a background band and we've
never talked about what we do, how to do ft,
what approach we're going to take, or let's do
this or let's do that, you know? It has just
evolved in such an organic way that it's a very
human group. We've never tried to write or
play music in a certain style or whatever. It's the
most honest thing I've ever done in my life and
I've never lied. .
Would you say that sorrow or joy is a more
potent musical inspiration for you?
Well, I think both have potency. I don't believe
that only things of merit come from hardship. I
don't believe the idea of the tortured artist,
and there's some divine intervention and then
something is created and the creative process
takes place. I believe that everything influences
you, no matter what it is, and I derive as much
from sorrow as I do from happiness as well and
I think it's basically extremities. Extremities is
really the key thing here. Extreme belief in
something and honesty because I think when
you do something you should do it, you know,
and not just go into it half-assed or nonchalant,
and like, 'Oh well: This is my life and here I go-
Like, fuck.JL
fuckingjgdfmg. I think you owe it to yourself
becau^—^iflrexcnie me htffe for a
life i/supKa fantasy thiyand yoi
out \pd garne^Hese^ings, ydn a btfld of
ip. I tlipktbdt's what
we're about. Like, UW a b_JKjdfquite a long
time. I used to rea. lotaJoooks, and one day
I decided that jgratji^P^a-^rufk Jt thf
of a bar thai
it the end of the day at
athing strongly.
I guess you need the 'disastrous results' to feel
the good stuff. One comes with the other.
It's a balance. It's like, how do you understand
'hot' if you don't know what 'cold' is? Or how
do you know what's happy if you don't know
what sad is? You need have that to get perspective on things, and then to sort of like work
out where you fit, or something. Extremities
always complement each other, and they give
you raison d'etre.
Do you see colours when you're playing, or
images? Subconscious stuff?
Uh, no I don't. When I play I always have my
eyes closed and I find it very difficult to look at
people because I find sight takes away from my
concentration. For me — just for me — I don't
i about the other two: everyone has their
own thing, but when I close my eyes then I can
internalize things and project it ... and it has a
strength or something. I don't see colors. I usually relive. Sometimes in an hour I can relive
quite a lot of different things that have happened to me, which can be really quite distressing at the best of times.
Yes, thafs very true. I actually just read about a
study where they discovered that [the sense
of] sight really monopolizes the brain's capacity for sensing, and when your eyes are open
your other senses are sort of reduced to like
10% ... and when you close your eyes it realty
opens up for your other senses.
Is that right? Where did you read this?
I think it was Equinox magazine.
Right. Hmm ... that's very interesting because
that's something I've never read about, but
that's the way I find it to be.
Do you the Dirty Three see any soundtrack
work in your future, or do you have any desire
to incorporate any kind of visuals into the
I mean, yeah, you know ... we'd love to do
something like that. I think some of our stuff
has been used in some movies. But again,
because of the way the system is, the way
things are, it takes a special person to find
something that they like and then use it. We
would love to do that. We did a soundtrack for
a silent movie called The Passion of Joan of Arc
and we performed it once in London. That was
a really fantastic experience.
Is that available around these parts?
No it's not. We did one performance only in
London atthe National Film Theatre.
Oh, so ifs not available on video or anything...
No it's not, no. Nick Cave was asked to present
his favourite film and he loved this film. It's by
Carl Dreyer, who's a Danish director. Ifs called
Le Passion de Joan d'Arc Ifs an extraordinary
film in every way. Ifs a lot of dose-ups with the
woman who plays Joan of Arc, and ifs really
rtraordinary. Ifs a silent film and he asked us if
we'd do the music for it, and so together we
(Performed a live performance of the music we
felt went with the film.
That sounds like fun.
It was. It was actually quite an arrogant thing
to take on because ifs such an incredible film,
and it doesn't need anything, and I didn't
actually realize until we went to do it, the
magnitude of what we had undertaken, but I
think it turned out OK. I think it turned out
good, you know?
14   may  1997 ^ Speaking of unattainable Dirty Three paraphernalia, I read about a demo tape of yours
called Jesuit Hands Stained By Cods Buttock...
Really? I don't know anything about that
at all.
Oh really? I think I read about it on the
Oh right yeah. I don't know anything about
that at all. We've got the three records out.
There was a cassette, the very original cassette.
If I had one, I'd send you It, but I dont have one
'cause we just sold them. We sold about 500.
That eventually became Sad & Dangerous, but
thafs only half ofthe cassette: There's 'Indian
Love Song,' which is on the self-titled album,
and there's a Gregorian chant that we play
called 'Monk's Lament.'  Ifs an old, medieval
tune that I found and it goes for about an
hour and a half.
Is that related to 'Warren's Lament?*
You know 'I remember a time when once you
used to love me?
That was a song that I'd heard from a cassette of songs by a woman called Arietta
[sic] and she was a really big, popular person during the 'Rambettica' [sic] period,
when the government outlawed the playing
of certain types of music, and the bazooki
was banned.
Which period was this?
Rambettica ...
Oh. I hadn't heard of ...
Oh, you must listen to this music! Rambettica
music ifs called. During the Rambettica time
the government outlawed the playing of the
bazooki, which is like saying you can't play the
bagpipes in Scotland. They thought that the
bazooki, and also the people who were playing it at the time, were encouraging the young
people to take drugs. So it was outlawed, and
these people had to perform underground, literally underground in basements and stuff.
And Arietta was later arrested for performing,
and put In jail. I had a cassette of her stuff, and
ifs a song written ... well I thought she wrote it
but It's actually written by some other people.
Yeah. Thafs eternal.
So hopefully this will happen a bit later on In
the year. I'm going back after... well we do two
and a half weeks here, and then I'm going to
Europe. I'm living over there. I'm living in Paris.
Do you speak French?
[pause] A bit, yeah. My girlfriend is French.
That collaboration [you were speaking of],
that kind of life-event or whatever; it seems
to transcend so much. Like you know when
you might be talking to a stranger, and they'll
say something thaf II totally affect you, and it
comes out of nowhere? Does that kind of
stuff scare you at all?
No. I think thafs the most profound thing
about [humans] is that you discover things in
the most unobvious places. Like it might be
when you go down to buy something like
some milk — I don't drink milk, but you go
down to buy some candy or something from
the store — and someone will just say something to you, and it makes you think, and I
really revel in that sort of thing. I think thafs
the fantastic thing about people: that usually
the things that mean the most don't come up
in the most obvious places. So like. Obvious is
not always Obvious, [laughs]
Do you think natural disasters are good
Natural disasters? Well ... do I think they're a
good thing?
Would you enjoy being in the eye of a tornado?
I've lived dose to the ocean for most of my
life, and when I travel away from it... I don't
know if ifs knowing that ifs not around, or If
ifs the lack of salt in the air, but I start feeling
lonely in a way ...
Yeah, I think that the water is such a thing. I
mean, we spend the first nine months of our
life in water. And for me, as well, the sound of
the ocean; there's nothing quite like it. I mean,
I want to live, eventually, by the coast, by the
water, and hear the sound of it everyday. It has
a calming effect. To me, the sound of the
ocean, ifs like ... well, I can equate it to fishing
and going into violin stores. Ifs like time thafs
not out of your life. Ifs a time thafs just there.
There's not a clock ticking away at you existence, you know, ifs like empowering or
something. And I find the same thing, I think,
with the water.
Yes, I think I know exactly what you're saying.
I just went to Morocco, and we went down
and stayed on the coast there in this little
Just fantastic. The water was outside the window. No electricity. Candles. It was really
Is that open ocean, or sheltered?
No, open. I loved how the water was a different colour. Every ocean's a different colour. I
mean, you go to Perth in Australia, the Indian
Ocean is such an amazing turquoise colour. Ifs
just unbelievable. You've never seen water
look like it, you know?
I've always been curious about the color of
the oceans in the Arctic or the Antarctic.
ae/&rty a /ne&Jayte acrthi^- *&
Monk's Lament
No, thafs not on there. Thafs a later song that
we wrote about breaking up with somebody.
We have a split single out with Low as well
now, [with our] version of a song by Kim
Salmon called 'Obvious is Obvious;' Low have a
song on the other side. Well, the other side of
the packaging; I guess they just come one after
another on the CD.
What places have you visited that have had
the most impact on you or the most impact on
your music?
For me, Jerusalem had an incredible effect on
me. We went there to play with Nick Cave and
the Bad Seeds, and we supported them. I play
with him as well. I went back to Jerusalem for
about three weeks and it had a very noticeable
effect on me. Ifs such an extraordinary place.
And in Athens we had, I think, one ofthe most
extraordinary musical experiences I've ever
had. You know Hone Stories, the album?
aSj- aoouJ/vuo-, cUsryiJe esneJ/osiA.
We had it credited as being traditional because
we couldn't find out who wrote it. ft ends up
that it was written by these two guys, who
were quite big composers, you know, writers
in Greece. And when we performed it, I didn't
realize it was such a big song. The audience [in
Greece] went absolutely ballistic. They were
singing louder than we could play. I've never
had such an overwhelming experience.
That is intense...
Oh, it was incredible. And the look on the
other two guys' faces, it was unbelievable. But
it was 5 000 people who had never heard us
before and it was really quite extraordinary.
This year we've managed to send a version,
well, I've sent the CD to Arietta. She's still alive.
She's about 65. She wants to record with us,
and this is indeed a really great honour. We're
going to go to Athens and record a version of
the song with her, if things work out when we
meet up. Ifs probably one of the most special
collaborations I could ever envisage in my life.
I don't know how to describe it, but you can
imagine meeting, or doing something with
somebody that means the world to you.
Well, I think nature has its beauty, and these
things happen. Actually, I met a guy who
was in a hurricane off the coast of New
Guinea, a little while back, and it was quite
amazing, hearing about it. He was right in
the centre of it, you know? And it was quite
incredible, the account that he gave of what
went on. But I think natural disasters are,
not disasters ... umm ... natural things ... are
beautiful and necessary. I think they're a
wonderful thing because they remind people that they're not omnipresent/omnipow-
erful and magnificent.
I shouldn't have called them natural disasters ...
Yeah, natural phenomena, or just natural
things you know, because basically man tries
to create its own environment. I say man
meaning men and women. Mankind tries to
create its own environment — a comfortable
environment, or whatever — and they think
they can control things. What it boils down
to, when you walk down to the ocean, and
you take a look at it, man, that will fucking do
more for you than anything I've ever seen. You
go and see these fantastic things... you know
.. mankind has created some wonderful, wonderful, amazing things, and such beautiful
things, and such incredible things, and you
look at them and go, 'How could that happen?' But go and take a look at the ocean, and
think about how big it is. And I think that is a
good bit of perspective.
Have you been there?
No, I haven't
Hmm ... well, you should. You should go and
have a look at it then.
Have you been ...?
No, I haven't. I've flown over there one time,
but no I haven't been up there. But that
should be your next goal.
Ifs one of my missions.
Make it one.
How big a role does silence play with you personally, or the Dirty Three?
In what... [pause]. Thafs interesting. Silence is
everything. Silence contains everything. John
Cage wrote a piece called '3 minutes and 27
seconds of silence' or something and ifs basically like listening to the sound of silence,
whafs going on. And, I mean, silence is crucial
... It goes back to that extremities. I find ifs
what you leave out in music thafs important.
Because what you leave out enables people to
put that in, you know? They create that thing
for themselves. What sort of music do you listen to?
[a few silent pauses] I listen to all kinds. I like
listening to music that my friends make, mostly I guess, just because that 'personal' thing
adds a lot to it.
I tell you what... you must listen to a record by
John Coltrane called Kulu c'est Maman.
Kulu, c'est Maman ... yeah.
Frustratingly, at this point the tape refuses to
continue playing.*
i^&SAimm &  SffiS   ONLINE
WEBSITE: www.antt.ubc.ca/roedia/citr E-MAIL citT@unixg.ubc.ca
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16   may  1997 •&
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Btjloi the ReTOlution (March 18lh)
Campus radicals have taken over the rodio station
... again. Those hippies really piss me off. Every
time there's a sit-in at fhe President's office, they
feel they have to seize control of the rodio station
as well. It's all part of that Vive La Revolution crap
that the/re so into. You would think this was a coup
d'etat or something. Radio stations always get
caught in these sorts of things — ifs ridiculous. The
Virgin Murray and I were doing our show when it
happened. We were playing a Nerdy Girl 7" when
three greasy-looking guys burst through the door of
the DJ booth and pushed me aside. Seconds later,
in strode DJ Dinette, dressed in army fatigues and
bbck beret. She took the mic from Murray and
started to read from a prepared speech. All this
crap about solidarity wifh our brothers in Cuba,
Peru, East Timor and Quebec. All this pap about
resistance, and fighting the power. It made me sickl
I wanted to rip the microphone from her hands, but
I was being pinned to the floor by her three henchmen. All this time Murray is sifting beside her grinning. I have since found out that he was in on it
from the start. Such betrayoll I swear, I will never
play in one of his bands as long as I live.
About an hour into DJ Dinette's speech, the cops
arrived. I thought I was gonna be rescued, but our
city's finest are pathetic. As soon as they got near
the booth, DJ Dinette's henchmen took out these
slingshots, ond started firing doughnuts at them. One
cop hod a cream-puff explode all oyer his face,
and another went down under a H08 of French
crullers. The cops quickly retreated to a sote distance ond hove stayed outside do ughnufrange ever
since. The radio station is a huge mess, with choco-
■ •<•*■ k«js*»      Ho.
late glaze from Boot to riJU. tn
»voruriona«'e» spe -^.n uuy anniting coffee from dirty thernx^ses-. bndrnakirig speeches.
| r<M.W-'* L-      *    "       ,J6 sony df it. Murray,
1     T\",yymern*ososi
,n*> a profanqed tonnn ^'^^WK^i \
'*• P^e want cSon m"= W_* **
* ^plehavebe^«£>™£ . N°"™°>
^ doughs >l™ °Z'^ ^°{^9
(*• °ngle, not the donuts) ^<nM W
could leave, but dTdZ^ Zth'0"0^ *'
goddamn way they «* l'! W0S *>*
Postage. ThinasZ !^   9 "^ *" fheir °^     !
