I #£Q6 I T*W«$S REALITY IS A RIDE ON THEIR BUS! After Quebec, Montreal, Ottawa, Toronto, London, Winnipeg, Regina, Edmonton, Calgary & Kamloops the boys are back in town December 17 in Vancouver @ 86th Street Music Hall and December 18th in Victoria SOMETHING GREEN AND LEAFY YOUR WAY COMES! EMTAPH DONT LEAVE HOME WITHOUT THEM ... MEKONS IVMekons toothpaste. ALL Breaking Things winter tires... ARCHERS OF LOAF Icky Mettle a few loonies. . BIG CHIEF Mack Avenue Skull Game condoms... ERIC'S TRIP Love Tara passport... V/A Land sleeping bag... GODSTAR Sleeper kraft dinner... SMUDGE Tea, Toast & Turmoil woolly sweater... SEAWEED Four... National Chart... LES THUGS As Happy As Possible address book... V/A In Defense Of Animals vitamin C... FORBIDDEN DIMENSION Sin Gallery a good book... MECCA NORMAL Flood Plain. . gameboy... BARF Ignorance Chaos Suicide cookies... THE VACANT LOT Wrong earplugs... PRISONSHAKE The Roaring Third cigarettes... On SHUT UP KITTY, 16 aggressive electronic dance bands deliver unique interpretations of such tracks as U2's Mysterious Ways (by KMFDM - unavailable elsewhere), The Sugarcubes' Coldsweat (by Diatribe) and many other favourites. murderecords EBBS This three piece punk outfit are NOT from the Maritimes but hail from Newfoundland. Following Sloan & Eric's Trip, HARDSHIP POST is the third band to be signed by Halifax-based murderecorcfe. HACK (e.p.) was recorded at Rick White's (Eric's Trip) Stereo Mountain basement studio. p«o<p r ** 1 1 _. ^ k^*l -/ \# % THE SPINANES (Rebecca Gates - guitar, vocals and Scott Plouf - drums) present MANOS, gorgeous, melancholic, warm and intimate music with surprising power and tension. SEE THEM LIVE December 2 at The Big Easy. CONTEST - CARGO/DISCORDER CONTEST ■ CARGO/DISCORDER CONT THE FIRST TEN PEOPLE TO SEND A POSTCARD TO: CARGO RECORDS c/o CARGO/DISCORDER CONTEST 7036 St-Laurent Blvd, Montreal QC H2S 3E2 (Don't forget to write YOUR address on fhe postcard) 3UND-IN-STORES CARGO/MCA SAMPLER "13 BACK ORDERED HITS" rvana, Me Mom & More r, Sebadoh, Eric's Trip &". cm® ITWefesl "Charting A Different Course Since 1987" '—I—^ TABOO TRIBAL WARE Body piercings and Branding by Mike Bear Walsh trained by Fakir Musafar Taboo Tribal Ware By Appt. Only is in the process of _ {_ relocating, and will r II /> J temporarily be working |"UMV VjUOTCinteed on a house call basis. ' We'r.e sorry for any C C 7 • C 1 OQ 667*6138 IT'S CHRISTMAS. BE COOL. BUY YOURSELF, SOMETHING. SWAMP house! SKATEBOARDS, SNOWBOARDS, COOL CLOTHING W 2951W4thAve?39-979i Discorder, whether it wants to or not, is about to enter Ihe world of cyberspace. Now, instead of killing all those trees and making logging companies richer and falter, you can get the latest issue oi Discorder digitally. Beginning withthisissue, the one that's leaving ink on your hand, you can download all the text from Discorder off the Nettwerk BBS. The Nettwerk BBS has been set up as a service for people who are looking for information on Nettwerk and their roster, past and present. All you need is a computer, a modem and this phone number: 604-731 -7007. Like Discorder, the call is free, unless you live outside Vancouver. Log onto the board and presto! Not only will you have ac cess to realms of info on Nettwerk, you will also be able to download all forthcoming issues of "that mag from CiTR " You'll also find a couple other electronic fanzines, contests, discussion groups, and com-' puter graphics and sounds. All for the taking. No muss, no fuss, no hidden charges. And you can log on any time, day or night; it's acompu- ter, dammit, it doesn't needto sleep. Just think, you may die from radiation from your computer screen but you'll never need a moist towelette to get that ink off your hands again. For more info, call Lane at Nettwerk(604-654-2929)orE-maiI meat: nettwerk®mindlink.bc.ca Lane Dunlop The "Mail "man Besides being available on E-mail as of this issue, we also take pride in announcing another Discorder birth. In addition to delivering over one million Discorders, Matt Steffich and Jennifer Rosling proudly delivered Austin at 11:20 AM, November 12th, on Salt Spring Island. 71b., lloz. Austin joins the somewhat untidy and talcum- scented crib of the Discorder staff beside Emma and Zachary, who have been pounding square pegs into round holes and destroying Fisher-Price products for 1 and 3 years respectively. Congratulations also go out to our "Evan Dando is a Tool" winners: Chris Bentzen, John Chong, Kurt Eeg, Carl Fleet and Gerry Straathof. Paul t. Brooks Editor AN OPEN LETTER TO THE MISLED, NAIVE AND JUST PLAIN IGNORANT: Recently I have heard the accusation from a number of different sources that a band can only get airplay on CiTR or press in Discorder Magazine if that band works at CiTR or knows someone who works at CiTR. CiTR is not an elite club with secret handshakes and code words. While it is true that many people involved with the station are also in a band, and bands that know people at CiTR and Discorder receive free promotion from us, it is not true that they receive the promotion because of their tie to the station. Rather it'sbecause they are aware of what the station offers and how to take advantage of these options. So before anyone else can gripe about one band getting all the INTERNATIONAL SECULAR ATAVISM INSPIRATIONAL CD compact disc out THIS MONTH AVAILABLE AT ALL COOL RECORD STORES (you know which ones) THIS IS not not NOT A MUSIC CD IT IS AN INSPIRATIONAL CD (includes phone call to "BOB LARSON") Learn how to maintain a HEALTHY "HEALTHY" HEALTHY THRONTUM!!! BE ONE OF US! BE ONE OF US! BE ONE OF US! BE ONE OF US! WOW! PHONE US!!! in Canada (604) 268-9952 FREE message! U.S.A. (503) 768-4001 breaks and another band being shut out, here are the facts. For any band to succeed they need three things: talent, promotion, and support. CiTR, Discorder Magazine and all the other campus/ community radio stations across Canada, including CFRO in Vancouver, CFUV in Victoria, and CJSF in Bumaby, are able to help with the promotion. Your fans and listeners have to give you the support, but the talent part is your re-. spo risibility. Second, in order to get promotion or ai rplay you have to make an effort. We are working hard enough producing quality programming on a very tight budget. We can only promote what we know. So here are some of the options that are available to you. 1) In order to get on-air play, send CiTR a copy of your tape. It doesn't have to be produced in a 24 track studio, it just has to sound good! (There are some very talented bands out there who have recorded tapes in thei r basement on a 4 trackor ghetto blaster. There are also bands with CDs produced in full production studios that suck). All tapes received by the station are given to the Demo Director who chooses one song or more and records it on to a cart (a cart looks like an 8-track tape and contains a continuous loop of tape that automatically forwards to the beginning after the song is played). These carts are put i n the on-air studio and are available for play by any programmer. 2) Submit a second copy of yourtape for revi ew i n Discorder's "Vancouver Special "column. Discorder can't guarantee that all tapes are reviewed (sometimes it's most kind to say nothing), but we try. Sure, our writers and program- band, but what of it? If we said every ^^x__£>?^ o UP I Hlb FREE SNOT DESIGN available at TRACK RECORDS, BOOM CDs, ZULU RECORDS, and "POP!"!!! or send $14.& (cash please... we're a religion) 100% cotton, black orwhite (specify) X-large only... and SEND $5 for real real REAL (it REALLY IS REAL!) TRUE/\C7U4LsnotBOOGERSOFOUR "LORD" the MESSIAH HOLY JESUS THE WOW'cHRIST-THING" (ForFREE__]lQK: ERS OF THE "FREE SNOT" AD send S.A.S.E.) WOW! ITS REALLY TRUE!!!!! one person and do not reflect the opinions of the Discorder staff. And, as the advertising industry says, there is no such thing as bad pub- 3 Give CiTR at ten notice regarding your up-coming gigs. This gives us time toprocessthe information and make it available to the on-air volunteers. Ifyou don't have two weeks send it in anyhow, we will do what we can. 4) Become familiar with the programming on CiTR. That way you can call programmers who play your music, or similar music, and ask them to announce your gigs. This works particularly well with the specialty programs. Ifyou are in a rap group, for instance, call one of our five rap shows; if you are in a riot girrl group call the women's music show, if you are in a folk band call the folk show, and so on. Don't bug programmers to death though, there is apoint of diminishing returns. Ourprogrammers spend a lot of time learning about your music; spend a little time familiarizing yourself with their programs! 5) Come up to the station and hang a poster or two in the lounge, and the rest ofthe university while 6) Drop off "free" or "$1 off' tickets at the station for your upcoming gigs. We have a place for these tickets that a lot of people know about. 7) Call CiTR and talk to Nardwuar about performi ng live on "Radio Thunderbird Hell" airing every Thursday night. Please remember that this program is usually booked two or three months in advance. 8) Send your tape to AMS Programs. They book bands into the Pit Pub (campus bar) every Thursday night and often recommend bands to UBC clubs for their functions. (The street address is the same as CiTR's, just address it to "AMS Programs"). 9) Don't call and request your own songs for on-air play. Our programmers are not stupid and will usually react negatively to such a request. Do, however, drop off an additional tapeforspecificprogram- mers who play your genre of music, to ensure that they are aware of 10) Advertise your gigs and releases in Discorder. For free gig listings i n "Datebook," submit your information in writing by the 15th of the montii. You may want to purchase a display ad: the rates are low and we offer a 20% discount to local, independent bands. 11) Every year CiTR, CJSF, CFRO, and CFUV send delegates to the annual National Campus/ Community Radio Conference. Our delegates traditionally take yourre- leases with them and distribute them to tlie rest ofthe attending stations. Thishelps reduce your mailing cost and lielps when you are ready to tour across Canada This year's conference will be held in Fredericton in June. 12) CiTR has a complete database of C/C radio stations in Canada and of many college stations in the States. The Canadian directory is available to any band for$4(this covers the printing cost). If you are interested in the US stations call meand I'll arrange to give you the information. 13) CiTR (and CJSF) also have a database of more than 3500 record labels around tlie world. If you want to send your demo to Rubbish Recordings in Germany, call me and I'll give you the ad- 14) Drop off your stickers at CiTR and distribute them to our programmers. Most programs have a mailbox in which you can leave your gig flyers, band propaganda and, ifyou Uke, your demo tape in. 15) Discorder doesn't usually do a feature article on a local band until they have been around for a while and are well-known. Remember, _//of Discorder's writers are volunteers, and if no one wants to write about your band we can't make them. However, ifyou are going on tour and are interested in writing a tour diary, call the ed.. 16) Discorder has published a local music directory for the past two years in the July issue. We are currently collecti ng information for the next edition. Make sure you send in the correct informationsome time before the deadline. (My guess is that the deadline will be at the beginning of June, but watch for ads in the spring). 17) Shindig, in actuality, is just an opportunity for free promotion. Whether you win or lose doesn't really matter tliat much, (some very talented bands have "lost" Shindig in the past). All we want to do is give your band the opportunity to play live and be promoted on the air, in the Discorder ads, on posters and in press releases. Sure, three bands winaprize al the end, but hopefully all the bands will be a little more familiar to our listeners, programmers and readers when it's all said and done. 18) Go to other bands' gigs! This has notliing to do with how to take advantage of the promotional opportunities at CiTR but some of you seem to be under the mistaken impression that there is a limited amount of fame and fortune available in Vancouver. Quit bitching about bands that have a record deal or have just released an album. It may lookto you like they got a free ride, but in reality, they worked damnhardfortheirsuccess. Maybe you don't like their music. Who cares? Other people obviously do and that's good not only for tliat band but for all local bands. Until the local scene begins to work together and encourages people to attend a show no matter who is playing, this scene will not grow. 19)SinceI'vealready strayed from CiTR and Discorder insights I'll go on to another absolutely ridiculous complaint I've heard: "Independent labels only sign you if you know them well, are related to them, or work with them." Any label that decides who to get involved with only on the basis that they are friends is not going to stay in business long. If you don't like the way the existing local independent labels work, start yourown and quit your whining. 