"^«**-«*y *«yummiesf, but t was toU *k , °n
compicHn^ | would,™ 4- moZ hi      .    '
Sometimes Dj Dinette r^L ,60f a1,VB*
, J:^netfecan^^cr0^,i::
fa be cort»inii«rl l •
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"3 filfclf W «**» fi ffl*«f *> rp m ami
-   -a3»eo nomi6B3»Eaeom1683Aap	
THERE    WAS    A    SUN
ONCE ... *1
(half size, 20 pp)
"This zine is o celebration of ort,
a shoring of creation," states
Morty, the editor and moin contributor of There Wos a Sun Once
... I have reod Ihe post zine-work
of Morty ond Brie, Iwo of the best
contributors to ihis zine — an
assortment of short fiction from
locol writers — ond I feel *hat ihey
are both in their element. While I
have always enjoyed iheir work
in Ihe post [Absolute, Verile, She
is laughing to slop herself from
crying ...) I feel lhat ihis collection far surpasses anything eilher
of ihem have written in the past.
There Was a Sun Once ... is
an eclectic anthology, wilh works
ranging from a chilling tale of a
homicidal woman which left me
shuddering to a somewhat amusing piece obout a man and his
dietary habits. One of my favour
ite works in this zine was a poem
by John Young lhat will
leave you with a furrowed brow and on
amused smile on your
face (I don't wont to
give it away). Everything in here is stylishly
presented, well thought
out, and polished.
Send a dollar to
Marty Hauck, 1214
Cypress Place, Port
Moody, BC, V3H 3Y7.
(half size, 32 pp)
About two years ogo, I
picked up a copy of the
first Pony Up, Donkey
Down. I reod through it
and I was flabbergasted. I swore thot it
was ihe best zine lhat I
hod ever read.
Two years later, I
am far more jaded and
critical; however, I maintain my
opinion that Ryan is a totally
amazing zine writer. This is the
kind of zine where, ot every
page, I stopped reading at least
three times and said, "That point
alone made the entire zine
worth reading."
The diversity in content of This
is my World is a refreshing
change from ihe masses of tunnelled personal zines out there.
Granted, o large portion of this
zine is focused on the expression
of thought ond feelings. The majority of the content of this zine
is intelligently written and demonstrates Ryan's maturity as a
zine writer. What doesn't make
you ihink will make you laugh.
There ore seven pages of
funny, but informative, record re
views in This is my Wodd . They
ore worlh reading simply for the
masterful slagging of Texas is
the Reason in the amusingly
blunt manner lhat is used throughout this portion of ihe zine (read:
the word "suck" is used profusely). Il is obvious from tiis zine
lhat Ryan doesn't always take
himself too seriously, which is refreshing.
Send a couple of dollars ta
Ryan Sabourin, 2380 Mockay
Ave, North Vancouver, BC, V7P
(half size, 20 pp)
I have been studying communism
a lot in school lately. As a result,
ihe article in ihis zine about communism and ifs parallels ta the
hardcore movement totally fascinated me. Caroline makes some
valid points regarding ihe philosophy behind pure communism
(as opposed to regimes hat have
been carried out i
countries) and its similarities to ihe
philosophies behind hardcore.
She further explores the US government's violation of civil liberties — particularly free speech -
- in relation to the strong anti-
communist climate in America
throughout the late twentieth
Bantha Fodder also features
some beautifully written personal
writing about dreams, surroundings, and olher emo-ish stuff. The
book reviews kicked butt, as did
the playlist. The layout was clear
and aesthetically pleasing and I
particularly liked ihe cover.
Send Iwo dollars to Bonlha
Fodder, c/o Caroline, 31
Yellowstone Ct., Walnut Creek,
CA, 94598, USA.
(half size, 34 pp)
From a self professed 50 year old
rebel wi*h menopause, comes this
smart-looking publication entiied
Pepperpot. Mother of one, and
still having fun, Kate goes off in
this one. Included within are
pieces covering a wide array of
topics such as the Food Not
Bombs projects, Leonard Peltier,
natural medicine, vegan recipes,
as well as a thorough tourist
guide to Voncouver which actually serves ifs purpose quite well
(for someone who's lived here for
two years now, I still feel like a
tourist!) Kate really shines when
she writes from ihe heart and
shares her thoughts ond experiences of roising her daughter and
spews her frustrations against a
world where the only inevitable
guarantee is one of complacent
A simple well-written
zine which portrays someone at the prime of their
life, still sticking it to the
Send $ 1, two stamps
or a SASE to Pepperpot c/
o Kate, RR#6 Site 15
Comp. 20, Gibsons, BC,
VON 1V0.
(half size, 18 pp)
A zine obout nothing in
particular? Well, not really.
A locol zine which seems
to work around an axis of
a different theme per issue,
delves into ihe well-worn
dimension of UFOlogy.
Nothing particularly new
is covered on the topic,
but I still got off on reading those. One interesting
fact contained within is
that, apparently, our very
own  government  just
does not give a monkey's about
close encounters of any kind,
and actually ceased any kind
of interest or explanation into
fhe topic last year.
Perhaps this UFOlogy
conspiracist stuff has just run its
course, but I'd say that the next
logical step could be to wait for
fhe revolution of self-professed
aliens to form bands, write
zines, host talk shows, ond
open massage parlours in order to finally ease our minds
about their impending earthly
infiltrations. But then again, we
did have DEVO: "We are not
Send submissions, letters,
etc.   or a  toonie to  Super
17   El£&S2E3_2 basslines     -9-
by dj noah (dJnoah@cyberstore.ca)
the guys that I play with ond we
At limes we are more trip hop, each bring diverse musicol tastes
pie dance to ihe music because but drum V bass is where we into the band. John listens to lots
ihey are seeing a real person try to get most of our rhythms of jungle ond ambient as well,
drumming, not listening to com- from. We ore Irying not to be too like Brian Eno ond Pholek.
puter generated beats which can narrowly categorized into jungle, John: There are a lot of isolo-
Bock in April, I wos treated       Introductions:                                 a year before we finally put our       be altered in so rnony ways lhat even *hought fcat is the main thing Hon ist ambient artists "hatgive me
to   a   great   show   at      Jomes Maxwell: drummer, Ray       ideas into tangible form. If wasn't       they seem too fast to donee to. ihot we are doing. ideas for structures of our songs.
Grocelond      Featured      Garrowoy:   drummer,   Chris       much Jungle to start with, ol-      The barriers get broken down Have you had any type of Is it a collaboration when
bonds were Hellen  Keller        Carlson: boss, Steve Maxwell:       ihough lhat was the most inter*-       between the audience ond the reaction from any record it comes to writing your
Oftobon and Fluid Ounce the      guitar, keys, John McForlond: DJ       esling type of music to us, but it      bond when you play live, and ihis labels, or is that something songs,  or do  they  come
evening   begon   with   some       (Otaku).                                               did evolve into (hot. It started off      personol interaction has reolly that will happen in the fu- mostly from just on* or two
mini-TKilistdubhip-hop from Fluid      Chris, you aro in both Fluid      as almost progressive, but it      helped os well. ture and isn't something of you?
Ounce featuring a drummer ond      Ounco and Oftobon. Is on*      quickly changed because you      *•*• Y°*» oncountoring any that you aro aiming for at Every one of us has come in to
o boss player ond was followed      pro|oct  older   than   tho      con only pound out4/4 beah for      of tho jungle sHgmas boing the present? ihe studio ot some point wilh a
up shortly (hereafter by the drum       ©thor?                                                so long before you get bored.          attachod to your group, It would be tough to get a re- bassline of an ambient riff thot a
'n' bass-influenced Ottobon,       Chris: Ottobon hos been around       How has the response been       and do you find that thoro sponse at this pont becouse no- song could be created around,
whose tandem drummers did on       for obout o year and o holf, ond       so far? Are people starting       aro particular typos of poo- body really knows about us   A but there really isn't ony one of
impressive job of loying down       *"» (April 5fh show] is going to       to accopt drum 'n' bass a       pi* w*»° •'**•" *° |wnglo and record is something that we us who does more of the writing
live jungle beots.                                be Fluid Ounce's first show. V**       little bit more?                               othor typos that won't ovon would like to do in the near fu- of the songs, becouse we don't
The evening culm inoted in a       really jusl put *iis project together       John: We have played obout six       accopt it as a truo form of ture, but right now it isn't our main actually write ihem down. They
flurry   of   percussion   deftly      becouse of our interest in hiphop.       or seven shows now, most of      music? goal. We have recorded some tend to be spontaneous to the
pounded out by Hellen Keller,       Did you  all  know oach       which have been ol The Chome-      Jungle crosses oil genders, roce, staff but have encountered finan- point where we may work on
whose performance was one of      othor    boforo    forming       leon on Sunday nights ond we       and groups ond creates such a cial difficulties, so we are Irying somelhing in the studio, and have
the best I have ever seen. Unfor-      Ottobon, or was It mora of      are finding that, eoch time we       positive, wide-open vibe lhat ony- to get some money together to it sound completer/ different on
tunately, they are somewhat re-      a 'band seeks bass player       play, the reocfion from the crowd       on« will feel right at home in ihe finish up a mastered version of stage.
luctant to grant interviews, but I      and drwmmor'formation?       hos been a lot stronger. I think      scene. Anyone who disses jungle our rough songs. Doos that improvisation
was  lucky enough  to  have      Jamos: Ray and I used to hong      people are really interested in      N doesn't know what's going What about musical in- carry ovor into your livo
Ottobon join me in the studio dur*-      out ot some of the clubs and lis-       seeing two live drummers and       on. Of course, you will get peo- fluoncos? Do you only lis- shows?
ing my radio show ond ihe lol-      ■•" to he music ond think about       how they create the beats, be-      pie who just won't give it o ton to music [similar to] Definitely. We have a framework
lowing is what transpired.                 how we could do ihot live wilh       cause when ihey see them ere-      chance, and those are the peo- what you play, or do you lhat we start wilh, but we olwoys
real drums. We did ihis for about      oted it becomes more organic,       pie lhat create the stigmas and have varied interests in take twists ond turns and just go
»                                      .                                      ^                and the visu<i aspect helps peo-       attach them to us, but we don't music? wilh whot seems right at the time.
pay any attention to them. Chris: I like stuff like the Cocteau Some of our songs are more slruc-
Doos your musk fall under Twins which provides a kind of lured ond layed out, but for the
jHk   Jim*. A          _fc.   -Ji^ ft          J*,  —fiffr ft          A   __Flffc,  *t          J*      any ono typo of (unglo, or ambient background, as well as most part they are wide open so
'""*r\wJB |J"N#**- wJT^M *M****'~m'>>*\m U***%m~*>*\mm ypi-r*"***-^!       do you stay away from la- hiphop and lots of other types of that we con do whatever we
bols and just play what music. I just love music in gen- want, whatever sounds good to
*                                      W                                      *                                      *                                  sounds good to you? eral and love to play. I really like us ot lhat point.*
Nuff Gal/Oh JohJoh
Juil Wonno B./Th. Man
TtwVlby » -/Com (Agon I
EwywtWN***''' Miss Th. WoW
War Manor
Th. H-pprt G_.../lody From Jdynrnbun)
Dawning DaK>/C«njl__ Blu.
So MuoS Thugs To So/
135*i Si. Tham./Boct Inb Tm.
L'Eou A La BouoS«/R.cado Bosso Novo
RoW Always TTw.
Myskca! foro/VJog. Groov.
Proyw Did h PI. 1 4 2
Funky Tango
Bock To Living Again
Rout. 66A.nd.rty
Pony '__m<Ud)
AngJ Ey_/L'il Darlin'
60  1
Crystal Ros.
23 1
Got-Jot. (UK
i... Music
Hip Bop
Gr~nsl-v_ (UK) 89
Star Trail (UK)
Blu. No-
Round Vfedd
Atomic 12*
Columbia 12*
Ware Jazz Zon.
Cooks Hill
Columb.a 12"
Gasolin. AlUy
U^lmwi/Uniwra. 59
.^j&ytjf Ah, Spring. I am so young
and carefree and I ihink
I've chosen a lasl name
after freeing myself hom the
deluge of helpful replies received
from foi-hU DiSCCKDfRreaders
Grocios one ond oil for your surname suggestions ... but it was
ultimately a pack of Spiderman
playing cords that dealt me
my fate.
From henceforth I shall be Stu
Marvel — champion of ihe peo-
plel Thank you, everyone. I shad
Have Reverb ... Will Travel
Norths Instrumental* of Intrigue
Tho Surfdustors, Lunar Marmots, Quonset and Mark
Brodie s Lost Beavers do
skiffly instrumental while prancing wildly around in Bermuda
short-shorts. All Canadian. All
surf. Colch the wavel (If you're
interested, the Surfdusters also
produce LIVEWIRE — the Canadian Magazine of Instrumental
Rock. Address is in ihe liner notes.
Fireball Records 4337
Percival Avenue,
Burnaby, BC,
V5G 3S4)
Eari Orey Tea
Kooky Japanese pop
lyrics are often unsurpassed in friendly
weirdness and lock of
harmonious participles.