20) Finally, ifyou don't like the options that I've outlined, join the station. CiTR and Discorder are only as good as the people who devote their time and energy to us. I'm sure that a lot of people will find it hard to believe that CiTR and Discorder are such caring and concerned folks. That's fine. I*m just tired of having to explain why some bands receive the support of CiTR and others don't. It's up to you. Don't blame us. Linda Scholten, CiTR Station Manager DECEMBER Q HITCHING A RIDE ON THE TURNIP TRUCK Demi Kimberly Rowan meets Urge Overkill: sycophancy, melodrama, hypocrisy, egotism, shit writing... We could write a Ph. U thesis on the flaws in Ms. Rowan's "testimonial" but we couldn't be bothered to take up two pages in Discorder. Suffice it to say, anyone who would put forth the doubtful imageof UrgeOver- Irill as "sex ____£_" at the first of her "stoned and hysterical" meetings with them lias fallen off one track too many. Moreover, the 'Urge OverkuT s-of-Satan' angle (like they're it for only accredits them with a prepotency beyond their due but has fuck-all to do with reviewing their show. As if a review ever was l_r intent. More likely, shesceks self-aggrandizement through melodramatic contact with so-called rock gods. She even presumes to advise them on career matters and on "what women want". Attempting lo slut one's way into Urge Overkill's bed under Discorder's aegis isn't likely tobring her the "utmost of respect" she As for wanting to avoid dirtying her hands bynot "pass ing publicjudge- ment" on the Town Pump kitchen conflict, it's obvious more than her hands are dirty. Who cares about her judgement on Urge Overkill or UO themselves, for that matter? We suspect Discorder is hard up for decent writing if it will indulge long-winded, trivial spew like Ms. Rowan's. L. Browne Airiiead: Had to write to say how much I like Kimberly J. Rowan's article on URGE. It made me laugh out loud. In a public place even! Although, not an URGE fan myself, I enjoyed her honest love/hate rant ings over the band. Great writing - hope to see Love 'em or hate 'em, Discorder is giving you the opportunity to win some fabulous prizes. Up for grabs are FOUR CD copies of Teenage Fanclub _ newest release, 13, and ONE autographed copy of Urge Out With Soap" contest c/o Dis corder Magazine, rmf233-6138Sub Blvd, Vancouver, B.C.. V6T1Z1 All entries received by January 14, 1994 will be eligible to win. Hint: creativity wins these contests, not plagiarism or persistence. Good luck! TAKE TWO OF THESE... Dear Paul, Re: Review of BOB'S YOUR UNCLE'S Cages album While BOB'S YOUR UNCLE remain one of my favourite Canadian bands and I wish them well in all their future endeavours, I must take exception to your reviewer Grant do DncorT«^ag_zin-| . nn #233-6138 Sub Bird.. URGE9VERK-U. :"';;;"" "That Boy Should Have His Mouth Washed Out With Soap" contest J_ TESTING QUESTION il> was ki front of you, m 1, and you had a b _ wad of d you .tick It? On « piece of tull-.cap Overkill'» Saturation, on limited edition orange vinyl! All that we require you to do is complete the above entry ballot, ensuring to include your return address and check the appropriate prize box, and mailit to "That Boy Should Have His Mouth Washed Lawrence's comments in your October issue of Discorder. First of all, Intrepid is not a major label and, secondly, BOB's YOUR UNCLE was not "fucked over" by either Intrepid or our distributor EMI Music Pacific Legal Education Associate PHONE 291-0049 VOLUNTEERS NEEDED Are you an outgoing, spontaneous man or woman over the age of 19 with a never-say-die attitude and a good sense of humour? We are a non-profit society that helps young offenders and children aged 8 to 12 who are at risk of getting into trouble. If you have about three hours per week available for at least the next six months we'd really like to hear from you. We believe that one-to-one interaction with a well-adjusted adult can improve the behaviour of a troubled child. Interested? Please call us todav. 6 5_-£Rg_SGi3_3 Canada. Intrepid shot a video for their song "Walk On Land", spent money on promoting the album and generated "a ton of press". Unfortunately, Sook-Yin took sick and the band was able to undertake only a partial tour to support the album. Intrepid also gave the band CDs and cassettes to sell off the stage. Our deal with the band was only for the "Tale of 2 Legs" album. Grant Lawrence's review imparls a far more sinister scenario which is not the case and for which he has no justification. Your paper and our label are both out to support Canadian independent music. I don't see any value in propagating the age-old Vancouver "good", Toronto "bad" debate Best regards, Graham Stair- Intrepid Music Group Toronto, Ontario For the sake of argument we '11 say that Mr. Lawrence's review "im- unjustified at that, in regards to Intrepid's association with Bob _ Your Uncle. However, with all that _ been said, it still makes me wonder why one-time label-mates, the Rheostatics are removing their back- catalogue from the Intrepid label? Or why their acclaimed Greatest Hits album with an impeccable track record was re-released independently by the band? It remains to be seen whether Intrepid's practises are "good" or"bad, " surely they're Dear Airiiead, I found these aspirin in my favorite village in Thailand (Muaing Thai). Douglas Dear Airiiead: Golly, Shindig is a wonderful thing. Bands get to try out in front of a jury of tlieir peers, facing off against other bands in a contest of both machismo and rockability. Bands triumph, bands fail, bands struggle along like worthless pieces of chemical goop flowing out into Coal Harbour. I was at a table of esteemed judges at the last Shindig, which featured Rusty Nails (a Doobie Brothers for our times), Elvis Love Child (a Blood Circus/Neurosis for 1988) and Eric Estrada and the Velour Nation (a misplaced Bowie/Joy Division/Wedding Present amalgam who were at least a solid second in my book). But I didn't have a book, and because I wasn't a judge, I had nothing to do with Rob's shitty band placing a miserable and humiliating third. While I was giggling at the band antics between sets, Rob, the excellent bass player from Elvis LoveCliild was listening to me make fun of his intensely stupid Sub-Pop rip-off band, and I gotta confess, I was pretty caustic. So after tlie show, he tried to embarrass me by introducing himself to me in a glad-tiand- ing asshole you-owe-me-respect kind of way. I told him his band sucked. He was right pissed off after that. Tried to convince me I was being disrespectful of Ins penny ante grunge-rock idiot combo by saying this wasn't his only band, he played in a jazz-fusion band. I told him that that had nothing whatsoever with his band being as shitty as it was, despite my fervent desire to denounce jazz-fusion., We continued arguing about my right to beUeve that his band sucked, until it became plain that he had a dork-like urge to beat me senseless, and told me as much while calling me "bro" (he plays funky bass so he's gotta be black) and making hand gestures out of The Godfather. Because I was sitting by a window, he stood out there on Dunsmuir Street staring a me while his band loaded out, daring me to come out and get my head kicked in for grunge-rock. Fortunately he was intimidated by the daring staff of The Railway Oub (God bless them) and drove away in his tiny hatchback. What I'm getting at is that no matter how obnoxious your critic is, beating him up is probably a bad idea, especially if he's me. Rob you're adorkin ways 1 can't begin to describe, and if you can't handle someone thinking your music is bad, maybe you should beat yourself up for sucking so bad instead of threatening to beat someone up for telling you you suck so bad. I didn't have anything to do with you coming in a disastrous third, and I certainly couldn' t be heard over the dumbshits who worshipped you as you ground out your pathetic excuse for new Imagine going out with your friends on a Friday night to see a couple of local bands. You figure you're to go to a bar, have a drink or two, and dance off the pressures ofthe week. You'd assume that upon entering a bar, the staff of that establishment would treat you with a certain amount of respect, since you are spending This is exactly what happened to us on Friday, October 29, 1993 at THE LUNATIC FRINGE. NOT!!!! From the second we arrived in the line up, things were strange. We weren't asked to form a line, while we waited to enter the club. We were violently screamed at "To keep outside, and stand directly against the wall!!" We laughed at the bouncers' high strung attitude and wrote it off to them having a bad hair day. As we approached the upstairs bar, it was demanded that we check our coats. I explained that I'd prefer to wear my coat, because I was carrying my Rather than explain the bars "Coat Check Policy" to me, the bouncer rudely informed me "If you don't like it, you can leave!!" I responded bytellinghimthat wasn' t a cool way to speak to a customer. He then told me I could go fuck myself. I suggested that the entire staff was music. Your brainless friends love you, so take consolation and keep playing those killer bass riffs buddy! Mike Vancouver, B.C. P.S. I'd appreciate you Discorder types keeping my last name and address confidential because moron-boy seemed extremely driven. Sorry indie-rock pals, I' m just not as trusting as I used to be. / sympathize with you, Mike, because I went th rough a simila r situ - ation with Dave from Dead Surf Kiss. I don't think the threat of me ever getting pounded on was quite imminent (maybe it was.. ? maybe it wdlbe.. ?)but I had to put up with his snide retorts and "Ifyou 'retryingto break-uptheband..." speeches every timehesawme. The best thing about all of it was that said scenario usually occurred in the presence of my friends or girlfriend and their responses were akin to that of seeing a puppy wrapped up in his own leash. That alone is worth living in fear. Do rememberthat the pen is mightier than the sword. By the way, you 've met the criteria for a "Shindig" columnist/judge, can we count on you next year? rattier hostile toward the clientele. According to him, that was because "They aren't doing what they're sup posed to do!!" "Charmed," I said. But the fun doesn't stop here. We considered leaving, but we really wanted to check out the bands, so we When the King Singleman started their set, a woman began dancing in front of the stage. Because she was enjoying the music, she got on the first step of the stage and continued todance in a very non threatening way. A bouncer, who was ten times the size of this woman, not only escorted her offstage, but escorted her out of the bar. She was the girlfriend of one of the band members. The next band, Stone Groove, started to play their set. They were guaranteed a full set, and half way through were informed that this would be their last song. The singer was upset by this, and threw down a mic stand. He himself, after tlie fact, agreed that this wasn't the best way to handle the situation. However, it did not warrant the kind of insanity that followed. Out of nowhere, a very large bouncer, rushed the stage, and began punching the singer i n the face. Friends of the band rushed the stage to help their friend out. The tt thing we knew, every bouncer e, and proceeded to beat up men and women, both inside the club, and continued it out in the alley. I'd also Uke to add that these bouncers were considerably, larger, and stronger than the people simply stepping in to help their friend. Eventually the pohce came. I issued a officer, who didn't write anything down, and walked away without comment when I was finished. I truely do not understand how a bar that treats their ci they are doing them a allow them into their establishment ($8.00 cover charge - $4.50 for a bottle of beer), but on if they behave!! And if they don't line up correctly, dance correctly, or speak ectly, they will be verbally abused, and possibly beaten up. I don't get it! DON'T GO THERE!! Jill Girling Kim Ritz Vancouver, B.C. Believe me, your complaint is not the first that I've heard (surely not the last) centered around the Lunatic Fringe. Discorder has hada longstanding problem with the club and its personnel so we're not only familiar with how irresponsible and unfriendly their business ethic is, but we delight in supporting your position to not patronize the club at all. If more people and bands familiarized themselves with the problems surrounding the operation of the Lunatic Fringe, many would probably think twice about patronizing or playing there again. Even with the live venue scene of Van t such a sorry state of affairs do you really have to submit yourself to abusive and rude staff, and the uncertainty of whether or not your band will be permitted to finish thei r set, get beat up or, in the very least, WORLDS AWAY? I saw your magazine and I Uke very much. So, I decided you. Well, we got a big problem — we recorded 10 new tracks in Aug. '93. and now weare looking for a pubUsher. It's impossible to make LP or CD in our country today. There are many UN-sanctions against Yugosli because of the stupid pohtics of "our" leaders, economic disaster, inflation about 1,5000,000,000 % for 1993., fuckin' warm our neighbourhood... so, people are interested in surviving than in music (making records —especially > hard core band). It's very hard to Uve here today but it's harder to keep on playin'. B ut this is our way to protest — to say "NO" to the war, dia, sick pohtics, bUnd "people" & all the negative things in this world (and we decided to try to do everything the band. So, I'm asking you for help; I'm asking you to ask some record-labels if they are interested in pubhshing Yugoslavian band — and, please, let me know!!! I'm sending you our "info" and if you want you may publish it in your magazine. If you are interested in getting informations about our band (our itry?), interview, photos, promo-tape, or scene report — Darko: We send this magazine to 553 record labels, independent andotherwise, on a regular basis. I hope this assists Dead Ideas in finding an interestedparty to publish/distribute their material. DECEMBER 0 FRIDAY, DEC. 10TH atthe CRUEL ELEPHANT Station Street Arts Centre 930 Station St. The night we finally give away the loot! 1st -Opening slot on a Perryscope bill • -24 hours of 24 track studio time at Bullfrog Studios • -24 hours of 24 track studio time at Mushroom Studios _f__ __■ mmvmh "48 hours of 16 track studio Hme at dountown sound studios 2nd PRIZE: $150 Gift Certificate (on $300 min purchase) at Mothers Music •-24 hours of 8 track studio time at Renegade Studios • -24 hours of 8 track studio time at Deadoeat studios brings to a close another 18 weeks of Vancouvers finest band competition. Thanks to all the bands, the fans, and the sponsors. You were swell! A special HURRAH! goes out to our regular venue, The Railway Club. downtown ZSNEQAoS STUDIOS QZOUP °T sound studios a\o i hi:i_ s aviish: 0 0 0 $ m $ ©Hindi*! ItSGotthe Heat/ ANDTHE Beat/ -por your happiest time / There is a feeUng among certain individuals in this town that CiTR, Discorder and Shindig! are not doing their job of supporting local talent. I disagree. CiTR radio has long been a supporter of local talent. Annual events such as Shindig! and DJ Sound War give many of Vancouver's bands a first (and sometimes only) chance at public performance. At any given time you will find over one hundred local demos carted in CiTR's on-booth, as well as a monthly column devoted specifically to this city's musical product, called "Vancouver Special" in the very pages of this Discorder. I'm also sure that the number of local gigs we present compares quite favourably with CJSF (the other college radio sta- With all this in mind, I question what these people found their opinions on. Is it sour grapes because their friends' bands keep getting knocked out of Shindig!? Perhaps they are just confused with the words local talent. Not all local bands equate with 'local talent." Simply because a band is from Vancouver does not deem them worthy of support [Look at the mess Seattle got itself into. — Ed.] Supporting poor bands does nothing more than breed a scene ripe with bad bands. This benefits no one. If a band sucks they deserve, and should expect, the criticism they receive. And those who might pay to see such a band have the right to be warned. Praise must be earned. Drawing attention to a band by putting them on the cover of your magazine, placing them in a profile column, or adding them to your playlist regardless oftheir musical merit is destructive. Discorder and CiTR support good bands. The rest we leave to other dishrag operations. Justin Leigh Music Director CiTR Radio Rusty Nails Elvis Love Child Eric Estrada and the Velour Nation October 26,1993 Feeling a little under the weather, I ventured yet again into the Railway Club for another taste of what is fast becoming one of the most controversial Shindig!s of recent memory. Hitting the stage first was Rusty Nails. Due to a misunderstanding this trio only had a few hours to prepare for a turn at the Shindig! roulette wheel. Holding their heads high, Rusty Nailsservedafull course of raw, sloppy, loose rock and roll. Music-to-spill-beer-by with killer vocals and great stage presence. Following Rusty Nails was Elvis Love Child: a nice bunch of guys with a lot of friends and the worlds most annoying manager. Vol ume is a problem for this band—too much of it. The Railway is just not the environment for this kind of band. The sound and doormen both retreated to the stairwell where I was recovering. During "Jokes For Beer" I sampled one of Liane's fine tube steaks and ventured back into the club where I was accosted by a young woman who introduced herself as Elvis Love Child's manager. Apparently she was worried that the band wasn't being judged fairly because she had seen judges leave as soon as the band started to play. I assured her that I had been in the stairwell the entire time and that no judges had left the club during Elvis Love Child's set. I then asked her how she knew who the judges were. She had a "hunch." Whatever. I still don't understand why relatively "small" local bands have managers. Finishing the evening was Eric Estrada and the Velour Nation. Catchy name. Four unassuming young chaps that delivered the most confusing set ofthe evening. It was pop but I' m still not sure where these guys were coming from. The mix was all rhythm section (hea vy on the cymbals) and the singer was a Joy Division throwback. Nonetheless, they placed first followed by Rusty Nails. For comic relief Elvis Love Child, upset with the judges' decision, tried to pick a fight with they were convinced was a judge but wasn' t, then set their manager loose on me again. Ob- ' viously under-qualified for her job, she began to whine and misrepresent facts. I couldn't help but wonder if it was Jason Schreurs in drag. Justin Leigh „ Ten Days Late Stovebolt Angry Candy November 2,1993 The worst thing about Shindig is having two good bands compete against each other i n the preliminary rounds. On another night either would win but, because ofthe nature of the competition, one has to lose early in the event. Bummer. Ten Days Late waged battle first. Well written songs with an edge and onstage confidence helped these ladies walk away with smiles on their faces and hope in their hearts. New York pop a la Biondie meets Metallica. First place, and parents in the audience were proud. Stovebolt were next and this was the heartbreaker. These guys rock. They're young, they're headed in the right direction and they'll only get better. "Dischord recording artists" would look good in front of their name. They placed second by a single point, accepting this with class that other bands could take a lesson from. Catch them if you can. Third place and third up was Angry Candy. Tlieir set began with strong pop but soon fizzled into average bar band fare. This works well in the Railway Club but is not worthy of advancement in Shindig!. Justin Leigh Deprogrammers Sinus Envy Delve November 9,1993 And the Shindig! train rolled on. The Deprogrammers, Sinus Envy, Delve and you. It is truly beautiful. This evening's performances were exceptional. Exceptional in the sense tliat for the first time this year tlie conductors of Shindig!, tlie judges, decision as to fl*\ who would be driving vocals. "Visually interesting post- apocalyptic chaos," one observer Second in our Railway saga appeared Sinus Envy, the "damsel in distress" contingent. You know, the one tied down to the railroad tracks, helpless and screeching. The onlookers scared to see the poor dear pulverized by the oncoming train but, at the same lime, watching and holding their breath until the inevitable gory end. Sinus Envy, a self-parodying group, played tlie joke on themselves. As a famous doorman once said, "if these guys weredoing "Jokes For Beer," they'd get non-alcoholic beers." In the end, as the train bore down, the more Sinus Envy screamed andshuddered, tlie more anxious the audience was to witness tlie ultimaleSliindig! ending: third place. Delve: a smoking steam engine of British-style pop, compara- bletoSuede and the Charlatans UK, conducted the mass of enthusiastic fans on a downward spiral of musical hairpins wliich careened left, right, left... Although some comments suggested Delve's style is far too derivative, tlieir musical ability and stage presence will give diem a good seat to Shindig! finals. And I'm not talking in Ihe caboose, ei- Pipedream, a dreamy sandscape that sounded too much Uke Spaceman 3 for my taste. They did their own thing and didn't give a shit what anybody thought about their music, which is cool. Their lighting system brought back hallucinogenic experiences from days of old. Next up was Aging Youth Gang: old-school punkrawk preaching new world visions, such as the usefulness of Star Trek. They also write songs about killing baby boomers and being pushed around one time too many by "the man.". Look for them soon in a column by Jason Schreurs, the "Mother Theresa" of local music. Last on stage was Hugo, who looked like vultures swooping down on rotten meat. They were a breath of fresh air after an e veni ng tliat left the Railway Club smelling like dumpster juice. Tlieir music was one-part melody, two-parts head shakin' rock-riffs, and three-parts wholesome Tom Foolery...a recipe even the Frugal Gourmet could not resist. Any band who has a front man widi black, patent leather pants and a proudly displayed Trooper t- sliirt are bound for stardom. proverbial freight train to fhe semi finals. Roll on. An industrial band called The Deprogrammers began the evening with an impressive stage collection of smoky visuals, assorted noisemakers, a clanging oil drum and car rim amid steel chains and wailing Pipedream Aging Youth Gang Hugo November 16,1993 This was Uie third Shindig! I've attended this year, and this night's turnout was probably the weakest yet. And this is the semi-finals...? The snowball started rolling with Hugo took home the curling trophy, followed by Pipedream and Aging Youth Gang. See you at tlie finals. Captain Highliner *$* W DECEMBER Q ra when live-ac Tis holiday time again here in the joyous land of Discorder, the month of year when everyone conies into our humble office with a smile on their face and a glow in their heart. It could be that their smile originates from the knowledge that they'll soon be away from this pit of ultimate torture; the glow in their heart bums from the double vodka and seven they just quaffed at yet another celebratory luncheon. But in the spirit of the season, let's be generous and attribute lo everyone only the noblest of intentions. The free time will undoubtedly be passed around unsparingly not just to us happy folk at Discorder but to some of you happy readers. Chances are you'll be taking some of that free time and filling it with many fulfilling hours of staring blankly at the television. Good on 'ye! There is no better mind unraveller than visual entertainment someone else has spent months of days and billions of dollars to provide you wifh. Don't waste too much of your hard earned loafing on TV programming. Those small screen tycoons don't care enough about you, the discerning viewer, to gamer your undivided attention. Eventually, you'll have to venture forth your local video barn, wade through fhe masses of screaming kids ("No, mummy, not that Batman), and sift through shelf upon shelf of titles. I wouldn't be so cruel as to send you to the front lines, or back shelves, alone. In previous Discorder issues I have guided you through the wonderful video wilderness (that was not an endorsement).Thismonth we continue our trek. This is the one season, above all others, when the lies of family bind. No mailer how much you avoid your relatives during the course of the year the final few weeks of that 365-day cycle signal fhe necessity of at least one visit wifh kin, if only to pick up your loot and some free mandarin oranges. Thus, at this, the time of the traditional journey back to the bosom of your loved ones, let "Videophilter" enlighten you as to your video options in the mammarial vein. This month's film topic? Directors with breast fetishes. Seeking out breast-minded filmmakers was nol as easy a task as it may sound. The advent of feminism has made the genre somewhat less than PC. Of Ihe three directors I eventually chose all had their respective hey-days two or more decades ago and albeit by their own design. I discounted the James Bond series as a genre unto itself and the work of Blake Edwards as too pedestrian for fhe likes of Discorder readers and was left wifh only Russ Meyer, Federico Fellini, and Doris Wishman as my subjects. I have to thank the helpful lads at Videomatica on W. 4th Ave. for Iheir assistance in discovering the work of Ms. Wishman. If they hadn't been able, when told of my quest for breasts, lo suggest Deadly Weapons and Bad Girls Go to Hell , I might