Like this happy four-song clamour
out of Tokyo as bizarre as it is
charming — especially "Mad
Cow Disease," a smg-a-long lament for *f>e animals. Cute but not
too cute. (Sonoroma Records, PO
Box 25952, Los Angeles, CA,
Cranking straight into fifth gear,
this slip o' plastic zips into a
manic surf instrumental and
doesn't let ihe pace slow from
there. Mostly straight-arm, wide-
eyed punk-pop — plenty reminiscent of Tho Jam — these fellas
know how to rawk. Slap this on
your turntable and watch fhe
parly erupt. (My Fat Ass Records,
PO Box 45133, Seattle, WA
Melt your Gold Into tho
Shape of a Girl
Wizzy jazz skronk guaranteed to
knock heavy objects clear off your
coffee table. These discordant be-
boppers hail from Chicago, but
ihey're released on our very own
Scratch label. Why not win one
for ihe home team and pick these
ragin'   fellers   upl   (Scratch
Records, 109 West Cordova St.,
Vancouver, BC, V6B 1 El)
Long Drift Sleep
As long as you're scooping ihe
local crop, you ought to check out
ihe very polite Mr. Budden's double shot of deeplyfelt atmospheric folk. About lOOOx
better than most of the
ocousfic stuff currently being spewed outta ihe sea '
of mediocre labels, long
Drift Sleep is low-key, well
crafted and sinuously
poetic. Intoning his often creepy vocals wifh
all the severity of a medieval soothsayer, Budden
wraps a dark blanket around your
shoulders ond invites you into his
watery lair. Should you go in?
(Lou Records, 2868 E. 5lh Ave,
Vancouver BC, V5M 1 N5)
Mr. O drops the Palace moniker
entirely (was it all getting too confusing?) and spins two
mas lhat unfold directly upon your
breaking heart.
tragic and och-
ingly lovely,  o
song like "Pa-
.' is the
ling back to the
Oldham fold. Nothing else is so
efficiently depressing and yet so
comfortably soooofhing at fhe
same time. (Drag Cily, PO Box
476867, Chicago, IL, 60647)
Mehris ♦ the Clownboy
Simple goofy boy-pop from ihe
neighbourhood sandbox that
gobbles down like so much Sara
Lee. If good-natured romper room
antics are your style then dig right
in kiddies ... but don't have too
much before dinnerl You wanna
make Mom mad at us? (Savyour
Records, 125 Valleyforge Dr.,
Cranberry, PA, 16066)
Meditation Suite till
Barry Phipps orches-
Coctails project wilh
lilting music for cello,
violin, piano and bass
clarinet. Springing
from the some diversely inbred Chi-
Rachol's, these
three suites are similar to, ond
often lovelier lhan, most of the
Rachel's material. And lhat's saying a lot. Lush, soaring and so
pretty pretty very pretty. Nice
sleeve, too. (Searchlight Records,
distributed by Carrot Top Records,
2438 N. Lincoln, 3 Floor, Chicago, IL60614)
Long Distance Lovers
I om bruised by beautiful rocks.
These British noisies dragged
lelves to San Diego lo
record four slabs of
punk with
their trademark breathless n' howling
vocals for me,
nd I am suitably grateful.
Like an angry Cupid Car Club
wilh a heavy dollop
of mad, battered horns wail
around scrappy guitars around
disheveled drums amid the
pounding of my heart. Do I like
this? Yes I like this. (Gravity,
PO Box 81332, San Diego,
CA, 92138)
Perhaps you've been wondering
whot the folks in Thunder Bay
have been getting up ta lately?
All is revealed in ihis split which
has Ihe muscular laddies of Violet Hour kicking up a gritty
rocket against *he organ-pumped
garage instrumental of VYV.
Violet Hour I think must listen ta
Ministry — that stultifying growl
had to come from somewhere.
The thoughtful kids in VYV I appreciate for kindly providing with
descriptions of their aural landscapes: e.g. "Idaho Potatoes is
about potatoes grown in the far
away land of Idaho." Thanks,
guys. (Bleak Records, PO Box
29102, Thunder Bay, ON, P7B 6P9)
Spying on the Soys
The* advance single from the new
full-length, The Nature of Sop. So
there's little reason now to shell
out nigh-on five bucks for one
measly B-side song, right? Oh, not
so. If Moe McCaughan's life apart
from Superchunk makes you
tingle with its thoughtful lyrics,
sweeping instrumentation and
peaceful mastery... ihen
-his little number
wos written just
for you, baby.
"Do You Want to
Buy a Bridge?"
surpasses any
song on the (admittedly fine)
lew album. If
somely gorgeous
is your thing, run right down
to the record store and make
this yours. (Merge Records, PO
Box 1235, Chapel Hill, NC,
Wee Ubbit
ROBSON AND BURRARD  604.669.2289
Feed your soul, then feed yourself. Visit our cafe on the upper l<
19   E^ggSlSSSB (EMI)
Okay, he last thing I wont to ever
of tho.
staopid arguments on which Brit
pop bond is belter: Blur or Oasis. First off, let's compore every
single detect these two bands ond
others such as Ocean Colour
Scene Manic Street Preoch-
ors — ond hey, let's throw in ihe
vile Spice GiHs in here for good
measure — have in common: 1)
once ihey ochieve a modicum of
stardom, iheir egos go through
the friggin' roof, 2) ihey all feature lead singers whose voices
are in dire need of o spine donor, 3) Ihey oil hink showing their
genitalia makes ihem cooler, 4)
tftey all need ta see a dentist.
However, let's be fair to Blur,
for ofter all, Wonderwall, once
Oasis got iheir oct together, people stopped paying attention to
Blur, the guys who started the
"badly needed" Brit-pop revival.
After Parklife, for example, who
noticed The Greot Escape? for
that matter, absolutely no one
noticed Modern Life is Rubbish,
one of iheir seminal albums. Being a Blur fan at the time, I was
rather offended by that.
So where does this album
compare to their past efforts?
Admittedly, iheir past efforts were
stronger, bul al least they aren't
as repetifve as Oasis in their
musicol genres. Perhaps
"Bettlebum," "Song 2" and
"Death of a Party" will be regarded os pop rock classics.
Frankly, I don't care, three songs
don't an album make [as they
would a techno olbum). This isn't
Modem Life in terms of quality,
but compared to the sonic dung
a la Spice Girls (tee hee!) lhat
swept the Britpop awards, Blur is
fhe best England has got ta offer
in terms of guitar music.
Tho Boatman's Call
A friend of mine came over and I
put on The Boatman's Call. She
promptly fell asleep and when
she woke up she said, "The whole
time I was asleep I was thinking,
what is lhat music?" OK, some
people Ihink Nick Cave is a little strange and yes, he is. A recent article in Arena magazine
expressed surprised that Cave is
still even alive.
The Boatman's Call is twisted
ond beautiful as we might expect
from Cave, but not os blatantly
morbid as some of his olher work,
like the blackly hilarious duet he
sang with Polly Harvey lost
year. This album is a cycle of
muted lovesongs omong which
"Block Hair" ond "West Country
GiH" are some of ihe most affecting. The songwriting is immensly
skillful, the arrangements effective
ond unobtrusive and the atmosphere inviting to "he listener. Who
else but Cave could weave in ihe
cumbersome lyrics, "I don't believe in an interventionist god,"
and still moke it sound poetic?
Kris Rothstein
The latest disc from ihis Front
Lino Assembly side-project
finds Bill Leeb and Rhys
Fulbor exploring much of the
same territory ihey covered on
Semantic Spaces, the hugely
popular 1994 album thot
spawned the hit single "Flowers
Become Screens." But Karma
finds the poir forsaking some of
ihe gimmicky techno rhythms ond
delving deeper into wodd-music
sounds, making for a richer sonic
palette. The Gregorian chants
that inevitably got Delerium compared ta Enigma ore still in evidence, but ihey are joined by
samples of tribal drumming and
singing from Brazil and Africa.
The emphasis is definitely on
songs this time around, with
former Roso Chronicles singer
Kristy Thrirsk returning ta lend
her formidable pipes to three
frocks. Camille Hondorson
and Sarah McLachlan are
also featured on the album, so I
think it's a safe assumption that
Leeb and Fluber ore fond of female vocalists with ethereal,
angelic voices.
Most likely to repeat the chart
success of "Flowers Become
Screens" is "Euphoria (Firefly),*
wifh Singlo Gun Theory's
Jacqui Hunt on vocals; il
sounds like a conscious bid for
top-40 radio play. The pop songs
are fine, but I prefer the ambient,
drifting stuff, like ihe ten-minute-
plus "Koran," which features sampled snatches of a voice singing verses from the Muslim holy
book mixed with subtle synths,
over a hip hop beat. It's simple,
but stirring.
Karma hos moments of sheer
beauty and more are revealed
wilh each new listen. While I suspect some of the more overt pop
tones may start to wear on me
after awhile, at the moment, I
can't ihink of a better album to
dance, meditate or moke love to.
John Lucas
Favorite Songs from the
Twilight Years
(Janken Pon)
Whata beautiful thing is this CD.
I've no clue who ihis woman is,
but her songwriting and musical
delivery is perfection in digital
format. This album is o collection
of Anna's personal favourites,
ond the songs are sure to become
your favourites as well. Play this
on a lonely evening ond you'll
gel caught up in ihe emotions she
communicates so well. There's not
a rotten tune in the bunch. This is
music even a mother could love;
an aurally pleasing experience
on every level.
Downway is as Downway
Milk the Cow
Downway is a new school
punk band from Calgary. They
play the same basic type of punk
that's oil over fhe ploce nowadays, so they're not breaking ony
new ground, but ihey stick out
because they do it belter lhan
most of the olher bands. The ten
songs on this album are oil very
strong, with some nifty time
changes and very fight playing.
The only problem with this album
is ihe three requisite 'hidden*
tracks which should hove remained hidden; but it's a minor
problem, easily avoidable.
Downway also has five new
songs on Milk the Cow, a four-
bond compilation with Showdown 76, Beh/edeere, and
Big Daddy Rittor rounding out
the bill. The standout on ihis album is definitely Showdown 76.
All four of their songs absolutely
blew me out of the water. They
write incredible punk songs wilh
a weird poppy side to ihem ...
watch for this band. Belvedere
had onfy been together for three
months at the time of this recording but the songs are slill pretty
darn good, ond they have amazing potential (there's a great jazz
breakdown on fhe last track).
The weak link of this album is
Big Daddy Rittor. The singer's
voice makes these mediocre
tracks painful to listen to, but hey
— lhat's why CD players have
a program button; and fhe other
three bands are well worth
checking out.
Some Guy
Boot Party
Damn ihot Calvin Johnson.
Once again, he fouls up the Dub
Narcotic experience by singing.
If only he'd keep himself busy
behind the scene ... The grooves
on this album are catchy, and ihe
songs without vocals or wilh the
talents of Lois are fun ta listen
to. If you con put up with Calvin's
obnoxious voice, you'l like he
whole shebang — if you're like
me, you'll preprogram your CD
player to omit hose songs hat
grate so distastefully on fhe
nerves. The band is great and
they're what hey are in spite of
Mr. Johnson, not hanks to him.
Drawn to the Deep End
That UK music scene (Blur.
Charlatans UK, Cast, Pulp,
etc.) doesn't do a whole lot for
me, hough here ore a lew bonds
hat I don't mind: Boo Radleys,
Radiohoad, ond ... Gone
Gene's sophomore effort.
Drawn To The Deep End, is, generally speaking, a more "mature*
album than their debut full-
lengfher, Olympian. They tend
towards longer, moodier songs,
incorporating a lot of piano. (After checking he song lengths, I
realized he tunes weren't all hat
long, they just seem that way.)
And he lyrics? Let's see: "our
love it will shatter all," "incapo-
ble of love," "I'm drunk for your
love," "con you love me?" "I re-
olly do wont to show you I love
you," 'still crying for love," "without love I om empty," "aching for
love," "he love hot you never
hod"... well, you get he picture
— a little on he soppy side.
Yeah, Gene seems somewhat
pompous and hot alone would ■**
normally turn me off, but I'll admit it — I like hese guys. And,
oh yeoh, they're also helping to
keep he legacy of Tho Smiths
alive. It's a dirty job, but Gene
has to do it.
Fred derF
Ass Seen on TV
For me, gob's self-tided EP was
mind-altering. I bought it a couple of years ago at one of heir
s  bio*.
away. I couldn't stop listening to
it. There was an energy behind
the music thatwas locking in most
of he shit I listened to in hat day.
Never before had 1 5 minutes of
music held my attention for so
long. I still listen to it lots and I
still hink it's awesome.
Thot said, gob's Too Late...
No Friends was kind of disappointing. I looked forward to its
release for quite a while and
when I Finally heard it, it just
didn't seem right. There were
some damn good songs on it,
but there were quite a few filler
songs as well.
Which brings us to Ass Seen
on TV. Combine he production
of Too late... wih he energy of
he EP and, well hat's what we
hove here. Short, fast SoCal style
punk songs (for he most part).
'The Oher Way" ond "Hooray!
(He's Gay)" are two of he best
examples of his. They change
things up a bit, hough, too. "B-
flat" sounds like itwas taken (stolen?) directly off a Screeching
Weasel olbum (and I've already heard it a couple of times
on the rodio).
The Another Joe half of he
split is good too I'd never heard
anything from hem before, but
hb is decent. They have a musical style very simliar to gob's
(which makes sense seeing as
hey're on a split together) Anyway, if you like gob, you'll like
boh holves of his olbum. If you
haven't heard eilher of hem, you
should buy it onyway ond support two good locol bands.
Dave Tolnai
Plastique Valentine
Imagine: a melody breaks into
your house ond smashes your top-
40 record collection. It beats up
your mom, kicks your dog and
stomps on your piano for good
measure It hunts you down, pins
Cfo he floor and rips your
rt right out of your chest. It
chucks it in he oven ond slowly
bakes it until it's an indistinguishable solid mass. It slaps it wih a
coat of paint, runs next door and
forcefully shoves it up your neigh-
Voila. One plastique valentine.
Dave Tolnai
Quite simply he best in Voncouver. These guys and gals are uno-
bashedly he last hope for music
in his city. Get fucking real,
mono-genre musk is dead, and
his is Frankensteinian, post-modern, free-form collage, cockless,
rockless noise al its best. One
part Art Ensemble of Chicago, another part Sun City
Girls, kinda Art Bears (he
cover "Coda to Man and Boy")
ond just a little bit Naked City
and David Shea, his album
makes me so happy I could buy
it twice. Their second release
(first full-length, first on CD) does
just obout everything their first
(a split-cassette wih Happily
Manitoba), Nexus Western,
didn't do.
Either you like his album or
you're stupid. It's hat simple. The
guts of Novosibersk is a piece
entitled The Battle," which rails
against corporate oppression
while making you chuckle. You
are deep within he epic tradition
on his one — 'Miles Runs he
Voodoo Down' meets "The Legend of P-l" head on. It's a call to
arms for everyone who has ever
worked a shitty warehouse job
wih corporate-ladder-climbing
assholes for co-workers. You
needn't be ashamed of Vancouver any longer — Manifold hos
Sparking Ray Gun
Their sound is definitely a mix of
he "Seattle Garage Band" and
a pitchblende of The Presidents of the United States
of America. It's cool, but everyone and heir dog has his hard
rock sound nowadays. (Great
material for he "Lame List" on
Almost Live]. The sound is not
original, it's commericolism ol ifs
However, here was some
hope in the music wifh "Big
American Cars." Not bod for one
out of 1 2 songs on the olbum.
Marku, Schmid
Definitely not a collection of three-
minute pop songs. Kate and
Anna McGarrigle, Canadian
folk darlings, show hat hey
haven't lost a step in the six years
since their lasl recording. It's o
catchy, ethereal collection of
what could almost be called
lullabies on love, lost love, and
death. Only once or twice fhe
album foils into he folk trap of
The album feels very mature
— not in content, but in tone.
The floating harmonies sometimes feel like parlour music
from the turn of the century.
Sometimes, the music has on
older woman's Celtic flavour
while at other times their French-
Canadian background bubbles
forth. A well-crofted olbum by
consummate musicians.
Paul Kundarewich
Lets Face It
Once upon a time, The
Bosstones released an album
entitled Siro-core, The Devil, and
More. This is not hat album; however, his album could be called
Lounge-core, The Treble, and
More. To me, his is a sod departure for he Bosstones. It is highly
overproduced, Dickie's vocals
are smoothed out, he fire and
drive have been extinguished,
and almost all of he anger has
been removed from he band. As
my friend so aptly put it, "It
sounds like hey recorded it on
cough syrup."
While here are o couple of
tracks hat still resonate he old
Bosstones magic, it doesn't sell
he whole CD, and it jusl serves
to remind you of he way things
used to be. Fans of Moon Records
ska may find something of interest here, which is fine — I have
nohing against Moon Records -
- it's just not he Bosstones, and I
can't get behind his kinder, gentler change.
Mr. Chris
Out of Bounds
Being he visceral guy hat I am,
I was initially attracted to his CD
by its cool, vibrant cover (an army
of Buck Roger-ish troops emerging from some swoopy, pod-like
spaceship on an alien, barren
world). The CD hos nohing to do
wih his image, of course, although he bond members are
superimposed on an Apollo-era
picture of a NASA space crew
on he back cover.
The musk is clean wih a fast,
straight-edge sound featuring
catchy tunes and smooth licks —
20'"may 'lVsV ^* o clou oct all he way. On he
down side: irrelevant lyrics, a lit-
He lightweight for hardcore, ond
no entertaining nordic occents
(he bond hails from Sweden).
Perhops middle of he rood, but
hey, for cruising down life's highway here's no belter ploce sometimes.
Show World
Isn't it weird how you con go from
loving a band to hating hem in
such a short Hme? I loved 1990's
Third Eye ond couldn't waif for
heir next CD. To put it bluntly, I
hated he follow up, Phaseshifter,
but, nevertheless, I figured I'd
give heir new album Show
Wodd a chance.
Yup, they're still doin' hat sugary '70s heavy on he harmony
pop rock hing. And is il ever
boring I II just sounds so generic
and uninspired to me, which is a
shame because I wanted to like
it. I just don't dig Redd Kross
like I used to. Maybe it's my old
The Unwanted Sounds of...
Ladies ond gentlemen.' my new
"favourite bond." Honesly, I can't
get enough of hese lads. Where
to ploce them, hough? They certainly fall somewhere under hat
"new wave of new wave" categorization. And, like Stereolab,
hey have an obsession with
electronica. Somehow hey, too,
manage to avoid nostalgia and
kitsch pitfalls, hough. Lead guitarist and singer Matthew Steinke
is also a member of Mocket, but
here he doesn't even sound like
he same person. His persona
here is kind of smooth, brooding,
sulky and icy.
The mixes on hese two albums are vastly different.  For
much deeper on The Unwanted
Sounds of... and Satisfact, to
me, sounds more angular, more
The Unwantecfs "Dysfunction" is a taut gem — an ode to
those who come sowing the
seeds of destruction into every
encounter, every relationship.
At oher times he album becomes Joy Division istic
[Closer era].
Satisfact is brilliant through
and through. "Demonstration"
has one of my favourite guitar
openings since "Repeater," and
finishes wih some nifty theremin
work (aptly) courtesy of Steve
Flsk. "How Things Work-
sheds another scathing glance
toward he dysfunctional relationship, then loses ifs centre,
falls opart. "Are You Gifted?"
(wih ifs almost Glass-ian intro),
"Accent he Motion" ond "Four
Sided" have all been on serious high-rotation in my little
Satisfact certainly have a
distinct "sound" — one that
sounds somewhat suspect on
paper — but they're remarkably
talented musicians who don't
get bound up in musical cliches
anywhere here; over and over
again they manage to remain
Addendum: check out their
(K) single foo wih two "hits,"
one of which has guest vocals
from one Lois Maffeo.
joe bloggs
Dig Me Out
(Kill Rock Stars)
At lost,  I know what angels
Mr. Chris
(Kill Rock Stars)
Whereas he artwork for Mr.
Elliott "I was in Heatmiser"
Smith's previous releases have
generally kept things shrouded in
a fair bit of mystery, Mr. Smih is
featured right here, up close and
in person, on he cover of his latest long-player. The scene is he
lavatory and/or dressing room of
some dork, dank subterranean
joint somewhere. Mr. Smih is o-
seated. The walls and he large
mirror behind Mr. Smih are covered wih graffitti — much of
which is suitably crude and vulgar. Mr. Smih is wearing a black
t-shirt hot may or may not be a
Hank Williams Jr. lour shirt;
a block baseboll cap wih the
"Heli-jet" logo rests on his head;
his hair is dyed black; he holds
a cigarette in his hand. He is
But here we have a "due* to
what rests within. His tattoo (on
his upper right arm, peeking out
beneath his shirt sleeve) is one of
"Ferdinand he Bull." Not he
Schlilz Malt Liquor Bull. Not he
Chicago Bull. Ferdinand the Bull.
Ferdinand he flower-sniffin' bull,
children's book hero.
Either/or features sullen, withdrawn, acoustic-based folk/rock
in he Nick Drake vein. At times
here, Mr. Smih is just a bit too
talented for his own good — he's
capable of too many chord
changes. My favourite songs
here ore hose hat are starker,
more driving: "Between the
Bars," "No Name No. 5,' plus
nearly all of side two. On "Cupid's Trick," Mr. Smih even manages to get "plugged in" [seriously]. Oh: Mr. Smih is a talented lyricist, wih a knack for
aching beauty.
joe bloggs
Winter Pageant
I hear you asking, friends, if here
is a soundtrack ta love and, more
importantly, cuddling. Happily,
he answer is yes, and it is called
Winter Pageant. No one but he
inimitable Rose Melberg could
make breaking up, or a similar
pain of he heart, sound so dorn
fuzzy and yummy.
Yes, you heard me right, everything on his album sounds
beautiful. Meeting someone is
beautiful. Going out wih her/
him is certainly beautiful. And
even breaking up, which previously was hard to do, has now
been smoothed over and is, well,
Fans will find nohing stylistically new from The Softies.
This is not heir prog-rock con
cept olbum. They ore doing whot
hey've olwoys done so well, except his lime I hink hey've surpassed themselves
Mr. Chris
Haul In' Grass and Smokin'
Yeehawl Good lo-fi music lo
move ta is right here, folks. Toke
a listen ta Sokpatch if you want
a break from all hat polished
techno — hey prove less is more.
There are some crazy samples in
he mix and clever lyrics to boot.
A strong album from a relatively
unknown band whose charm is
derived from he seeming spontaneity of he musk. This olbum
is o must-have for everyone just
waking up to he wave of turn-
A Rival
This one ain't for he kiddies.
From the transsiberian kitchen
comes another masterpiece.
While some critics hove found
A Rival threatening, I have a
sense of humour and Thatch is
funny, really funny. Totally demented spoken word(s) sot to
sluggish rock riffs and quirky
soundbites, his album is guaranteed to piss Tipper Gore off.
If Beck were good, he
would be in Thatch. But he is
bad and he is not.
Listening to the album I find
myself laughing yet wanting to
cry because what I'm laughing
at is my own life and teenage
years. And laughing at yourself
is hard to do. Stellar cuts include
"Queen Eats Meat," "Potter'
(hree boys and a girl ramble on
about MASH], "Sam Vafa"
(about skipping a step between
pumpin' he gas and baking he
bread) and my personal favourite, "Down Parker' (he one
obout the high school slut and
he asshole jocks). Thankfully
unpolitically correct music for he
sons and daughters of yuppie-
The Easy Project II
Most of the stuff feeding he
'cocktail notion' scene evolved
in he '40s, '50s, ond '60s (I feel
he best of so-called "lounge"
music comes from he mid ta late
'60s when he postwar aesthetic
suddenly merged wih mod-ism
and, ultimately, psychedelic experimentation). Often overlooked, however, is he era immediately after his period — he
movie ond TV heme music from
he late '60s ond early '70s —
music which signalled he demise
of he big band and he arrangers and conductors as pop icons;
in an effort to compete wih "he
kids," big bands got down and
funky as best hey could; hey hod
to or hey were going to die. The
'Lush Life" phenomenon was over
— he music got harder, heavier,
and foster.
The Easy Project people have
given us, as hey have in heir
past release, "20 Loungecore
Favourites," a good cross-sec'ion
of his wonderful, hybrid sound —
funk, pop, big band, and rock
and roll all in one. Most of his
music also encapsulates an en-
fire era of entertainment — Roy
Budd and his Orchestra's
"Cor Chase" is every chose
scene you've ever seen from he
'70s, when all you needed wos
an abandoned dockyard and a
pile of cardboard boxes to smash
in for excitement.
House of Loungecore is a treat
and we can only hope he Easy
Project people continue to put
stuff like his together — explorations into music too easily forgotten because of he "tarnish" of
its television genesis Now, when
hey put he heme song to The
Sreets of Son Francisco on one
of hese things, hen, oh baby, I'll
be forever indebted.
J. Bold!
Tranced Out and Dreaming
(Planet Dog/Mammoth)
The true definition of trance music comes from he hypnotic,
drug-induced rhythmical melodies
of Haiti. The voodoo or santeria
drum beats, combined wih the
drugs and non-stop dancing, creates on alteration in the brain
chemistry of he dancer ta produce
a semi-hypnotic state. Al this point
in time, fhe brain becomes impervious to he body's nerve impulses,
allowing the dancer to not feel
pain, exhaustion and overheating.
Now, wih that in mind, what
kind of music are we familiar wih
as being "tronce?" In our
technologized, mass-consumer
oriented society, we associate if
with rave, ombient, intelligent
techno; ie, it's a catch-all phrase.
I hink here, for his compilation,
the term "trance" is a bait for
what's basically rather boring,
ambienlfy — throw in beats and
let he sound effects fly. How dull
is his? It's whot I hink I could make
if I had he equipment to do so —
it's hat ordinary.
Being fair, if you're into
Robert Miles, you might like his.
But hen if you like to push he
envelope, and you want more
avant-garde a la Sven Vath,
calmly pass his one by.
The SubUrbia soundtrack is a
hodgepodge of "alternative" acts,
keeping wih he film's 20some-
thing angle. The collection of
tracks isn't bad. It opens wih a
quirky collaborative effort from
Elastica and Pavement lead
singer, Stephen Malkmus. At first,
it's a rather fun song, but gets annoying after a few rounds. The
three Sonk Youth Iracks are relatively mellow and perfectly
The rest of he disc is a little
more inconsistent wih U-N.ICLE.
and Skinny Puppy stinking up
the place with their drawn-out
ambience; a laughable tune from
Boss Hog and an unexpected
closing retro trock from Gene
Pitney. Worth checking out is he
"Does Your Hometown Care?"
from Superchunk ond a hard-
driving Girls Against Boys
song. Overall, he soundtrack is
solid, but unremarkable.