have been forever ignorant of Wishman's contribution to the pre-pora independent movie industry. As I was informed by Joe Bob Briggs, host and creator of Ihe "Sleaziest Movies in Ihe World" video series, Doris Wishman was the only woman working in Ihe bad boys game of sexploitation flicks in the '60s and '70s. She made her first film in 1961 for $20,000 and quickly found out just how much the public liked films of dubious mo rality. Wishman pioneered the "nudie-camp" genre in the early sixties and then moved on to "Roughies" in 1964. Bad Girls Go to Hell (1965) is billed as a typical "Roughie." An innocent (in this context meaning incredibly stupid) woman, Ellen, is raped by her building's janitor. The janitor threatens her with exposure of her "infidelity" to her husband if she doesn't agree to come to his apartment. She does. And as he rapes her again she kills him. Fearing antst as a murderess she runs away to New York where she gets beaten by the first person who takes her in and seduced by the next, a lesbian. (We know she's a lesbian as soon as we see her because she's wearing the so-called lesbian uniform: a see-through, black lace body stocking.) As is usual in a Doris Wishman production there's a twist ending. Also, as usual, quite a few The whole thing sounds rather disturbing on paper but fhe impact of Bad Girls Go to Hell as a harrowing indictment of the treatment of the pre-lib days is severely undermined by the fact that fhe film is so bad. It's not difficult to see what attracted audiences, however, in an e pom was not allowed. After "Roughies" Wishman moved onto "Kinkies." Feeling liberated by the box office totals for nudie-camp films and "Roughies,""Kinkies" featured even rougher sex, usually S&M. Eventually, Wishman stopped putting her name on her films because she didn't want to be associated with the violence. In 1970, pom was about to be spawned and Doris Wishman was not one lo be out of step with the times. One of her features of fhat year was Deadly Weapons starring Bur- lesquequeen Chesty Morgan. Chesty was an Israeli actress who emigrated to America in the late 1960's and found a calling. Her 73" bust line made her a marketable commodity in the country where "bigger is better" is a national motto. Regardless of the fact that 73" of flabby, sagging veined fat is wholly Chesty became one of the big- irs of her sphere. In Deadly Weapons , she plays the loving girlfriend of a mobster whose boss nibs him out when he tries to run a double-cross. Chesty hears the murder take place over the phone and decides to avenge her honey's death with the only two weapons she has. Ifyou ever felt Ihe need to see a women smother men to death with her mammary glands, Deadly Weapons will be a worthy rent. It's certain ly much more laughably bad than Bad Girls Go to Hell, but Palm D'Or calibre it's not. Deadly Weapons also has the unique distinction of being the film fhat shot 70's pom god Harry Reames into the public eye. The work of Doris Wishman is of dubious artistic significance but it certainly provides the budding amoral entrepreneur with a blueprint for success. All of Wishman's films made money because she provided fhe public with what they wanted to see (tits and kinky sex) and made sure she didn't spend any money doing it. She wrote, produced, directed, cast and edited all her features. Usually, she just thought up a kinky title (Too Much, Too Often , Double Agent 73 ), then thought up a marketing scheme around the title and then wrote the film. In a 1990 interview, it was suggested to Wishman that her films were early feminist statements because she often, like in Deadly Weapons , showed women taking control. She laughed at the idea and said that all her girls were airheads. Doris Wishman was not so much a filmmaker as a visionary businessperson who made films. Halfway around the world and 180 degrees around the film spectrum, Federico Fellini, like Wishman, had his cinematic peak in the '60s and '70s. His work also featured large bosomed ladies. And small bosomed ladies. And aged ladies. And young ladies. As Roger Ebert says in the 1990 vi if his Home Movie Compan- The theme, woman's sexuality simultaneously frightening and attracting men, repeats itself throughout Fellini's work. In features like Amacord, the nostalgic tone softens the unabashed sexism of fhe director. However, feminism hit even Italy (machismo headquarters) eventually and Fellini's patronizing and objectifying attitude towards women began to come under some critical scrutiny. City of Women was his 1981 answer to that criticism. Unfortunately, the film works neither as a vindication ot fellini nor as a titillating vehicle for Fellini's like-minded fans. A dream in two parts, Cify of Women sees the (again autobiographical) hero, Guido, get off his train before his destination in pursuit of an attractive female. The train leaves without him and he finds himself at a feminist convention. For Ihe first half of the film, Guido wanders about the convention, listening lo the ranting and ravings of Ihe liberated scnoras. The second part takesplace "If there is a central image in the work of Federico Fellini, it's of Fellini's autobiographical hero being smothered by women. They come in all shapes and sizes..." Separating the movies of Doris Wishman and those of Fellini is fhe abyss called talent. Often inaccessible to Ihe average movie going audience (the peons) due to the films' preference for stunningly memorable visuals over a strict narrative or an interesting plot, Fellini's pictures are de- servedly.placed among the cinema's greatest achievements by the sages in the criticism business. Though the adjective "Felliniesque" specifically describes a film with an intense optical imagination and a whimsical sensibility each Fellini fan has her/his own favourite image with which the man and his work are associated. For me, that lyrical Italian surname will always call to mind one particular scene from Amacord. Amacord(\ Remember) was Fellini's most autobiographical work. It takes the viewer through a year in a "typical" rural Ital- allyconverges.likethe berg itself, in the town square but the various components of the to also. There are a group of adolescent lads Run AmA< wou]d seem |0 direc"tly oppose who make life difficult for their teacher every standard set by pr0gressjve thinking while pining, individually and en masse, for fllra aficlonados. Watching a Meyer breasl- the fading beauty queen who may or may nol fest however can ^ a sub|ime expenencc have had an affair with a prince but is, por me purposes of ^ coiam , viewed notwithstanding her well-preserved good Fasler Pussycal m m, hut, ^ this looks, still single. The assorted characters sum,,,.,-, wi cri|ique win cover mKt of me andinterconnectingplotlineswouldbemuch Meyer ijbrary too difficult lo explain here but serve well in Three g0.g0 danc. creating excuses for Fellini's incomparable erSi Varna, Rosie, and imagery Bobbie (their proportions I would have to be a scribe on the ^c implied by their profes- level of Gabriel Garcia Marquez to be equal sjon) dr|vt. 0ul m|0 |ne to the task of relaying with language what deser, near i^ t0 look for Fellini can achieve on the screen. It is suffice noub|e wA ^ their ma- to say that my favourite moment of Fellini- chines They get mt„ a race ness, and one of Ihe main reasons I chose wilharespectablesportscar him as a breast-centric director, involves fhe frea|( (a certified car club young hero of Amacord and a shopmistress member) and in the after- with VERY large breasts. The hero is, of math Vama strangles him. course, Fellini as a boy. One night, as Ihe The trio lake his wide-eyed woman is closing her shop, Ihe hero ducks bikini-clad girlfriend hos- under the door at the last second, ostensibly lage because she witnessed to buy cigarettes. Their polite conversation me slaughter. On the way gets increasingly more suggestive until the back to LA, they leam of a womanpullsoutoneofherHcupmammarys ^m recluse who lives (each is about the size of the lad's head), with (^ ^0 sonS| ^ good screams, "I know you boys love Ihem!" and one ^ the ha|f.wi^ md a pulls his face into her chest. As he suffocates ^^^ m of cash m ^ she shrieks, "Suck, don't blow! Suck, don't desert ^ opportunity too blow!" good to miss, the women The hero escapes, of course, but the decide ,0 seek oul his hos. image remains- firmly rooted in my mind. pitaiity ^ his wad Isewhere antithesis ofthe convention. As frivolous as fhe feminist speeches were serious, and just as silly, are the various sex gadgets that Guido's second host has lying around the City of Women ultimately fails- through Fellini's lack of respect for tlie subject, feminism, lhat it sought lo discuss. However, his old-world attitude in no way discounts him as a master of Ihc arts of the cinema Nor does it denote a lack of respect for femininity. In Ihe sphere of Fellini, femininity is one of the most potent, and thus terrifying, aspects of life. When speaking of terrifying femininity on film Russ Meyer immediately comes to mind. Ifthere has been a creative talent more obsessed wifh aggressive women with large breasts they have not yet crossed my ken. The proof of Russ Meyer's achievement is the existence of his work among the guilty pleasures of many a liberated boy and girl. The synopsis of mosl Russ Meyer produc- Bad Girls with BigTits inTighl Clothes What makes this melee of bad taste so scrumptious and even somewhat acceptable to a modem woman like myself is the sense of humour the film has about itself, as well as fhe obvious clearmindedness of the writer/director. Meyer does not see women as objectified lumps of flesh His films feature passive and aggressive women, victims and oppressors, the evil and fhe good. Most of Meyer's female characters have only Iwo things in common: their lack of vapidness and their above average chest endowment. As the man himself says, big breasts jusl turn Kitschy dialogue turns me on and fhe second Meyer feature fhat I imbibed, Beyond the Valley ofthe Dolls, was full of it. You may know fhe forequoled Roger Ebert as fhe fat (he undoubtedly prefers un-bald) half of Siskcl & Ebert, but in 1970 Ebert and Meyer co-penned some of the greatest dialogue ever lo have rolled off the silver screen. The story ofBeyond the Valley ofthe Dolls, about Kelly, her band, first called The Kelly Affair and then fhe Carrie Nations, and her manager/boyfriend who journey lo LA to hang in the scene with Kelly's rich aunt, exists merely to facilitate such beautious lines as "See how she gives her body to the ritual. Delicious," "Harris, you're drunk and you're stoned, and, whai's more, you're a lousy lay," and, besl of all, "This is- my happening and il freaks me out!" 1970 audiences were hip lo Ihe Meyer/ Ebert thing to the tune of $15 million dollars in box office receipts. From 1959, when he made TTic Incredible Mr. Teas for $24,000 and saw it gross $1 million, until 1979 Russ Meyer forged his way not only as an innovator in film bul as an independent filmmaker. Only two (Beyond the Valley of the Dolls and 1971 *s The Seven Minutes) of his dozens of titles were made with studio cash. All turned a profit. In the latest interview with Russ Meyer that I read (in Details magazine, Feb. 1993), the director said that he had given up on the autobiographical movie (The Breast of Russ Meyer) thai he'd been working on since 1979 and was shopping around for financing a sequel lo Beyond the Valley of Ihe Dolls which he and Ebert wrote in 1990. Nol usually keen on sequels, this is one I will be watching closely for. Whai's a nice feminist like me wril- mg aboul a subject like this for? As long as helerosexual men have penii and access lo filmmaking equipment, breasts will be featured on-screen. Il's up lo the discerning woman to decide which trash to vocally object lo and which lo fall in love with. Personally, I'm glad that fhe productive days of Doris Wishman, and those of her ilk, are over. Fellini I willmissasafilmcriticbutnot necessarily as a female fan. Russ, you ol' devil you, pump one more oul, jusl for me. fi^ ^f ^k DECEMBER ^ There's a lot of punk rock history in Rancid. Formed from the fertile "East Bay" scene, Rancid are made-up of two ex members of Operation Ivy, one from an obscure East Bay band by the name of Smog, and their most recent addition, second guitarist Lars, who actually spent some time with the U.K. Subs. One 7" on Lookout! and a full length release on Epitaph. Check out them out... Discorder: Ho w did the whole East Bay scene start? Rancid are obviously a product of that. Tim: It sort of took off in '87 with Gilman Street (Maximum Rock 'N Roll's co-operative, volunteer run all-ages venue). The scene was basically dead until then. Then bands like Crimpshine, Isocracy, Operation Ivy, Mr. TExpenence.andSweet Baby lesus started playi ng a lot. After .at, bands like Green Day and Samiam came along; Econochrist and some other bands moved into the area and the scene just kind of developed around Gilman Street. Matt: Gilman Street has been there a while and it is pretty much the only all-ages club that you can play