Clinton Mo
2i t^ggsseaa realliveaction
Thursday, March 20
The Fillmore, San Francisco
Papas Fritas came on stage in
front of a partisan Blur crowd
but played a greot sel, punctuated by he spirited drumming of
Shivika Ashona She hos a lovely
voice ond it wos a shame hat it
wos drowned oul by he rest of
he equipment. It was either bassist Keih Gendel or guitarist Tony
Goddess who said he came
dressed as Han Solo — he did
have a certain futuristic pilot hing
going on. Their pop songs ore
colchy bul weren't different
enough from eoch oher to moke
a big impression on me. Some
members of he audience were
more interested in he antics of
Damon and Co. os hey watched
from he balcony.
Blur previewed heir show
wih a selection from Camille
Soint Saens' The Swan, hen
ambled out ond lounched into
heir lazy UK #1 hit, "Beefebum."
Blur have been loath to ploy anything from The Great Escape in
he last yeor, instead reaching
bock to old material like "Inertia"
ond "Coping." Alex "permafog"
James oclually smoked less han
usual hrough he show, but participated in his usual neck Olympics. The best part of he
show wos hat everyone was
having a good time; Damon
and Graham laughed at each
other's goof ups and he Kick
Horns bounced ond waved
along during the encores.
Damon was up to his usual
stage antics, jumping off he
speakers, off his keyboards, off
Dave's drums Luckily, he didn't
hurt himself. The musical highlights of he night were a superb
rendition of "This is a Low" and
he chilling "Sing," which was
Trainspotting soundtrack and a
tribute lo the band's friend,
journalist Leo Finlay, who recently passed away.
It was over all too quickly, as
wos Blur's short North American
tour. They'll be back.
Kris Rothstein
Sunday, March 23
Starfish Room
Highlights    of    the    David
Thomas (of Pere Ubu fame)
ond his two Pale Boys' performance were a Tammy Wynette
cover, "Stand By Earh Man," he
trumpet and sound effects for he
firs! hree quarters, and hat distinct Dave Thomas narration/
wheeze/growl. The balance between improvisation and musical
discipline wos struck during the
earlier part of he performance
and it was truly unique ond communicative. However, he link created in improvisation is onfy as
strong as it is weak ond boh
become apparent as he evening
progressed, especially when the
obvious king/underlings relationship surfaced The trademark
Thomas cacophony — his dynamic tension hot registered
nicely between he horn (Keih
Moline), he melodian, ond he
non-alive during he former part
of he performance — imploded
itself hin for he '
holf, wih persisting horn repetition and
opened he evening. The Beans
had a variety of instruments
which hey loved ta share ond
pass around ot vorious parts of
he performance. Two accordions
are not a bod hing; he horns
were quite nice too It took me o
minute to figure oul hat he
dancer was not an enlhused audience member, but also a port
of The Beans' performance. She
is dancing in a pink room called
The Beans ond as she passes in
front of he television monitor
playing a Little Rascals rerun,
your eyes       can't help blowing
David Th,
and he Two Pole
Boys recording (it
evidently works as a
CD-Rom as well).
Now I don't hink, in
light of othet
ments Thomas shared
with the audience
throughout tht
rat th
evaporated improvise-
tional vigour is tf
"downward spiral* to
which he wos referring. ^
All his jaded verbos- M
ify hot seemed to make
Dave Thomas Dave
Thomas, and whot I have always found brilliant and
witty about his musical en-
, struck me as self-
indulgent and, quite frankly,
mode me worry for him and
even more so, for he two pale
boys. This is not to say I have lost
one iota of respect for Dave
Thomas and he two pole boys.
Thomas has been making music
for over 20 years and hos had
his hand in many different sound
pots, from pop to avant-garage
and everything in between. Now,
if David Thomas ond he Iwo pole
boys could only transport one
more vital element away from
he studio and on to the stage,
hey might be able to crystallize or hone he dynamics hat
began heir performance at he
Starfish Room.
This factor is as simple as
cooperation. That's right, Dave,
be nice, share. Dave could hove
learned some lessons in sharing
from The Beans, local
(Steveslon) experimentalists, who
Wednesday, March 26
Town Pump
Friday, April 11
Town Pump
These two bands are Iwo sides
of he some coin, ond although I
went to review hem separately,
they     bear     such     striking
commonalities hat hey really
beg to be reviewed jointly.
First of all, Lai bach Port of
an arts collective dedkatod to he
propagation of Slovenian culture,
hey are more widely known for
heir fascisfk totems (hey are socialist), intense industrial rhyhms,
ond occasionally disturbing covers of famous songs ("The Final
Countdown' notwithstanding).
Their new album, Jesus Christ
Superstars, is a reworking of
he Andrew Uoyd Webber
Man or Astroman? are
refugees from outer space who
play intense speed-crazed
- mainly i,
joviality, even managing
to get a good Heaven's
Gate rib in here and
So what do I mean
by many similarities?
First hing's first: hey
boh started heir sets
wih 20 minute introductions  that hey
-  Laiboch   with
choral musk, dark-
id smoke
machines, Man or
Astroman? wih a
film done to he
children's book
Story of Star
Wars      (you
know, turn he
page   when
you hear R2-
D2 beep like
because she is so fluid and so is
your brain in he pink room. You
remember thai you were busy following he Little Rascals traumatk
visit to he dentist before he dancer's distractions, and here hey
are, still Irying to sell teeh for uniforms and you haven't missed a
beot because it's stuck on slo-mo
which is he pace at which he
temperature is set in he pink
room. All hese distractions were
rattier effective as I can't remember anyhing else or how many
people are oclually in The Beans.
Every time I tried to count, hey
would all switch up and I
would have to start all over
again. I remember a mobile
hat made me feel hat way:
intrigued, challenged, and
slightly manipulated (in a
francelike kind of way).
Sydney Herman!
such    a
witty film
I have not seen in a
long time.
Afore long, boh bands took
heir respective stages. Laiboch
entered, two of he members in
priest outfits, and he lead singer
— ostensibly garbed like Jesus,
but looking more like Rasputin —
growled menacingly at he crowd.
But hat's what he does, and hat's
what everyone came to see. Fog
wreahed he stage, and playing
in the background were projected custom propaganda films
intercut wih bizarre 1960s scientific films.
Man or Astroman? mounted
the stage clad in protective
jumpsuits and safety headgear.
They too got right down to it and
immediately storied to belt out
adrenaline surf like it was in danger of going out of style in he
next five minutes. In he background, playing were weird
(gasp!) scientific films from he
'60s. Some space movies, a car
arosh film [Blood on the Highway,
hot sort of hing).
The crowd moinly stood by
ond watched Laiboch. A few
skinheads ond oher assorted
types were moshing in he pil, but
for he most part it wos a passive
crowd. Aside from head-bobbing, heirs is a music hat does
not engender crowd participation. But everyone expected
hat too.
A couple of weeks later, a
pogo pit was slowly forming
amidst he unsuspecting fans at
he Man or Astroman? show. The
between-song banter wos witty
ond lively, and he electronically
cued soundbites were ear-catching ond ... humourousl They
didn't leave wih on encore, but
when hey left he stage after an
hour ond o holf or so, hey set up
he plasma generotorl There's
really no follow-up to o performance like hat, and hey didn't
give one
So, bottom line time. Laiboch
and Man or Astroman? ore boh
bonds hot love electronic cues
and synchros in their music —
samples, drumbeats, whatnot;
boh shop at he same slock footage warehouse; and boh, as far
as I'm concerned, come from
outer space. Oh, I almost forgot!
Boh put on great shows.
Mr. Chris
Saturday, March 28
Starfish Room
So, it's hree days after he best
show I've seen so for his year,
ond I search madly for a non-
derivative way in which to describe his event wihout resorting
to "borrowing" some of D.C.
Berman's apt poetic musings on
he back of Pinebox . I am also
trying to wrap my head around
how on associate of mine could
possibly describe he Scud
Mountain Boys — who hod
he very difficult chore of replacing originally scheduled head-
liner, Vic Chesnutt — as watered-down Eagles. This was
only a doy after my roommote
was talking to o friend of hers
who described hem as he same
hing I Do hese people not have
o soul wih room for melodic reso-
I nonce in he purest form? OK, so
here are elements of he give it
your all, '70s rockish lead vocals
happening, but his is a very for
cry from he cornball bellowing
of Don Henley. It's quality
crooning. Replace he twang wih
breahy country integrity and
slraight-from-he-heart lyrics hat
are communicated in a completely unassuming, beautiful way
in simple communion wih he rest
of he band. Massachusetts, heir
latest album, is he most earnest
and cathartic musical purchase
I've made all year, but be
warned: you must be tough
enough to cry to experience his
album to ifs fullest.
The Scud Mountain Boys live
up to all my expectations. There
were no pretenses, no showmon-
ship, no rock star stage antics.
It's a special event when he dynamics on stage ore so perfect
hat he musicol performance allows for that energy to be
occessed by he audience wihout ony mutation. This can only
develop from musicians who ore
comfortable in heir own skin,
wih eoch oher and wih what
hey ore doing. This would have
been a good evening to have hod
a date (a real dale, someone you
get ta neck later). That not being
he case, I lived vicariously
hrough he cuddlers ond instead
of cringing, I thought, "Ah, cute I"
— I wos hat happy.
Oh Susanna, who currently
resides in Vancouver, replaced
the originally scheduled openers,
Scud Mountain Boys. She played
to a very detached ond small pre-
moin event crowd who, hrough
little fault of her own, were difficult ta engage. She's got a bluesy,
folky, acoustic bend wih hints of
Ani Difranco, Veda HiDe, and
Michelle Shocked. Oh
Susanna is obviously very talented ond has a beautiful
voice, but I hod trouble connecting with her in he same
way I have trouble connecting
to the musicol style of Ani
Difranco, Veda Hille and
Michelle Shocked. I guess I'm
still scarred from working at
that vegetarian restaurant
where the only music "allowed," so as not to disturb
led   blu.
s  fer
-   folk  which   i
ough  tc
turn   the
re  veg
an   into   a
rsty car
Her man t
Tuesday, March 29
Kula Shaker. The English have
been loving hem for well over a
year now, and as usual. North
Americans are just starting to
clue in to he goodness which
is K. Mixing old wih new.
Western wih Eastern, Kula
Shaker have come up wih a
rock formation hat is prepackaged perfection.
At about a quarter ta twelve,
he sitar music started being
piped in to the crowded land of
Grace, along wih much incense
(Jasmine, I hink ...). Out came
he band, looking absolutely
smashing. The keyboardist
looked a dead ringer for someone out of he Doors. Fashion
wos tops on all four band
members. Bul to more important matters ...
This show went everywhere.
Who would have thought you
could mosh to Eastern music? The
capacity crowd did a stunning
job of if. The show wasn't all
standard tunes, hough, os Kula
tried out new songs; out of he
blue came a crazygood (barely
recognisable if not for he bass
line) version of "Devil's Haircut"
by Beck.
After a 45 minute set, he
band managed to muster up
enough energy for a 15 minute
encore. All in oil, one impressive
show. The boys dashed out of
sight quicker 'n hey came, probably for some jet-lag combat-
sleep. If his show was any indi-
HF if cation of whafs to come, well
have o notion of Kula Shoker's
and Shakerettes yell
Richard's on Richard.
Sunday, March 30
I saw potential in his show. Good
dancing potentiol. Potential for
hip hop to finally prove its worh
in my eyes, once and for oil. I
wos disappointed. DJ Shadow,
whose olbum I enjoyed muchly,
spun an excruciatingly passionless set. Two, even. Granted, he
grooves were good, but I wanted
te see Shadow play some pro
sampler. You know, ihey say hat
he is a sampler virtuoso. He play
it like an instrument, like Mingus
play bass, like Hendrix play
guitar... blah blah blah. He ain't
so hot. My roommate's oss manipulates more entertaining
sound loops han Shadow did
hat evening, I tell you. Shit,
maybe I'm just cranky 'cause I
wasn't in he mood to be sexually manipulated for he last of
my cash by strategically exposed patches of female flesh
belonging to equally exploited
women existing in whatever
fucked-up subculture hat scene
So hen Jeru the Damaja
hits he stage wih his cousin ond
tries to fire up he crowd wih his
coll-to-arms punctuated by
fuckinbitchassnigga, which oclually proved extremely effective.
Effective until about he ninth Hme
he brought the beats to a halt to
ensure hat he crowd was still
behind him and having a great
lime listening to him casually rap
himself into a self-appreciating
stupor. Then a fan lets fly a plea
for he song "Static." Yeah, sure.
Jeru'll do "Static." But he's gonna
have to freestyle, cause he ain't
done "StaNc" for fockin' ages and
he can't even remember any of
he moherfuckin' lyrics. Jeru ain't
no phony rapper hough, so he'll
oblige his freestyle hungry fans,
if only his DJ can find he beats
... oh, he's already got 'em cued
up? Damn, hat kid's fast. Jeru
and cuz rapped "Static" like hey
had nolhin' better ta do for he
last year hen memorize he tyr-
ks wordop for woroUjp. But I was
encouraged. Knowing how bad
he yang can get onfy means hat,
somewhere out here, here's he
hiphopyin. Maybe I otto of gone
seen De La Soul.
Neerge Naal
Monday, March 31
Richard's on Richards
Clueless to much of all hat is he
hip hop scene 'cept he beat, we
were converted. De La Soul is
from start to finish like a storytelling wih rhythm and soul, hrough
two sets of contagiously smiling
white teeth on Iwo kids imported
from Long Island who aren't kids
but are, bouncing around, and
a big teddy bear 'just lov[ing] he
sound of vinyl — all lhat cracklin'
shit." (A storytelling peppered,
mind you, wih plugs made in jest
but not really ... "So how many
Cgot he Slakes is High at-
?" ...) The whole show was
much like one song: "Hold onto
your steering wheel. People upstairs I know you're drunk, no
drinkin' and drivin' but you con
smoke a little weed ... Take a
Ride." All he faithful hands went
up. Why and how (to) resist when
ifs just so much fun. Especially
when your side of he room's
gotta be better lhan he other side
of he room — see Posdnuos ball-
copped wih he love stage right,
Trugoy hooded oul to find he
believers stage left, imaginary
boundary of imaginary sibling
rivalry drawn to he middle of
Maseo — all just part of he Sto
Ry Kids that took us to he woods
to see he lost emcee way bock
in he century wih he potholes
in he lawn hopping on down he
railway Iroak on a Saturday for
he lovely ladies 'n' me myself 'n'
I on a ego trip countin' down to
he new year ... and hen we
ended up in the funky pile of hopping kids and fell sad to say
goodbye 'til next time. But apparently we met he De La mark cuz
we didn't sit upstairs wih he
people hat had something
wrong with them. We like
every kind of music but country. We confess to a certain
kind of syncopated gaily as we
left he romper room.
Tora fvanochko and Heather
Wednesday, April 9
Starfish Room
In my long sojourn on his planet,
I have sampled many a musical
genre (in fact, probably all of
hem wih he exception of modem country musk). Some I remain
interested in, others I discard. But
if Ihere is one type of music which
keeps me coming back lime and
time again to see live shows, it's
ska music. I just 'dig on" hat
crazy ska beat! And here are no
belter practitioners of ska han
Let's Go Bowling, who I first
saw opening for Bad Manners
many moons ago at he old 86
Street Cabaret.
The Malchiks opened he
show and were entertaining,
boisterous and enthusiastic (given
he number of shows hese guys
do, hey would have to be). A
drug-addled story about E.T. was
a nice interlude (he lead singer
knows how to work a crowd),
and he songs were fairly good.
A full horn section was a treat
as well. My only criticism: his
band Features a large ensemble (at least eight members)
and some tightness and polish
is needed.
Let's Go Bowling seemed
pleased wih he turnout — hey
had a poor showing at iheir previous show in San Diego. The
Vancouver concert wos number
two on heir tour to promote heir
new CD, Mr. Twist, and hey were
fired up and skanking all over he
stage (you gotta love a horn section which can dance and play,
simultaneously). Their sound was
seamless and sparkling; hey
played all heir most well-known
tones ond he new material was
good os well. Let's Go Bowling's
recorded releases don't always
do hem justice — his is o band
Cjust have to see live. They
e also been together (wih
some line-up charges, including
he deah of a band member) for
long enough to prove hat for
hem and heir fans, ska is a vibrant and enjoyable musical
form, not just a fad.
J. Boldt
Thursday, April 10
Starfish Room
So I kinda missed a good portion of Lois' set, which was a
shame cuz I missed her he last
time she was in town too. This
time, she showed up wih Heaher
Tiger Trap' Dunn on drums,
ond hose of you who know,
know just how much of a pleasure hat is. Midway hrough her
set, Lois handed over he stage
and her guitar to Mr. Jason
Traeger who whipped off a
number of whimsical pop tones
in high performance mode (it was
more of a cabaret act, really).
Sample word chokes: "fairies,"
"mountains," "fountains." Lois
herself sounded great (and had
some to-die-for kicks on), ond
she finished up strongly, but
she really has lo get over his
"I know I don't look that punk
or sound hat punk but believe
me, I can tell you whot punk
is, punk" hang-up of hers. It's
getting a little tired. Onwards,
sister, onwards ...
Built to Spill came on and
Doug (aka "Dug") and co. got
things cooking right off he bat.
I'd seen 'em once before at
Bumbershoot a couple of years
back. On that occasion they'd
had heir/his on-again/off-again
cellist wih hem. Despite he fact
hat heir show was in his cavernous auditorium crawling wih
5000 plus pimply King County
teens, hey'd sounded like magic,
but Doug's guitar-work didn't really stand out for me.
This time, as a three-piece,
you couldn't get away from
Doug's guitar magic: he was of-
tageher brilliant, playing wih he
bizarre, wihdrawn intensity of a
somnambulist (almost literally).
It'd been a long time since I'd
been so impressed wih a guitarist, maybe as long ago as Bob
Mould, ca. 1988. Hell, he
rest of the band was tight,
tight, tight too. The "regular
set' lasted about on hour, but
hen he boys decided to really put the icing on he cake,
finishing wih a hree hour and
34 minute workout hat woulda
made he P-Funk All Stars
blush. Drummer-boy collapsed in
a fit of seizures ot about he two
1/2 hour mark but Heaher
stepped in ever-so-gallantly
and made sure he beat went
on and on and on so hat Doug
could squeeze every last spark
out of his axe, so hot he could
make sure hat "every word
had been spoken."
Eddie ihe Plague
Saturday, April 12
This evening celebrated he first
two releases on Vancouver's new
Transsiberian Music label. Having arrived earfy far he evening's
festivities, I was privy to he
soundcheck of he Comshuck
Cowboys, which I, my perceptions slightly askew due to an
overexposure to experimental
jazz, mistook for a minimalist/
ironic work of performance art.
Ah, but it was a night of high
theatre at he Press Club. The
Cowboys did eventually toke he
stage, and I use he word "take"
advisedly, for it was hooting ond
hollering and wih guns blazing
hot he cast of Deliverance made
heir entrance. Their set was a
celebration of everything backwards and reactionary about
Country and Western music, as
hey belted out tunes such as
"Hey, Hippie Freak" and "Get
Back in he Kitchen — I Wear he
Pants Around Here." Between
songs, as hey cursed and passed
he jug of antifreeze, I almost fell
like I was al a Michigan Militia
Fund-Raising Bake Sale and
Square Dance or at a Reform
Party convention. Take if from o
recovering Albertan — hese
boys had he whole gestalt down
pat. In he words of Anatole
France, "It's funny because it's
After a raher protracted intermission, local noise jazz collective Manifold began he first
of heir hree pieces hat night.
Entitled 'Chesterfield Suite: A
Work in Progress," it was a free-
form investigation into he range
of sounds hat can be produced
by an array of chairs wired for
sound. Raher interesting, really.
After its performance, a member
of he audience was heard to
exclaim, "Three words: abvant-
garde." The second work, "Ratios of Success and Failure in
Relation to he Noble Experiment," involved rapid, violent percussion and electronic warbles
orbiting a languid Brian Eno
esque slow drift on bass and gutter. Again, most interesting. The
hird piece wos a Korg-driven
vaguely Klezmer cover of he
"Song of the Count," from
Sesame Street.    These hree
pieces, along wih heir newly-
released CD Novosibersk, show
hat Manifold has developed a
fairly broad and compelling body
Another lengthy break passed
before he final band. Thatch,
began heir set. It started on a
rather dramatic note, about
which it would be indiscreet of
me to say more han hat it involved a heated controversy over
he unauhorised use of fire.
Thatch was possessed by a more
commanding stage presence
han Manifold, adorned as hey
were in white body suits and
elaborate masks, bul were not as
interesting musically. Their music
has he feel of early Black Sabbath — heavy and pounding.
They do ploy around wih he
form some, hough, and heir use
of film montage certainly added
ta he live performance. However,
wih not a great deal of diversity
in heir songs, I found hat a little
went raher a long way. They
oren't bad, but hey could be
Adam Monahan
Saturday, April 19
Starfish Room
Caught he last few songs of
Breach playing a passable set
of melodic hardcore to heir
friends. Nothing too exciting
here, unless you count he number
of times he lead singer grabbed
his crotch (presumably to keep
hose baggy jeans from falling
down) — I stopped counting
around ten.
Next, JP5 played a set hat
hey probably would like ta forget. Lots of technical problems,
poor sound, faulty starts and
hackneyed attempts at cover
tunes (please, if you're gonna do
"Psycho" by he Sonics, ot least
sing all he lyrics and make it interesting, hank you). I'm all for
he "Let's just get up here and
have fun and rock" aesthetic, but
JP5 just didn't.
Fortunately, he Humpers
turned he whole club upside
down and flat out steamrolled he
sparse, but enthusiastic, crowd
wih heir turbo-charged rock V
roll show. Lead showman Scolt
"Deluxe" Drake was in our faces
at every opportunity, pausing
only briefly to deliver a courte
ous bow or to announce hat he's
not number two (displaying
horned devil sign), but number
one (displaying middle finger)I
The rest of he band were no
slouches either, also addressing
he crowd wih pleasantries between furious guitar blasts. "Are
you at bored as you look?" asked
bassist Mitch Cartwright, to hose
dumb enough to be oclually sitting during heir manic performance. Truer words were never
spoken. They performed healthy
doses from boh Epitaph releases
(including my faves from he Live
Forever or Die Trying, "Soul Surgeon' and "Space Station Love")
as well as a couple of ol' chestnuts for good treasure My only
complaint (and believe you me, I
hardly hink I needed to complain
about his hi-octane show) was
where was his Humpers' kick
(dance, whatever) lhat I'd heard
so much about? Oh well, only a
small matter for his happy giggoer.
Thank you, Humpers, hank youi
Bryce Dunn
Sunday, April 20
Vogue Theatre
Dear Pavement,
Hi. My name is Julie. I am a
big fan. I om writing on behalf
of all he Vancouver! tes who benefited so thoroughly from your
concert on Sunday, April 20th.
Your concert provided an opportunity for a big indie-kid party;
everyone who was hip and cool
was here. Some fans didn't attend, as hey're joded and bored
of your music. It was definitely
heir loss, as you put on one fantastic show. I missed he opening
act, he Apples in Stereo, due
to prior commitments, but was
told hat hey were pleasant indeed.
Your performance — please
excuse my enthusiasm — was he
car's pyjamas. I liked he way you
had fun while playing songs from
your latest album, Brighten the
Comers, os as well as old hits.
Steven, I like your new haircut
very much. I hink all he giHs in
short skirts did too. You managed
to keep he diverse crowd nodding heir heads to he beat all
night long. Please come back
soon, os your unpretentious rawk
is what I (we) love so much.
Your #1 fan,
arSoN mUsiC
CD Release Party
Wednesday, May 7th
ive performance at 7:00pm]
Arts Club Theatre
Backstage Lounge
Debut Album in Stores
$3   ffifefcffiSE culture Jammers unite!
the web cafe, 390 bastings
Michael Shamberg, producer
(REM, Patti Smith)
Katherine Dodds, writer/director
Stephen Marshall, filmmaker
(founder of Channel Zero)
Jayce Salloum, video/film artist!
(There Was And There Was Not)
Dana Clarion, video/film artist        Mark Leiren Young, journalist
(Buffalo Bone China) (Time Magazine, Georgia Straight)
Tickets $25 at Videomatica, theWebCafe or
MusicWest Conference registration
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2 tcndaystur
stkky flytrap
3 theoofcrifics
4  atari teens**gr riot
bwn, bei unburn
j^and royal
5 dbomaoo
6 sparionarkrr
7 fen fax pole
super rekx
8 <Mp»nk
0 «**«
rw rrd arcrrfves
10 gph/enamajot
11 nkk caw & bod seeds
the boatman's cal
12 soundtrack
diach harbota*
13 «*V
14  thr softies
winer pagcarf
15 various artists
sometltog cooi
16  themolestks
tropic of hokian
blue tend
17 17
the beauty process
18 n^tyn^nybasBtono
19 mdnsband
octne ki and bum
20 various artists
rare on ak, vol 3
21 •*«
pad loyal
22 the super friendz
slide show
23 godismyoo-pik*
die best of
24  thrcrumhs
the crunhs
25 thrseaandcake
thfl jockey
26 thrmakeup
sound vcrilr
27 various artists
trance curope express'
28 thchiftvrs
20 the kingpins
watch your back
30 sqpktyn
another sumy.
31 t^^
32 supersudms
33 skkofkal
34 behead tht prophet nls.1
35 jaymzbee_
dkit east woody allmalda             Hm
1 the (lends
2 jon spencer blues ejqiosio
3 peatmos
4 kinnie starr
5 various artists
6 bunnygrunt
7 catpower
8 the hanson brothers
9 songs: ohla
10 suicide king
12 bill ding
14 reel big fish
15 the loons
16 g force
18 merseyslppluntltled
19 lnbreds/plumtree
20 tricky woo
21 mmymoodscfn-aiVrnmaf-js
22 trixle belden/egghead
23 scenic
24 wingnuts
25 gob/mcrackins
26 built to spill
27 salan's pilgrims
28 rugboy/grilty kitty
29 dj food
30 the nonpareils
31 dearly
32 4 star movie
33 darling Utile jackhammer
34 dnylelecnard/lieyransone
35 ultrabreakfast
2 kindsa love
earl grey tea
sonic swirl
violet inch
dumbrock vol 9 et 10 vital
johnny angel septophilia
fuct undercover
the hocky song essential noise
one pronunciation-seartly Canadian
she's dead Intensive scare
princess + 4 sub pop
make it pretty hefty
love germ laundry room
teen beef mojo
paradise time bomb
apocalyptic cowboy  anonymous
live for rejection
the claw
young girl fever
the quick brown fox ,
the rise and fall ...
sonic soup
only betweens
honey glaze
earth vs. us...
lance rock
mag wheel
cash cow
Zo*r*. AuJU Jyofs i*~ lAxtsLeAJmtfi. TLOO^rycZOO^ayy**.