in the East Bay. It's the most stable. Things have come and gone but that whole club has been around for six years now. Every year it's in danger of closing for some reason or another, but it's the club that won't die. It just won't die. Peoplehave tried to kill it, but it won't work, it's just there. That's a big reason why the scene is so productive, there are a lot of good bands and people are really into it. When you all started with your bands you were all still in high school. Was it a really close knit scene or was there a lot of competition between the bands? Tim: It started off very friendly until people started to figure out that money and attention could be made. The competition got more intense and people got a lot more competitive, and a lot more lame. As Operation Ivy, we had a lot of pressure put on us; people were straight-up jealous because we were "successful." We got a lot of heat from the scene that had built us up. People got mad because people were coming to see Operation Ivy and no one knew who these kids from the :. A lot of bands got suburbs « jealous These bands just didn't want to see you grow and get bigger? Matt: I think they were just upset because they weren't getting bigger. Everyone started off at the same place and for whatever reasons Operation Ivy took off. Tim: A lot of those people who criticized us, later formed pop-punk bands and tried to sell out as quickly as they could. In overview of the whole situation you just realize that they were jealous. People give Rancid shit. Fuck them, they're just jealous. Have Rancid received any flak for putting out a record on Epitaph? It's not a major label, it is an independent, but by some Epitaph is conceived as being big and corporate. Tim: We've had a lot of interviews with people suspecting that. Lookout! are still our friends. Matt: We have no problems with Lookout! Lars: I guess people relate Epitaph with rock stardom. That's Bullshit. The worst thing is to have that called at you. We're still "street level," we're still sticking true to our roots. We're true to ourselves and I think that's the only thing that really matters. We're playing the music that we want to play. Whether you bke it or not we're doing what we want. Tim: Epitaph was much more interested inus than Lookout! was. Lookout! at first, didn't even really want to put out our first single. So, it's not like, "Why did you leave Lookout!?." Matt: Lookout! are still our friends. They're still doing all of the Operation Ivy stuff. I think we'd be catching shit if we all of a sudden started playing a lot more over 21 shows; alienating a lot of people and doing shows with high priced doors. We don't really play any over 21 shows. We don't. We'll play anywhere. We'll play any party, it doesn't make a difference to us. We're still a punk band, it doesn't really make a difference what label we're on. Epitaph lets us do whatever we want. They really don't care. I think a lot of people think that when you're on Epitaph you're going to turn into Bad Religion or something. People are going to talk shit no matter what you do. If we were on Lookout! they'd find something to talk about. Everyone talks shit about everyone so it doesn't really make much of a difference. Have you sold a lot of your record? Is it doing well? Is it getting good Lars: It's doing really well. Every review I've read has been positive about it. That's good, but then again I didn't play on it... Matt: We were a three-piece for the first year-and-a-half of our existence. We did the record that way. We just recorded a 14-song demo that Lars play s on, and he Tl be on the next record. Our live sound is fuller with Lars. It's easier to interpret...it just sounds a lot better. It gives us more room to jump around and sing, instead of being tied down to a mike. The rumor that I've heard is that Green Day signed with a major label. Have they? Have they caught any flak for that? Matt: Yeah, they did. I like Green Day, but it's their business not mine. They can do whatever they want, ill say some thing aboutit, but Idon't think there's been a big backlash. Tim: Ummm... there's been a backlash. They played ashow at the Phoenix Theatre and a few people "boycotted" it by passing out leaflets that said Warner Bros, is an evil corporation and punk bands shouldn't be associated with such evil corporations. Then again, I really think that people are just jealous of Green Day and they should get a life! Get your own band going and put your own band out on an independent label and stop worrying about how Green Day does their business. Matt: If you don't like Green Day don't go see them. If you don't hke theirrecord, don't buy it. Life is just too short to be worried about stupid shit like that. What do you want to do with Rancid? How far do you want to take it? Matt: We want to tour a lot. Our record should make that pretty possible. We'll see what happens. We take it one day at a time. We just want to put out good records, please ourselves, and do the things that we want to do. JEALOUS OF YOUTH lltHffi A Debut Independent Release: 'fife £dge of Suitability'' Available on CD and Cassette at: A&B, Sam's, Zulu, Black Swan. Track, Boom CD. Scratch Records CD Release Party at the TOWN PUMP, Dec. 1st! 12 __*£i_p?G_3i__Lrt BEING PISSED OFF NEVER ostoWpidt "ALqflfOF TALK" "IT'S OVER" "...a feedback-lade \ masterpiece" 1"" "...the best work he's evW done." 1 - Soundcan (Impact) 11 "... 13 wonderful tales of anger, angst 11 and alienation." Winnipeg Sun 11 "...a natural free-flowing rock vibe that iJ pours from his fingers to his frets..." ECORDSIORE! See Andrew Cash LIVE Dec. 10&11 at the Vogue Theatre with Spirit of the West SENT BY:Xerox Telecopier 7021 Interview by Grant Lawrence : Intro by Mike Hoffman; 5:29PM i Horsey ve a Mark: I three-piece, lo-fi pop- Like the Modem lev fuzz band from Vancouver. They play ers a lot. We never started out with any quirky, melodic songs with energy, and Justice: Well, they have this pill with purple kind of direction really. Wc just started. they're just plain fun to watch! But be care coating on iL.we'dget the purplestuffoff of ful of Max, the drummer—at Horsey's last it and there'd just be this white pill under To the best of your ability how would gig, he was found outside the show climbing neath. We'd chop it up, melt it down and you describe Horsey's music? on railings and jumping off of cars. Don't let inject it! Max: A retarded dependent. them scare you, though... Let's get to know Horsey! How did it feel?! The past projects you cats have been Justice: Ahhh...warm? involved in have broken up fairly quick Discorder: Okay, teD mc your names and ly: Thee Crusaders put out i double 7" tke instruments you play. Thanks for sharing that but, before I and broke up; Octatrackter put out a Justice: I'm Justice and, live, I play guitar puke, back to the subject at hand. You 7" and broke up. Are we as fans going and sing a couple songs. Recording-wise 1 just released a hot Uttle 7" on Trackshun to be a We to grow with you or are you play the ukulele, keyboard and flute. Records of Vancouver. What's that all going to break up in two months? Mark: I'm Mark and 1 play bass and the cow, about? Justice: I've never been in a band that has a wooden thing that goes "werrrplll wer- Justice: I run Ihe label but I get a lot of help grown so much musically and individual rTplll." Max is our drummer and he isn't here from people. Scratch helps oul, Mark does ly. This has really come together. We all yet. the local distribution...! get the records made in the States and I do the record sleeves live together too. Tke name Horsey conjures up an image of myself. I'm also in, or am, Pork Queen, One of the songs on the single is called child-like innocence. Were you trying to who's 7" came oul the same time as Hors "Nice Lungs." Is that your Dice Clay- milk the cub angle on that one? ey's. type Iune, or what? Is it about a nice Mark: You can't milk horses. pair o' titties? Justice: I'd have to say no. I thought of the What is your favorite Vancouver band Justice: No, it is not aboul a pair of titlies. name Horse first, but it just had too many right now? It's literally about lungs. It's aboul taking obvious connotations to it. Justice: 1 like Zumpano a lot. 1 think they're this person you know and like and dissect just about my favourite. ing them down to whal makes them work. Huh? (Drummer Max suddenly enters, sweating Max: We have a tendency to over-rale the Justice: To heroin, I mean. profusely, in cycling gear.) intelligence of our audience. Mark: Horse is fhe street term for heroin. Mark: This is Max. And what about ambitions or future What? I didn't know that! Wow I learn Hi Max. plans for Horsey? something everyday! When you thought Max: Hi Granl. You're more lillle than I Justice: We're working on a full-length of the name Horse, did you want any thought you would be! release for Trackshun and we'll be play connection to heroin? ing a lot of local shows. Justice! No, that's why we added the "ey." Yeah, I'm fairly small. I just got a big But, yeah, 1 guess it is kinda cutesy and mouth, 1 guess. When I firsl heard your Okay, thanks for your time Horsey. So, innocent lt wasn't really the plan but we've 7" I thought of bands like the Pastels or none of you do heroin, right? had a few people say fhat. the Modern Lovers, even though you're much more louder and noisier than ei Horsey: Righl! Truthfully now, do any of you do heroin? ther. Was I even remotely on target as to Note: After this interview was completed Justice: No, and Max doesn't either but the grass roots of the music? Justice called mc lo include this quick when I was like 15 or 16 we used to get Justice: I've never heard of eilher of those apology to fans: Horsey wish to sincerely synthetic morphine from my friend's mom, two bands. apologketoallthekidswhowaitedaround who worked wifh terminally ill cancer pa- Max: Mark's a pretty whiney singer so the to see them at Pop!, Sat., Oct. 16 .when lients. Modem Lovers thing makes sense. they never showed up to play. They had no way of getting their gear to the show and What would you do they promise it will NEVER with it? happen again! O^ A MTUP -VioNUfcy THAT cam *"* AH <D Good Morning! A aren't you glad to hear that all those amphetamine-crazed Frogs are proliferating? In amongst the racket created by the port-Nirvana fallout, more and more youngsters have taken an interest in excess decibels. Only then do we realize that something is happening once it has moved right out of the independent sector. The critics attack with their restrictive labels and, tagging right along, the labels themselves classify theartists... noone really knows whal ishappe ning and the rules ofthe game of "who-to- listen-to-next" are more and more panicky... Anyway, France is contributing to the construction of the Sonic Pyramid and this non-exhaustive presentation should help convince the most sceptical and nationalist amongst you. The most successfully exported French band comes from Angers and goes under the name of Les Thugs. The four-piece are feathering their nest pretty well since their fifth opus will come out on Sub Pop in the Autumn. It will be recorded in Seattle and produced by Kurt Bloch... Nicholas on guitar and vocals, Marilyn on bass, Patrick on guitar and a very heavy drum machine: this is the Marseilles band Kill The Thrill... they love Big Black, Swans, Godflesh and give apocalyptic concerts that make them one of the best bands in the Hexagon... The Roadrunner label should agree since KIT s song'1 Hate Your World" has appeared on the Serial Killers compilation (along with Treponem Pal, Parkinson Square, and others)... Go Get Organized has ceased its producing activities, but its boss Christophe has started up The Agony Is The Ecstacy, and will be co-producing Kill The Thrill's first LP with Swiss label Noise Product; as well as Davy Jones Locker's third effort, already recorded, give it time for a remix, and you'll find it in October... Following Davy Jones Locker, a tense and harsh sound that could remind one ofTbe Fall, is brought to us from Thi on vi lie by the Hems. IDreamt I Was My Own Cage, contains 10 good reasons to buy it and is out on the Paris label Distortion RDS. They will also be present on the CD-comp from Amanita Productions, who also distribute many fine records from the likes of Lydia Lunch, Angry Samoans, The Ex & Tom Cora, Flipper and pub- lications from Research, Rapid Eye and others. They are also the label and home of Voodoo Muzak who are fast reaching maturity. Huge process on the voices has made their Teenage Beetles a true success; they share this 74- minute CD with R. W.A., whosing in French about "beetles," "gold teeth" and "the neighbour's legs." This split CD is also pretty cute with its card board cover and elegant booklet. The "personnel" of R.W.A. are also guilty ofthe publication of the dictionary of avant-garde noise: Hello Happy Tax payers. Number 10, The most recent (and ultimate) issue is out now... Uncontrolled is a label based in Perigueux that spe- "" j tializes in high-energy (and we're not talking disco!) split- colourful and unavoidable pieces of wax have so far seen the lightofday:Deity Guns/Fisherman; Burning Heads/ Thompson Rollets; Wet Furs/Missing links and most recently Drive Blind/ Garlic Frog Diet. A clash between Mad Monster Party and PortobeTtoBones and a compilation album are on their way. A classy introduction to diese French bands: uncontrolled music is the best!... Deity Guns hail from Lyons, their recent second album was recorded in New- York under the guidance of Lee Ranaldo, and is out on the English Label Big Cat. A touch too experimental for my taste, but indispensable for those who approve... Burning Heads are from Orleans, the French hardcore capital. Energetic and melodious, they have Just produced an album and a four- track EP on Semetery (a di vision of Fnac musique): a cross between Dag Nasty and Rythm Collision... Thompson Rollets have been around since '85, come from Perigueux in the South-west, and their mixture of Australian energy and melodic punk is explosive... From Bordeaux, the Wet Furs are speeded up rock, two new songs on the bonus single with the sew issue of the fanzine ROCK HARDL.. Drive Blind are a four- piece from Nimes whose melodies and speed-breaks conquer every time. T wogui tars racing attop speed, rock- solid rhythm, he Id together by a direct and scratchy voice. Two songs, an adaptarian of "Kick Out The Jams," and the glorious "The Hammer" appear on a compilation CD, prepare d by the singer ofthe band Tabasko, on his label Mars Attack in the company ofthe Celibate Rifles and other French bands, plus a first album out in September and produced by Kent Steedman on Pandemonium RDZ... Garlic Frog Diet is the new band formed by the drummer of Parkinson Square. Their frist auto-produced four-track CD on Rotation Sound is comparable to The Lemonheads or Husker Du for its energy: strength, violence and beauty are all on this disc. An album is in the running and a recent concert of theirs has left me morethan impatient... Mad Monster Party are more traditional in nature although capable of surprising and welcome electric accelerations. They are from Augouleme and have two albums out on Black Et Noir... Back to Orleans, to the sound of the very Records & Stuff We Sell: 87. FAITH/VOID c^^t_$_^ © 86. HOLY ROLLERS 10-Song LP* © 85. SLANT 6 3-Song7" ® 84. HOLY ROLLERS 2-Songr ® 83. SCREAM 'Fumble (Final Studio Session) t © 82. SCREAM 'Fumble' + 'Banging the Drum' © 81. SCREAM 'Still Screaming'+ This Side Up' © 79. CIRCUS LUPUS Solid Brass'* © 78. LUNGFISH 'Rainbows from Atoms'4* © 77. JAWBOX 2-Song 7" ® 76. SHUDDER TO THINK 2-Song 7" ® 72. SEVERIN 'Acid to Ashes + Rust to Dust't* © 70. FUGAZI 'In On the Kill Taker' i* © 14. DISCHORD 1981 th.*™*«».**.■ © 7. FLEX YOUR HEAD Desampler © Price Guide, including postage, in U.S. $: U'^ & CANADA Airman ® 7" 3.00 4.00 6.00 © 12" EP 6.00 8.00 11.00 © LP 7.00 9.00 12.00 © CD 8.00 9.00 11.00 © MaxiCD 10.00 1.00 13.00 > or in IRC. .20007 ?SSH!? 'EES1 LIST of rec 3819 BEECHER ST. NW, W) \SH.,D.C 14 E»_p^«__-I__f;3 promising Port bello Bones who have nothing toloseandplayheavily, very heavily on the card of the powerful melody. They share an EP with Concrete Idea, and will spilt an other with the Americans Distorted Pony, from the stables of Bomp, and around November, their first album... Slowly but surely the fanzine Hyacinth lspenetratingintotheupper spheres with the help of their thorough and passionate articles/interviews. lOOpagesfortheir "Eleventh Blooming" presenting Dwarves, Mudhoney, 7 Year Bitch, Helmet, Sebadoh, Melvins, Mummies, Cornershop, Helios Creed, tons of record reviews (complete with mail order addresses, no more drooling on impossible- to-obtain records!). Color cover, cartoons and original drawings; what more can one ask for... X-Rated is the vicious and tortured result of the reunion ofthe trio Leon (vox/gtr), Alex (bs/vox)and"Dr Rhythm" (drm mchne). They swear by Helmet and Jesus Lizard, come from Montpellier and their 5-track demo is intense and strong. Agressive talent for sale from these "terrorists of Noiz"!... Equally noizy is the sound coming from the instruments ol the Angers band Cot The Navel String, cold and pitiless, their music is an industrial symphony of sharpened metal orchestrated by Ian Burgess. An album is on ils way. .. And, dallying in Angers for a while, we find otaselves in the company of the Dirty Hands with two LPs out on Black et Noir, and a third in preparation, produced, again, by Ted Nicely... A few members of the Wet Furs, feeling the need for some powerful and tense emotions are kicking out the jams with Mush. A band that hardly leaves one the time to think, given their energy and speed... From Sete, Tabasko are also not into needlework! They produce punk rock tinged with Australian rage and startling maestria. Their 11 -song tape Blood Is My Heritage is just asking to be vampirized, and believe me, is strong-tasting... A very interesting address is to be found with Kalakomb: specialized in distribution, their catalogue is very complete, with hundreds of references tanging from Alternative Tentacles to Dischord, Babes in Toyland through to Gas Hurler, from Mono Men to Big Black. So if you'd like to export your productions, contact Nathalie., the Pwjgy Sticks have just brought out the album Shadow Earth on Smash It Up, a division of New Rose, 39 minutes of "Seventy-ish Grunge": better on stage than on record, they remain fistenabte... WeU Spotted are darker and more industrial, thefoursongs on their first single leave one to expect some interesting vinyl, and we are a long way from forgetting their insane cover of Einsturzende Neubauten's "Zertoerte Zelle" during a loud and feverish night... Tits For Tat, The Electric Buttocks' demo arriving from Montpellier, presents 10 songs lieavy widi vertiginous breaks. A convincing product whos mastery and discipline btingstomind Fugazi. True talent waiting for the signing... From Blots come Bubble with 19PunkRockSongs,paaOati.edv/i(h covers of The Dwarves, Bad Religion, Screaching Weasel and The Misfits. A debut in which screaming guitars balance the singer's approximate English...Violence, the well- named fanzine, features in its number 9, Seaweed, lawbreaker, Tommytoockers, Mono Men, Djohazard, Joyriders and others. One of their writers works for the label Splitf and plays with ShW For Brain- in Clermont Ferraud, whose tape contains two unequal hut promising songs... Tchyzkok are from Marseilles and attack Mudhoney and The Dwarves with the fray of youth, also producing interesting and energy-laden originals. Untamcablc and without complexes, watch this space... The noose of guitars strung together by Mushroom from Montpellier tightens around our ears, a perfect balance between fuzz, wah-wah and distorted] for a second demo tape showing a band on its way up; tasteful people who cover Jon Spencer, Last Drive and the "e< "Death Valley '&)? fast- ing sonic youth... Shaking DoUii, who maintained a lengthy silence after their angle and album on Black_c Noir, have just recorded a demo that is excellent <>n hearsay but will only be circulated when they have come to a decision on a possible split... While in Angers, two Shaking Dolls are playing with two ex-Death Row B and have produced a brutal formation goingbyUienanieof Jug. live brutal- noise songs that wouldn't be looked down oa by the AmRep or Earache roster. Waiting for their offer, they'll appear on various comps and one EP will hit the rack in Septe mber. Strong sonic glue far yer ears! After an interminabi y long wait Condense from Lyons have at last produced a new tape. Three fuzzed- out hardcore songs, and Air Conditioned, 10 atmospheric and as- heavy- as- you-cou Id- wish-f or minutes also on the Serial Killers compilation. They have recorded S songs which should appear on their first nani-CDphis one other to appear on a US compilation on Ebullition RDS... A trio from Marseilles is ravaging our ears at the moment: Tex Wilier; their 5-track tape builds its strength from the straight line they have drawn from Slint to Trie Jesus Lizard dirough Evol-ea S. Youth. Drum machine, electric violin, "chords &. cries" guitar, they are getting ready to auto-produce a CD... Queer, "three guitarists and a drum machine" from Aix-en-Provence mixed fragment- of The Minutemen, Black Flag, Swans, OmcrtcColeman, early PIL, Tackhead and My Bloody Valentine to produce a truly original, if often disagreeable noise that was to prove influential on the few who heard them. "Real, don't believe us." Rumours of a reformation have been heard but not substantiated... Two missiles were recently shot at us from Paris: Sizeable propose four 4-track tides full of .uprising and fiery arrangement';. "Hie Paris- New York axis takes shape, and One Arm are three girls wIk> could well have appeared straight from a Lydia Lunch-ruled world. Nine destabilizing, cruel and screeching songs which are high above everything I've heard recently in the same style. ExceUent and classy with the Paquilo Bolinodrawi»oovwr.-TbenowAb«R Dangerous is just out, as eclectic and i nteresting as ever: Qty Slang, Young Gods, Deniz Tek of Radio Bird man fame, Vic Bondi, Jazz Butcher, and loads more plus their usual CD-bonus, thu time revealing some grandiose and unreleased stuff from Drive Blind, Garlic Frog Diet and various foreign bands. An issue every two months, an Kinetic Vihes mag #2 with free EP for 100 francs including postage. What a bargain I Jean Louis Boyer & Olivier Mainy edit a xerox zine dedicated to the French noisy rock scene. Young Gods, Mega Crty 4, Superchunk, and most of _ie features in this report were in the pages of the 3 issues of 2/ excellent way to get your activities publicized around Ihese parts. And they distribute records... The tape- compilation aficionados amongst you shouldn't miss the Spore Product compilation uniting a good crop of Fren2sch HC and containing a information-stuffed colour booklet—While on the subject of compilations we have only briefly spoken of the Serial Killers Volume 1 ,o_tonRoadr_n_er. Great-over, 8- page booklet, an attractive casket containing eleven jewels; the less well known bands (Pore, Kilt the Thrill, CasbahClub, Condense, Thompson Rollels and Cut The Navel String) shi ning rattier brighter than the better known ones who have accustomed us to flashier stuff... In the same vein, Pandemonium will be starting in October a series of CD compilations given over to French Punk Hardcore Noise: The French Radical Histery. Most of tbe bands spoken of in die article will be contributing a pair of songs to volumes I and 2, a good soundtrack to this verbal cacaphouy! Pandemonium also publish the fanzine Kinetic Vihes, ranging from Garage to Noise, each issue contains one vinyl and 56 pages of sonic fury, number two should be out shortly. Kinetic Vibes has just released "Electric Cam- ival," an international compilation CD offering 76 min ty. Only . ^released m i.teri.l IJ Again. They've just issued a nice tape compilation proposing XXX- Rated, Cut The Navel String, Jug, Drive Blind, & various other acts. A nice effort... I like people who dare to shout their opinion, and support a good cause! Mega Sonic Boom Blast fight for the rights of Native American Indians. They hail from Paris, have two singles out, and their name only, promises a blast. Their music itself is neither noise nor hardcore, though it borrows from their strength <fc creativity, mixing them with rock. Thought-provoking and intense!... still from Paris, a band whose bass player also writes for Hyacinth, Heliogabale evokes a Silverfish suffering from electric spasms. A female singer capable of singing in Russian, German or English above distressing rhythms... One last thing, before letting you start writing & listen! ng to all those groups, NEVER TRUST NOR WORK with "Le Silence de ta rue/Metodie distribution.