H    .LI_J  —    I' J_.l    _ I... ' J I       I I
1  third eye foundation
ghost                      domino/merge
2 anion tobln
chomp samba 12"         ninjatune
3 square pusher
vie add                                  warp
4 bowery electric
beat                   beggar's banquet
5 yo la tengo
autumn sweaterremixes matador
6 autechre
chlastlc slide                          warp
7 windy & carl
antarctlca 12"                      darla
8  plerre henry
fortische                             phillips
9 alec empire
the destroyer      digital hardcore
10 babies, sneezing,
Ma   riTR
maj'97 INDIE
1 johnny mlllenium
2  plumtree
In the sink
3 the smoking jackets
baltic boogie
4  bug
going nowhere
5   p res ton
6  the bloody chicletts
on & on
7  thrillseeker
8   10 ft. henry
oh oh
9  wonderboy        will you show up for the court dates?
10  stratochief
she shoots, she scores
11   mollle's revenge
i wanna b
12 gaze
preppy villain
13  closed caption radio
14  k stars
drugs & gurus
15  dreamy angel
laundromatte queen
16  the beans
Italian vases
17  1 killed my cat
cut the shit
18   ani kyd
left holding the bag
19   alfaflve
20  stunted
please don't go home
21  violet
(i step on all the)cracks
22  the saddlesores
garth brooks
23  pete o'connell
24   cinderpop
frankie fishead
25  carrot revolution
jazz spaceland
26   intermission
27  station a
sporty & bigg
28 psychomania
johnny's got a problem
29  michele wong
30  the trish kelly experience
loose lips sink ships
31   coal
32  petrolia
sweet industry
33  readymade
dreamt i fell from you
34  destroyer
karen is in rome
35  thrill squad
out of touch girl
THURSDAYS 11:30 AM - 1:00 PM
1  Sparkmarker
2 The Snperfricndz
Slide Show
3 TrnDay.sl air
Stkky Flytrap
4 Various Artists
Time Machine
5 The Molestics
Tropic of Hokum
Blue Lizard
6 Queazy
7 Treecrasher
Yes I Don't
8 The Colorifics
Living City
9  Various Artist*.
Thrash Concert Tonight
1 .Change of He-art
<*/«*e 1-0 « chpcdlqte
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Bring Conleml
QUEER FM 6KJ0-8.O0PM Dedicated to
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and listened to by everyone Lots ol
human interest features, background
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GEETANJAU 9O0-10O0PM Geetanjali
features a wide range of music from
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Join hoU Dave Emory ond colleague Nip
Tuck for some extraordinary political
twice Brina vour lixe deck and two C-
90s. Originally broadcast on KFX (Los
Altos, California)
4:00AM Drop yer gear and slay up late.
Naked rodio tor naked people. Get benl.
IIO0AM 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.
1O0PM Wih your hosts the Gourd of
Ignorance. What will we play today?
Rog will put il away.
Two shows became one! An hour of
Mekanikol Object None (industnal/
nois/techno) and on hour of Skintight
Buffoonery [lounge, jazz, brilpop)
June scudelerOmindlink.bc.ca
I endeavour lo feature dead air, verbal
flatulence (only when I speak), a work of
music by a twentieth-century composer
— can you say minimalist? — and
whatever else appeals to me. Fag and
dyke positive Mail in your requests,
because I am noi a human-answering
machi ne. Got a quarter then call someone
who cores.
Listen for dl Coiadan, mostly indeperxkt
IHE JAZZ SHOW    9:00PM-12:00AM
VcnxWs longest running pnme hme |azz
program. Hosted by re *nersua« Go-in
Walk. Featured 11.
May 5: Charles Mingus plays piano.
May 12 Underfed terxxiii Hank Mobley
May 19: Lee Morgan and Jackie Mdean
with Infinity-
May 26: Justin Ho dots lUShowl
DRUM*'SPACE at I2O0-2O0AM Jazz,
breaks & the silence in between 0
11:30AM-1O0PM Jon forces with a
samurai warrior gone wrong. Fill your
bento with feminist osian attitude. This
month interviews wilh The Third Sex,
Trish Kelley, and Sleater-Kmneyi
UCORKE AUSORTSak. 11:30-1:00PM An
ededic music hem. rnore in and naquesll
KXA 5:3&6O0PM News, issues, aidcorams
loang Muslms throu^out re vwrld.
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of hosl and demo
director Dale Sawyer. Herd upl
RITMO LATINO 9:00-10:OOPM Gel on
board Vancouver's only tropical fiesta
express wilh your loco hosts Rolando,
Romy, ond Paulo as they shake it and
wiggle II lo the latest in Salsa,
Merengue, Cumbia and olher fiery
tiesta favourites  Latin music so hot
it'll give you o tan! [(RADIO
NAKED RADIO ak. 10O0PM-12:00AM
From Thelonious Monk lo Meridilh Monk
... we'll play il. Genrrbusling, cutting-
edge jazz and olher experimental
sounds, plus informative label/artist
features Join Mike and Sean.
12O0AM Noise, ambient, electronic,
hip hop, free jazz, christian bettor living
Ip's, the oocasiond amateur radio play,
Warning: This show is moody and unpredictable. It encourages insomnia and
may prove to be hazardous to your
health Listener discretion is advised.
10O0AM'Dude if you'ree ploying pretty
girl music in my Comoro! Dude'
IOVE SUCKS 12KW-2KXJPM If you can'l
i of it, and lhat bothers you,
i else. We use scissors
HELLO INDIA 2.O0-3.O0PM A discovery of
Indian culture, its music heritage and
literature along with a touch of the latest.
motorcycle awareness month. Lei's all
ESOTBK ak. 6:007:30PM Ambienl/
experimental musk for those of us who
know about *he iKmidt.
SOUD STATE ak. 6:007:30PM Featuring
the latest In techno, trance, acid ond
progressive house. Spotlights on local
artists, ticket giveaways, 6\ live
performances. Hosted by M-Path.
x-chittle, contoine ...
la la lot
FOUOASISfcOO-lOOOPM Acoustic/roots/
folk music in the middte of your week.
Focus on loed and Conoddan singer-
songwriters, regular features on other
regions with in-house visits.
1200AM Let DJs Jndwa and Bindwo
immerse you in rodiooctive Bhungral
*Chakkh de phutay.' Listen to al our
favourite Punjabi tunes — remixes and
originals. Brraoaahl
ZUPPA RADIO 8:30- 10O0AM The
sounckrack from the film in the archive
exile where JodPhdr gels his pHd
doing fiebwork in earfy cartoon jazz.
FlUBUSTERal. 10O0-11:30AM Bad hill
blood, spy music and an accordion
fetish. Caution: high in fibre!
MUSIC FOR ROBOTS dl. 1000-11:30AM
Electronic-Noiz-New Wave-Nc-Wave.
Ride the Gamma rays into the future.
Fem-bot, electronic hostess.
From Tdino lo Gander, Baffin Island to
Portage La Prairie. The all-Canadian
soundtrack for your midday snockl
SIEVE & MKE 1:00-2H»PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Usten to it, baby.
JUSTIN'S TIME 2-00-lOCPM Serving up
your weekly dose of Shirley Hom and
other jazz-filled codec-Sons
and Punk rock sine* 1989. hip://
mypogi. dired. ai/f/Rxyrhed/
BirWistocks, nothing polilicdfy correct.
We don't gel pad so you're damn right
we hove fun with it. Hosted by Chris B.
Roots of rock & roll
9O0-IIO0PM Local tmizak from 9.
Live banaz from 10-11.
May 29: Bounty Hunta and ihe Mutineers
Morgon le Fay brings you ihe latest info
and Hims in the realm of electro/
industrial & synrbcore. Hard beats to
invigorate your late night angst. lost
week of each month is a goth show.
10:00AM Jan Greg 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*0-11:00AM June in for
discussions, interviews & information
relating to people who live with physical
& mental chalenges.
12.O0PM Tune in for another fun-filled
hour of ska with hosts Julie and Ska-T.
ChaHie Brown once sad to Schroeder.
'plink, plink, plink, dl day long! Good
LUCKY SCRATCH 1O0-200PM Swing on
the gdlows pole and git yer dose d blues
in re dtsmoon. Hosts Anna and Andy.
UTTIE TWN STARS 2:00-3:30PM Jacuzzi
Spool rock at its finest.
PRESENTS... 3:30-4:00PM Have a
good brunch!
NATION 2 NATION ak. 6:00-9:00PM
Underground sound system-style
mastermix radio.
David 'Loo' Jones brings you the best
new and old Jazz, soul, latin, samba,
bossa 4 African Musk around ihe world.
FOR THE RECORD 6:304:45PM Excerpts from Dave Emory's Radio Free
America Series.
HOMEBASS 9:00PM-12:00AM The
original live mixed donee program in
Vancouver Hosted by DJ Noah, ihe
main focus of the show is techno, bul
also indudes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
UMP SINK 1200-2:30AM Hosted by the
G42 players. 'The show that doesnt
hale you.' wilh your friendly pols Friar
Fritter Abfackeln and Postman Pal
Alternating with Dr. Killdare
LUCID SOUL 2:304:00AM Dr. Killdare
plunders even further inlo the wee hour
doing what he can to keep secu rity guards
and 7-11 clerks awake. Waywaywoy
deep dance stuff and other holucinafying
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, fdk music calendar,
ticket giveaways, plus World Cup
(•portal 11:30 AM. 8-9 AM: African/
Wodd roots. 9-12 noon: Celtic music
and performances
Vancouver's only true metal show; local
demo tapes, imports and otter rarities.
Gerald Raltleheod ond Metal Ron do the
THE SHOW 6*OO-8:0OPM Strictly Hip
Hop - Strictly Undergound - Strictly
Vinyl With your hosts Mr. Checka, Flip
Out & J Swing on thei &2's.
"Live! - shows end barfs- mission $6.00
— Performers are subject lo change.'
EARWAX ak. 100AM- DAWN 'Utile bit of
drum, bit of bass ond a whole lot of
noize". Late-night radio soundclash
destined to fist you hard. Zine features,
phot experimental chunes, and the
occasiond turntable symphony. 'Money,
we'll rock you on 'til the break of dawn."
- G. Smiley _^
W       K JPO       M
H      f^l       W
Arts ^W^AfaonDunwt
Board Chair Harry Herbcheg
Business Thomas Kicks
Current Affairs Sarah Efron
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Clinton Ma
Mobile Sound Ken Orchard
President Ryan    Ogg
Procwchon Mane Constanhnescu
Programming Anna Friz
Promotions Justin    Ho
Secretary Chris     Corday
Sports Slavko   Bucifal
Station Manager Linda Scholten
Traffic Marlene Yuen
Vice President Frank Herrville
Volunteer Coordinator   John Rusldn
26   may  1997 <e? may
THU 1 James/Third Eye Blind-The Rage...Powerman 5000-
Town Pump.-Elycium-HMV Robson...Leslie Alexander-South Hill
Candy Shop...
FRI 2 DSK/Closed Caption Rodio/Revufvo-Town Pump...Dirt
Mitts/lbeanstrument Babyl/Space Cadet-Van. Press Club...Eek-
A-Mouse/Bounty Hunfa & The Mutineers...Ani Kyd & Jim
Cummins-The Mighty Niagara...Bill Bourne/Bourne, Schuld &
Stamer-the WISE Hall...Rob Wilson-Talking Stick...Strange
Alice/Odua-Squish'd Knish...Zeke/Reo Speeddealer/The
Loveprops-3B (Bellingham)...Jessica Grant-South Hill Candy
SAT 3 London Paris/Renwick Schanfarber/Destroyer-[the
Sugar Refinery]...Forbidden Dimension-The Pic.Mudgirf-Star-
fish Room...Tube Top/MK Ultro-3B Beer Joint (Bellingham)...
MON 5 The Apu Trilogy 1 :Pather Panchali-Pacific
TUE 6 Sylvia Legris-Women in Print...Rich Hope-South Hill
Candy Shop...
WED 7 Blue Veil CD Release-Arts Club Backstage lounge, 5-
8pm.. .Echos of Harlem: The Music of Duke Ellington-V.E.C.C...
Tim Readman-South Hill Candy Shop...
THU 8 Chemical Brothers-The Rage...
FRI 9 Huevos Rancheros/Duotang/Custard-The Mighty
Niagara...Ben Harper-The Rage...The Beans-[the Sugar
Refinery]...Age of Electric-Graceland...Holly McNarland-Town
Pump...Ron Sexsmith-the Web Cafe...Spare/Bat Farm/Chim-
ney-3B (Bellingham)...
SAT 10 Rusty-Robson Square (all ages, early)/Town Pump
(evening)... Facepuller, Puncture, Pebble, Goat Boy & Zero
Gauge - ALL AGES at Hastings Community Centre, 7 PM...Ron
SUN 11 Sneaker Pimps-Richard's on Richards. JobChan
MON 12 Jamiroquai-The Rage...DJ Mark Oliver/DJ Kofi-Purple Onion... VSOChan Centre...thetree.thetower.theflood-BC Tel
Studio Theatre...
TUE 13 Christopher Parkening-Chan Centre...Ross Barrett-
South Hill Candy Shop...Pamela Donoghue-Women in Print...
WED 14 Locos Bravos CD release-Purple Onion...The Piano
Man's Daughter-Chan Centre...Luigi & Me-South Hill Candy
THU 15 The Cardigans-The Vogue...The Saw Doctors-Starfish Room...Naughty Ladies ofthe Night-Chan Centre...Sylvie
McClean-Women in Print...Roger Lee-South Hill Candy Shop...
FRI 16 Spirit of the West-Chan Centre...Rob Wilk and Trout-
Talking Stick Gallery...Truly/Sporto/Hummingbird-3B
(Belling hamburger). ..Rush-GM Place. ..Slam-Ba m-Jam-A-Ramo-
Squish'd Knish...Vicki Fraser-South Hill Candy Shop...
SAT 17 Glen Miller Orchestra-Vogue Theatre...Tafelmusik
Baroque Orchestra-Chan Centre...Dan Clement CD release-
South Hill Candy Shop...Satans Pilgrims/Girl Trouble/Nightcaps-SB Beer Joint (Bellingham)...
SUN 18 CiTR Presents THE BREEDERS/Lutefisk/Pale-
face-Richard's on Richard's...Glen Miller Orchestro-Massey
TUE 20 Quartetto Gelato-Chan Centre...Adeena Karasick-
Women in Print...Adam Thomas-South Hill Candy Shop...
WED 21 Dinosaur Jr.-The Rage...Rich Hope-South Hill Candy
THU 22 Kanatan Aski-Shadbolt Centre for the Arts...Shy
Smokers-South Hill Candy Shop...
FRI 23 Corrosion of Conformity/Metallica-GM Place...Inti-
Illimani-Chan Centre...Daniele Patumi trio-Western Front...
Krista Jeanne Sheffield-South Hill Candy Shop...Gruntruck/
Old Lady Litterbug-3B Beer Joint(Bellingham)...
SAT 24 CiTR presents Kinnie Starr/Hellen Keller Star
fish Room...Corrosion of Conformity/Metallica-GM Place...I
Solisti Veneti-Chan Centre...Ellen Mclllwaine-WISE Hall...Mike
Wettering-Talking Stick Gallery...Terry Brennan-South Hill
Candy Shop...Clambake-3B Beer Joint (Bellingham)...
SUN 25 African Arts Fair-Granville Island. Julio Iglesias-
Queen Elizabeth Theatre...Clumsy Lovers-3B Beer Joint
MON    26    No    Doubt/Weezer/Ednaswap-Pacific
Coliseum...Cyndi Lauper/Tina Turner-GM Place
TUE 27 Mischa/Round Eyes in the Middle Kingdom/Chicks
in   White   Satin/Me   and   My   Matchmaker-Pacific
Cinematheque...Larry Perras-South Hill Candy Shop...
WED 28 Weapons of the Spirit/Chicks in White Satin/Me
and My Matehmaker-Pacific Cinematheque...Time Waits-South
Hill Candy Shop...
THU 29 Jacob the Liar/Tears of Stone-Pacific
Cinematheque...The Wheat in the Barley-South Hill Candy
FRI 30 Gene/Star 69-Graceland...Za Za Velvet and the
Midnites-South Hill Candy Shop...Gangs/Always on My Mind-
Pacific Cinematheque...
SAT 31 The Ray-ons-3B Beer Joint (Bellingham)...Ah Ying/A
Little Life-Opera/King of Chess/Viva Erotica-Pacific
Cinematheque...Rob Wilk and Trout-Talking Stick
Gallery...Steve Mitchell's Yardsale-South Hill Candy Shop...
Special I
ASIAN III KHA<.I MONTH: \jup. don'lforj-et
what month il i<! (Vlchr.iU* In •join- lo Ihe Dr.
Sun Vat-Si-n:Classical Chinese Cinrdeu(57X
( arrall Su. Ma> _-3<>. Virpliihili
arlistyMtcharl Spciet'yjnd I'aul Chiiii.,..-
inlo. *
Ml SIC^sBs 117\\ lvST'*>7: West <#w aste? Waste
"    5 it?. Just check
>ort our local
hands. Have fim. MU.> 7-11 (£ various vi'lWt^
KI.KC I KOMC \KI S I IS I IN A I.: Ma/?^8 (f<
various \enues iWesti*** I * mntij|Yideo In, j>runt
etc.) Third
shop.s, pafiels ... X7tt
pus(1155 E
tree festival
al sponsorship or ut*\
VdaiKT/lood/'-tc. X71.7194 for
M;i\ 24/" North SortiN Keen -ation ( YnfKvKuiR-
everytfajflgn npfi^ tn j^qw
3B Beer Joint 1226 N. Stale St. (Bellingham) 360 734 11
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. Bit* (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Combie) 689 7734
Backstage Lounge  1585 Johnston (Gronville Island) 6871354
Block Sheep Books 2742 W. 4lh (al MoeDonold) 732 5087
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)        873 1331
Caprice Theolre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Dovie (al Burrord) 689 3180
Chameleon Urbon Lounge 801 VV. Georgia (Downlown) 669 0806
Club Mardi Gros 398 Richords Si. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordovo) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordovo (Gaslown) 683 5637
Crosstown Traffic 316 W. Hostings (downtown) 669 7573
Denman Place Cinema  1030 Denman (West End) 683 2201
DVB 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (olMain) 689 0926
Food Not Bombs Voncouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Mora 6 Powell (Gastown) 689 0649
Gastown Theatre 36 Powell (Gostown) 684 MASK
The Gale  1176 Granville (downlown) 688 8701
Graceland  1250 Richards (downtown) 688 2648
Greg's Ploce 45844 Yole Rd. (Chilliwack) 795 3334
The Grind Gallery 4124 Main  (Ml. Pleasant) 322 6057
> B.C. 324 W. Hastings (downtown) 681 4620
i Theatre 3123 W. Broadway (Kitsilono) 738 3211
Hot Jazz Society 2120 Main (Ml. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre 1600 Discovery (Pt. Grey) 224 8007
Lo Queno  1111 Commerciol (the Drive) 251 6626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3934 Main 875 9858
Luv-AFair 1275 Seymour (downtown) 685 3288
Mors 1320 Richards (downlown) 230 MARS
Maximum Blues Pub 1176 Gronville (downtown) 688 8701
Niagara Hotel Pub 435 W. Pender (downtown) 688 7574
MeJialuna  1926 W. Broadway
Odyssey Imports 534 Seymour Idowntown) 669 6644
Old American Pub 928 Moin (downtown) 682 3291
Orpheum Theatre Smilhe 4 Seymour (downtown) 665 3050
Pocific Cinemaiheque  1131 Howe (downlown) 688 3456
Porodise 27 Church (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Pork Theolre 3440 Combie (South Voncouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building (UBC) 822 6273
Pitt Gallery 317 W. Hostings (downtown) 681 6740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Purple Onion  15 Water St. (gaslown) 602 9442
Raffels Lounge  1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plozo of Nations) 685 5585
Railway Club 579 Dunsmuir (at Seymour) 681 1625
Richard's On Richard's   1036 Richards (downtown)
Ridge Cinema 3131 Arbutus |all6lhAve.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W.Cordova (Gaslown)
Southhill Condy Shop 4198 Main (at 26th)
Storfish Room  1055 Homer (downlown)
Starlight Cinema 935 Denman (West Endl
Station Street Arts Centre 930 Station (oft Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Stonelemple Cabaret  1082 Granville St. (downlown)
Sugar Refinery  1115 Granville (downlown)
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Enl. Centre 120 W. 16th St. (N. Von)
The Tower 339 W. Hastings (downlown)
Town Pump 66 Waler (Gaslown)
Trock Records 552 Seymour (downlown)
Twilight Zone 7 Alexander (Gostown)
UBC CINEMA (located in the SUB)
UBC Grad Centre Gate 4 (UBC)
The Underground   1082 Granville (downlown)
Voncouver E. Cultural Centre  1895 Venables (al Victoria)
Vancouver Little Theatre 3102 Main  (Ml. Pleasont)
Vancouver Press Club 2215 Gronville (S. Gronville)
Varsity Theolre 4375 W. 10th (Point Grey)
Vert/Washout 2412 Main (Ml Pleasant)
Video In Studios  1965 Moin (Mt. Pleasant)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theolre 1405 Anderson (Gi
Western Front (303 E. 8th Ave)
Whip Gollery 209 E. 6lh Ave (ot Main)
W.I.S.E. Hall 1882Adanoc (the Drive)
Women In Print 3566 W. 4th (Kitsilano)
Yale Blues Pub 1300 Granville (downlown)
Zulu Records 1869 W. 4th (Kitsilono)
687 6794
738 6311
874 6200
687 6355
876 7463
682 4171
689 0096
688 3312
683 6695
682 7976
682 8550
822 3697
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232 Key Into Zulu! /   Iffr
fill  II II I     llll Mill III Ii II II III Mil      ■___.!_     .1 I J        e^J^Tur^L'
For All Sorts Of Memorable, Musical May-hem!
To <all this collection an overdue
and necessary historical document
is simply incomplete Sure, it cop
the developing voncouvei pun      	
scene, ond it is on early and locol example ol women getting
involved in music making, but moieovei, it's just a gteal pop punk
lock record (a bunch ol records, and whatnot, actually). With
informative ond humorous liner notes, many greot photographs,
and not to mention really great songs, this much deserved (re)col
lection is, well, punk as fuck Rock onl
Dare to tie
Surprised cd/lp
i bothei releasing a follow up
lo Ihe, yes, smash hit of the Kids
soundtiock single, "Natural One'" W
folks, daie to be surprised (you knew that wos comin', eh?), cuz
these (oiks who are Leu Barlow ond John Davit - taking
lime off from their "side projects" Sebadoh and ... ei, John
Davis respectively - have dared lo offei us a second full-length.
And guess whal - this olbum is just as catchy ond playful as anything they've previously released We dare you lo check this out!
16.98 CD 12.98 LP
Living in Clip 2co
Finally, the intensity, energy ond
choim only captuied by punk poetess Ani Difranco live performances ore captured on disc(s)!
Allow yourself to be templed by this' ^^^^^^^^^^^
double album and 36 page photo book/lour diary, which is full of over
two hours of extremely well retarded/documented examples ol Ani's
live shows from across North America. Maybe you were there, maybe
you weren't, but il you're a fan, you must hear this Righteous record
ing - Living In Clip hos gol all her "hits" and then some for many
greot listening expeiiences.
27 982CD
9e,s,he Public LM-ynd^
^.im-.*«vw x;Lr.
,hin9sdown,owno^'" mollrtwshou,riW,
we agree Punk ■'" mn
0""m record Thirdly,
ceiled on top
sffuooHi ra riff Aw
50,000 BC co
Ihe personal Iroumas, hardships ond elusive drummers that
Shudder f o Think hos suffered since their lasl recording -
1994 s Pony Express record- makes the release of 50,000
No marvel. And singer Craig Wedrens subduing of his idiosyncratic voice cou/d stand as a gauge of those effects Nevertheless,
Shudder to Thill hove again engendered on ovont pop/rock record
of fabulous schizophrenia.
W somehow il h » *,*    '      S ''""""phobic atmosphere
town- In fact only a hum,     _T     ™ 'S "^''"tely
""«' od flatness in total 1I       .  C'"*9 ,BWJ'«' °<
"""^listening      °0ld0r,tneSs4n"'ellen, recording for
M.S8CD J2.98IP
Anewg.ievous angel, l«y»«"*r
exorcised his U«I.T.,.J»
|0, i,s countless songs such as mese
'Can Hear nB
One ce/2ip
1869 W 4th Ave.
Vancouver BC
tel 738.3232
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
let's See What Carmen
Can Doco-ep 12-inch
Funki Porcini is one of the more adventurous,
creative and playful of the Ninja Tun* artists. This
fine EP lets you into his frame of reference, which is
forever receding into the horizon, displacing its
boundaries with even more mutant ond distant rela
tionships. In other words, this guy hos got it going on.
His skewered sensibility is very modern, it's more like
a bunch of records on fire than - only - a collage
Anyway, this EP is alternatingly jazzy, funky ond just
plain odd. Enjoy.
9.98 CD-EP/12 inch
Ml Circle ci/ip
,| WIS »■'" , ,he„ stomp on
-he key ol Me, '•-"^*0,pun„ Hop-jocks!
suits w1--"-*-ie,i,hem
Poncoke Penny sent yo!
16.98 CD tt.HlF
As another sleeplc
'corns on the horiz
m'o its vacuum by osmgLdru
oenlle beat leads you dn_„  r— _
8   on any dandy CD or cassette in our local indie   8
sections throughout the month of May!
TtSm/re rffreat (szetectiom jrom
generating forms that breathe beyond their technologies lo tronscend electro-pop conceptions. For us the
result is on exquisite vista to ethereal (ether real?)
plateaus synthesizing past present ond future time
into on organic sublime soundscape-mix. Absorption
is not far away, and oh, do not bother deciphering the
scriptures here,... for after all, this phantasmagoric
daydream is Delerium unto you.
Waese Walented ^vriuosos
Stealer Kinney  Dig Me Out CD/LP     John Zorn * New Traditions in East Asian
Supergrass   In it for the Money CD/LP     Bar Bands CD
Edith Frost - Calling Over Time CD/LP   Sqoorepusher - Hard Normal Daddy CD
Various Artists - Sore Losers
Soundtrack CD/LP
Pavement  Shady Lane CD EPs Pt 1&2
Speedy J - Public Energy Noi CD
Wilco  Otto Site CD-EP
Loop Guru  Skin Heaven CD-EP
Sings the Songs of the
Makers CD/LP
Tri<ky  Makes Me Want to Die CD-EP/12 inch
Karate * In place of Real Insight CD/LP
Azusa Plane - Tycho-mognetic Anomally CD
Gus Gus - Polydistortion 2CD


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