** They're crooks only interested in fame and your money. Of course alt these bands owe a debt to their American predecessors, but all are succeeding to digest these influences and vomiting out some supersonic bile that is all their own and blows away any chip that may have weighed French shoul- Ready for anything, from W.l Alexander, Tommy Knockers, Devil Dogs. Bevis Frond. Sick Rose, Lost Patrol, Worst, Outta Place, Cryptoncs, t_i Secta, Etc... all in aB 23 groups from ten different countries. Plus it includes a t2 page booklet with info, pictures, and addresses of the bands. The full- color cover was drawn by Darren Merinuk from Winnipeg. A real must- have! Order the CD for 80 francs (about $13 US), or the comp and r less well founded prejudices that are to be found: a crusade leading to the bmitsof rock... ADDRESSES: 21 Agpan: Olivier Maini-100 chemin St Maithe-13014 Marseille Mega Sonic Boom Blast: Thierry Perrin- 42 rue du Mourier 93300 Aubervffliers HeUogabale: Viviane Morrison-9 avenue Gambetta-75020 Paris Pandemonium/Kinetic Vibes Magazine: Philippe Petit-8 place des Marseillaises 13001 Marseille Les Thugs* Christophe Davy-1 nie Maurice Blanchard-49000 Angers Kill the Thrill: Marilyn Tognolli- 11 rue Estelle-13001 Marseille Davy Jones Locker: Pierre Lechvin-20 rue des Poticrs- 25200 Montbeltiard HEMS: Vincent Ramscyer-8 rue Henri Mazet-57000 Metz Amanita/Voodoo Muzak: Exteparia-64240 Urcuray Hello Happy Taxpayers/ R.WJ-: B.P. 14 F.33037 Bor- Uncontrolled Rds: 99 rue du Cherche Midi-75006 Paris Thompson Rollels: Jean Jacques Didier-79 rue Parmenlier-24000 Perigueux Wet Furs/Mush: Gilles Favarcl Garrigues- 8 rue de la Villette 75019 Paris. Drive Blind: Frederic Hugot- 34 rue rouget de Lisle-30000 Black & Noir: 4 me Val dc 49100 Angers. Garlic Frog Diet/Rotation Sound: Hugo Maimone-18 rue Nicolas- 69008 Lyon Portobdio Bones: Lionel Faliy-101 Bd de Chateaudun-45000 Orleans. Concrete Idea: Bois Jesus-37230 Fottd-ttes Hyacinth: 11 rue Dupont del' Eure- 75020 Paris Semantic: 17 rue Gambetta-54000 X -Rated i Alex Farace-16rue Henri Rene-34000 Montpellier Cut the Navel String: Bettina Djerroud-23 rue du Port deL'Ancre 49100 Angers. Tabasko/Mars Attack Rds: 5 rue Henri Barbuse 34200 Sete Katakomb: 57 rue S t Vi v ien-76000 Pungy Sticks: Mad Rak management 30 rue de la LJberte-94300 Vincenncs. Well Spotted: 4 Boulevard de La_re-90000Belfort. Elcetric Buttocks: Buissiere-Z.1 Sud 34880 Uverune Bubble Beer: Philippe School-34 rue Costcs ct Bellonte-41000 BkMS. Violence/Shit for Brains: Patrick Foulhoux-49 rue des I Jondards 63000 Clermont Ferrand. Tex W_Ier: 18 rue du Chevalier Roze-13002 Marseille. Jug/Shaking Dolls: Maiilde-t square de Contades 49100 Angers. Coridense:MaiePerraud-41 ruedes Tables Claudiennes-69001 Lyon Sizeable: Christophe Bermejo-259 rue de Charenton-75012 Paris. Spore Prod: Henri Pierre Trocheri "Les Brunetieres" 53370 St Pierre desNids. Tchyzkok: Laurent Marcbet Bat. B2-Cite Jardins- Traverse de la Trevaresse-13012 The Agony is the Ecstasy: 12 rue Frochot 75012 Paris Mushroom: Benedict Gracta9 place Boushet de Bernard 34000 Montpellier Aba Dangereux: B.P. 172-82001 Montauban Cedex. One Ann: Isabelle Vigier 144 rue SL Denis 75002 Paris. DECEMBER (g ALL Breaking Things $14.99 KMFDM °Wo\ar. AWSST | KMFDM Angst I $14.99 JOAN III F? JETT IIP* In'iii' Flashback Bint V* $14.99 sw ^ jyy SNFU ___BT^ ^3_9 Something Green, and Leafy This Way Comes Wj&ptyrnsBr $14.99 fm«_sr Irt^ \ *3P3*| FACEPULLER ■■■■-_^H LSjL Auditory : M US Surgical r. m Technician mm $9.98 :V M SI EASYE /»_ On (Dr. Dre) $14.99 k f I I tM*.W*i*i THE CONNELLS Ring $14.99 FORBIDDEN DIMENSION Gallery $14.99 VARIOUS In Defence of Animals $15.99 ICECUBE Lethal Injection $17.99 LES THUGS As Happy AS Possible $14.99 AFRICAN HEAD MF / ^""~^l CHARGE L__J In Pursuit of Shashamane Land $14.99 ROCKET FROM THE CRYPT All Systems Go! $14.99 a. KING KONG Funny Farm $12.99 SEAWEED Four $12.99 The Spinanes SPINNANES ^ Manos In-Store Appearance $14" Dec. 2 at 5:00 pm! SALE PRICES IN EFFECT UNTIL DEC. 24/93 i i v>. i) In 1976 the Buzzcocks provided the emerging British punk scene with a juxtaposed version of coolness. They melded pop song structures with abrasive guitar sounds and emerged as one of the most revered bands of that prolific era. By Steve Miller Two art students from Manchester, Howard Devoto and Pete McNeish (later to become Shelley), were the original Buzzcocks. They soon secured a rhythm section through an ad in the local mis ic paper. "When we started, it (the popish nature of their songs) was just something that was naturally there," Shelley explains. "We didn't set out to be more melodic than the lot, we just played music that we liked." The Buzzcocks were one ofthe first bands to release their own record, in accordance with the DIY ethic that was running rampant at the start of the punk era. A four-song 7"; Spiral Scratch was put out by the band on dieir own label, New Hormones, in February of 1977 and did well. The sleeve was a crudely reproduced black and white photo and the music was well presented, knee jerk discontentment filtered up from London. "Spiral Scratch was the first independent record that people really wanted," says Geoff Travis of the now defunct distributor Rough It soon became apparent that Shelley's was the voice that would fit with the image the Buzzcocks had created for themselves: love song- oriented pop band with a discernible guitar edge. Devoto left to form Magazine, and went on to a semi- successful career as a recognizably cerebral musician. "It was really a matter of everyone moving sideways," Shelley says now." I went to the middle of the stage and took over vocals, Steve (Diggle) went from bass to guitar, and we got a new bass player, (Steve) The Buzzcocks were anything but cerebral. They were a pure and heavy band with a profound sense of simplistic melody. That combination found the musically apt youths on the winning edge ofthe new movement. After getting signed in England to UA, the Buzzcocks released their firstchartingsingle, "Orgasm Addict" in November of 1977. Three great albums, Another Music inaDifferent Kitchen, A Different KindofTension, Love Bites, and a continual barrage of UK radio friendly singles copped the Buzzcocks a spot in mus ic history. Their steady procession of singles is explained by Shelley as "the fact that nobody wanted to risk a lot of money- on us for a lot of albums." . The early US Buzzcocks' were strained, to say the least. There were numerous no-shows and booking snafus. They were rumored to be the opening band for Joy Division's US tour in 1979 but the tour was cancelled when Joy Division singer lan Curtis took his own life the night before that group's departure for the US. When the Buzzcocks did make it to our shores the temperamental nature of the band made the performances stilted, as they tended to wear the emotion of the moment on their sleeves. Shelley remembers the early tours of the states well, with a terse "Hectic," he says. "1 wasn't quite ready for America. I didn't have the right mental state to approach it the way it has to be done. American audiences have an enthusiasm I had never seen before. We didn't do all of America at that time; we did both sides of it but we tended to miss the middle." By 1980 the Buzzcocks had a sizable discography and some extensive touring experience. They were instrumental in turning the new wave momentum into the steady, yet chaotic, treadmill of record-tour-re- peat. The band continued to work the singles angle, releasing more charting singles than any other punk band. Their series of 1980 singles, starting with "Are Everything" b/w "Girl at the Chainstore," set about a somewhat new marketing strategy for selling such an able singles band. "That particular series of singles were meant to be an album by installments," Shelley says. "The idea was to do a half-dozen singles throughout the year then at the end of the year, some other songs would be mixed in with the singles for the album." The album would never materialize. The band went their separate ways in 1980 and only frontman Shelley continued a prominent musical profile, going on to techno-dance hitdom with 'Telephone Operator" and "Homosapien." Guitarist Steve Diggle made several attempts at music credibility buthe found mostly at every turn. When Shelley found his solo career slide coinciding with a resurgence of interest in the formative years of the punk movement, it was decided that a Buzzcocks reunion would be a timely and prudent move. After all, they all enjoyed the music, it was merely a break the band desired at the break up point initially. "When we split up the first time we all felt like we needed a break," Shelley says. "The break could've been for one year but it ended up being eight. We picked right up again when it seemed like the time was right. And playing the songs again after all that time was like returning to one's childhood, "What got us really going were rumors in late-1989 that theband was back together. Our old agent heard the same rumors and called to offer us a tour. So I phoned everybody up and it came together. We got together and did a four week tour ofthe states. Natural as that." At the outset of the regrouping all four of the original members joined, but the rigors of touring made (hummer John Maher a casualty after a few months. He no w has a business customizing Volkswagons, a decidedly less stressful occupation than pounding the skins. Garvey lasted 2 1/2 years when he decided family was his calling. The band recruited a new rhythm section through audition a year ago, selecting Tony Arber and Phil Barker ('They used to be in the audience when we were on stage," says Shelley). Afteracouple of tours the band got back to writing some new material. Some of those songs were recorded in early-1991, in anticipation of a record deal that never materialized. The band found writing to be more challenging than it was when all was newoveradecadeago, Shelley "Well, when you write a song that sounds really good now, you think, 'surely it must be somebody elses.' But after playing it for a few people and they don't say anything you have to figure you're OK. If they fail we'll probably get some letters from a few lawyers. Of course, if we had a good attorney he would probably be sending out a few letters on our behalf." The Buzzcocks' old American label, IRS, decided that it would be a prudent move to re-release some of the old hits. Operator's Manual was released in 1992 and contains a slew ofthe band's oldies. There is also an unavailable box set containing 200 minutes worth of old Buzzcocks material, some rare, some previously released. "It seems too bad that the label just sat on that old material for so long," Shelley says. "It's not right when people can't get hold of records that should be released. There's nothing as sad as a deleted record." The new Buzzcocks release, Trade Test Transmissions, is their debut for Caroline. Some of the songs have been honed for 2-3 years while others are fresh to the recording session. The US single, "Do It," is supported by a video directed by U2 video director John Klein. Transmissions is no departure from offerings. The music is still Ihe simple and urgent love drama lhat the band made their own when they bridged the gap between pop and punk, and helped coin, the resultant homogenized moniker of power-pop. The use of background vocals is admittedly heavier than the previous material "but we aren't as extreme as Queen or somebody," says Shelley. The five Diggle-penned songs are fast- paced, sonic, Top 40 aspiring songs, while the familiar Shelley tempos and textures fill the remaining 10 cuts. Gone is the direct separation of left/ Diggle guitar, right/Shelley guitar, and the sound is clean and pure. The of r changed considerably since the inception of the Buzzcocks, and the strains of "Breakdown" filled the Roxy or the Electric Circus. The media is more informed, the audience is considerably younger, but Shelley seems unperturbed by the change in musical climate. While the band's back catalog has introduced the Buzzcocks to abrand new generation of music fans it also presented convincing testimony to the band's timeless songwriting talents. The material sounds as fresh as it did over a decade ago. Shelley acknowledges the high side of mass acceptance "1 think the evolution of alternative music is a good thing. I'm happy that alternative has put distortion back on the radio." DECEMBER ^ Go figure...just when you thought it was safe to go outside and roam without your mom or dad in tow, SNFU releases a new album and you're resigned to hanging out in your bedroom for another six months, or so, 'til the welts and sores heal over. Yup, Canada's reigning kings of punk rock (?) have returned to the fold with not only a new album (released this time on Epitaph—that's punk rock), but with some fresh facial hair, courte- Ihe Edmonton Oilers, and some new boots >xer shorts. Megan Mallett caught up with mson and guitarists Muc and Pmthe outskirts of town to diSClKS Tf\e new album, life in Vancouver, the Oilers and what it's like to have been around longer that the dirt on the back of your neck. Garnet Timothy Harry Discorder. A couple of years back you were pretty much left for dead with Chi coming to Vancouver and starting up again on his own. Then out of nowhere SNFU are alive and well and living In Vancouver. What sparked the move to Vancouver and the reformation of the band? Bunnt: OK. SNFU broke up in '89. Chi moved out here probably to get away from us. Nah, he just moved out here for whatever reasons and he started doing. . .The Wongs and Little Joe. And about one and a half years after we broke up we had the brilliant idea of getting back together. At the time, we were just gonna come out here and jam. So we came out here; me, Muc and Curtis were living in Edmonton. We had the tour [scheduled] and we weren't sure if we were gonna get back together or not, but we were gonna do the tour regardless. We rehearsed for a week, went on tour and then, after the tour was done—it went real ly, really well— we decided to keep going, to get back together. Once we moved out here we officially got back together. We got a new bass player [Starbuck], wrote a whole bunch of songs and toured a few more times. The break-up didn't have anything to do with the Oilers and their Internal prob- Muc: No...nothing. Bunnt: Most of their internal problems started when we left that town, I think. Muc: That's right. That's when all the trouble started. Bunnt: Wow, you had to bring up the Oilers didn't you? What role, If an Important one, do you feel sports has In the rock 'n' roll scheme of things? Muc: I don't know. They're similar in the way that they're both entertainment, I guess, but I think they're two separate entities. Bunnt: But there are probably a lot of people who like sports and a lot of people who like music. Muc: Yeah. Bunnt: Yeah. I like hockey and I like music but I don't like hockey because of Muc: Yeah, in sports there is a lot of pride and people become real fans of a team. I don't know if it's the same as music because, speaking for myself, I like all different types of music. I like country bands, and rock bands, and reggae bands, and so on. And I hate figure skating and curling, and I don't like football that much. Bunnt: But what about skateboarding? Is skateboarding a sport? Would that be included in the question? Sure, you could consider skateboarding Bunnt: I don't know if it could be considered a sport but it did have an influence on the music I got into when I was younger, sure. Muc: Sports usually involve a contest and I don't think music is a contest. Music is an expression of yourself, an artistic expression, so they're different that way. Do you think Nolan Ryan went out the way he should have? Or should he have hung it up after last season? Muc: I think if Nolan Ryan knew he was going to end like that, or knew he was going to have such a poor season, I don't think he would have played this year. Bunnt: 'Cause we went down to see his last game and hedidn't pitch longenough to get into the stadium and see h im throw Do you think John Kruk should have changed his pants In the Worid Series when they were ripped? Bunnt: No. Muc: I like his style. I admire him. He's real. I have no problems with ripped Bunnt: It's like if he gets his shirt dirty. Should he change his shirt? No. You brush off the dirt and keep on going. Muc: But he ripped h is pants and he wore the same pants the next game. Bunnt: The next game? Did he? Muc: Yeah, but they were sewn up. A lot of players are superstitious about things like that. Bunnt: Do you think he should have changed his pants? No, It doesn't really matter. Itwas up to him. If they were sewn up, that's fine. Bunnt Yeah, but there's probably twenty- five pairs of pants and he could have just got a brand new pair. Muc: Save the planet, n Bunnt That's right. Muc: Fashion, who needs it? Bunnt: It was probably a superstition thing. Those were his lucky pants and he couldn't just change them. If the Phillies had won, woulc Dykstra have been the MVP? Bunnt: Definitely. Muc: Yes. Bunnt He should have been M^ the fact that they lost. Muc: And Mitch Williams should have been the World Series MVP. Some would say that your recent signing wtth Epitaph Is akin to moving from the minors to the big leagues without all the big label pressure. Do you think that's true? Muc: No. We had nothing to lose by signing to Epitaph. We were talking to a few major labels and it seemed like r gonna take awhile to get the record out, a couple of months to negotiate the deal, so on and so forth. I think we had more to lose from going and hopping on a major than we did with Epitaph. Bunnt: Basically, Epitaph sincerely v ed to put out our music more than any other label. That's the main reason we went with Epitaph. And if they're more interested in our music then they'll be behind it more, promote it more, and put up with our problems more. Epitaph, basically runs their label like a major label does, but it's not the size—the amount of promotion they do and the way they promote the record is like a major label. Even as far as we did a video. Itwas our decision to make the video but we had to pay for it. Even if you're on a major, every time you do a video it comes out of the band's money. They were like, "OK, it's your money, you can do what you want." They put up whatever percentage of. the money for the video but we can do, pretty much, what we want, I guess. Yeah, we're lucky aren't we? No big league pressure. Wtth the new album [ Something Green and Leafy This Way Comes] do you feel like this is a new beginning or Is the music on this album a continuation of the SNFU of old? Muc: Oh, I think it's a continuation of where SNFU kinda' left off. Bunnt: But as far as the line up goes, we have a new rhythm section. Dave [Rees, drummer] has only been in the band a year and Star- buck has been with us since February. In that way, compared to the band five years ago, it's differ- Muc: It's not really a drastic change in attitude or in musical direction, we approach music the exact way we did before. Bunnt: It's slightly more refined. Muc: Yeah. It's been five years between this record and the last one, and we've never stopped playing music, so it's a little more mature, arrangement-wise and guitar playing-wise. If you compare the guitar playing on the new album to the first album there a big difference. So Is tt better being on a label run by people who actuaUy know what It's like to be In a band rather than one that Is ran by those who only see It from the outside and don't have th art experience? Muc: Definitely. Bunnt: Yes, mind you, every label we've been on has been run by musicians. , Cargo wasn't, ic: I guess if you're on a label that's run musician, or people that play in they have a better understand ing what your needs are, economically speaking and so on. And you had complete freedom? Bunnt Pretty much. If there was something that Brett [Gurewitz, Epitaph hon- cho] really hated he'd let us know. I don't know if we'd change it, but...complete freedom within reason. If we wanted Ted Templeman [Van Halen producer, most notably]to produce ouralbum we couldn't do that because it would cost a hell of a lot of money. But we didn't want Ted Templeman. The prodi album's great anyway. Whose decision was It to record In L.A. rather than In Vancouver? Bunnt The main reason to do it in L.A was 'cause Brett, who runs the label, owns fifty percent of a studio down there and it's a good studio 1 record in. Since he owns half of it we got a really good deal recording there. That's pretty much where most of Epitaph's records ar< produced and every- thingelse came out sound inggood so it seemed like the logical thing to do. Was ft better being holed up there together? Muc: It didn't work out so bad. Bunnt It was OK. We had an apartment. We all slept together in this apartmentfor a month. I don't know if there were less distractions but there probably were because if we had done it here there'd be friends calling up the studio and stopping by. We have no friends down there. All we did forthe first week was go to the studio and then come home to our apartment. It got out of hand after that Then we found out which bars to go to. By Megan Mallett Something Green and tatty That Way Comes refers to what? Spinach, or... Muc: It's a spinach reference. Satan's holding a can of spinach on the front cover and that's where the general idea came from. The original working title was A Spinach Eater's Dissent into Hell, or something like that, which we all argued about. Bunnt: Or The Road to Hell is Paved with Spinach. But that's eight words, so... Why do all of your album titles have seven words? Bunnt: Coincidence. Muc: It's because... Bunnt: ...Phil Esposito was number sev- n when he played j for the Bruins. Is that why? Muc: Yeah, I think Bad Religion, who are also on Epitaph, were ently picked up by Atlantic and things look good for them. Do you ever think about the Mg majors coming your way and the decisions you would have > make If that happened? And do you think your Involvement with Epitaph helps you at all In attracting a big-wig In a bad suit? Bunnt I don't think about major labels coming and asking us. If it happens, it happens. I'm not going sleep over it. I'd just lik successful. I'd just rather put out couple of records that I fee Muc: We started the band just have some fun. To be honest, now it's probably a little i financially motivated. I like to think that peo- markethas opened up a lot. Some of the bands being signed right now are definitely not very mainstream. Bunnt The major labels are not like they were, say, twenty or fifteen years ago. I think that if they went and signed SNFU, who has been around for ten years, they're gonna sign us for what we've done in the past. I don't think they'd sign us and then say, "You gotta slow your songs down," or anything like that. They'd Muc: SNFU already sounds pretty mainstream compared to other punk rock changed... Muc: I'm not saying we are a mainstream band, or anything... Bunnt We're a punk rock band and punk rock is pretty mainstream, compared to how it was ten years ago. Like, you hear Ministry on beer commercials now and they're pretty heavy, right? Muc: They're fuckin' heavy. Being the reigning Kings of Canadian Punk Rock, do you feel like you have any sort of reputation to live up to? Bunnt: I don't know. Are we thereign- ing Kings of Punk Rock? Muc: I don't know if we are. Do you You wouldn't be worried about becoming too mainstream? Muc: No, I think the whole think we've ever fit into the mold of a normal orstereotypical punk rock band. I don't feel I have a reputation to live up to. Bunnt: Whenever play a show, I don't go, "OK, we got this reputation." We just..play, I guess. Muc: We became popular from our live shows. We play a certain way live, so there is this kinda' pressure—to perform e way, to play aggressively, or go up in a kinda' headset and try to play the same way as we did back then—but I don't get too caught up in it I think about it but I don't let it in influence musk- writing or playing live. No pressure. Do you ever get the urge to whip out the acoustic and play a couple of slow numbers for the lovers In the back? MUC: We play all our songs forthe lovers in the back. How do you feel about all these acts that are usually electric-only, doing "Unplugged*' sets? Is tt crap purely for the middle-of-the-road, casual listener? Muc: I think the whole thing has got out of hand because ifyou watch "Unplugged" now they're all plugged in with a full drum kit and same arrangement. Originally, the concept was to have bands that don't usually play acoustic sets go on and play acoustically. Some of the "Unplugged" sets that I've seen, like Pearl Jam, are basically the same thing. I think it'd be more interesting to see us do an "Unplugged" set. tt? into it. Bunnt Yeah, I think it'd be cool. See, the idea is an acoustic thing. It's like the songs at their bare minimum, right? But then some of those "Unplugged" sets aren't like that. You're supposed to get away from all the grand production and stuff. Muc: Superconductorun- plugged would be interesting. Have you ever played acoustically? All of you? Muc: SNFU? No, but I play my acoustic guitar all the time at home. I write most of my stuff on Bunnt: The Wheat Chiefs practice acoustically, probably because that's vocal band. What about your other band? Bunnt: What, Pepe Deluxe? Nah, we're just so fucking heavy that we can't play acoustic. Muc: We are booked for "Unplugged" though, I think, next month. Bunnt: Pepe Deluxe on "Unplugged"? Muc: No, that's a lie. A straight-out lie. Bunnt You know they have "Plugged" on MTV now. Bad Religion was on last week. Muc: On what? Bunnt: "Plugged." For 120 minutes these bands play as electrically as possible, I guess. If you could have your way, where would SNFU be In, say, five years? Muc: My way? Bunnt: Wow, infive years. I'll be thirty-five years old. It'll be 1998. Muc: Well, rich and famous of course. Hopefully, retired and happy. Bunnt I just want to be happy. If I could still be making a decent living playing music, that'd be great. Muc: I just want some respect from my peers. I 'd like to walk down the street and have people shake my hand and go, "Mark Belke, SNFU. All right." I Bunnt Has that ever happened to you? Muc: No. Bunnt That happened to me once. I was in the West Edmonton Mall and this kid came up to me and goes, "I just wanna shake you hand." And I said, "Why?" And he goes, "I know who you are and I just wanna shake your hand." He walked up, shook my hand and walked away. Did you mind? Bunnt I thought that was totally t because he didn't flip out. He just wanted to shake my hand and that was it. So do you get many autograph-seekers and how do you feel about them? Muc: After shows, but not just walking down the street. Bunnt: I think they're great. It hasn't gotten to the point where they're driving me crazy. Not like somebody extremely famous, say Eddie Vedder, walking down the street and getting mobbed. Muc: He can't deal with it. He can't deal with his fame. He sees himself on TV and he breaks out. He's just looking for sympathy. Bunnt:: We haven't gotten to that point. We're so lucky we're not rich and famous. Is tt frustrating knowing that you've been out there slugging away for ten years and have gained moderate suc- What's your favourite place to eat when you're on the road? Muc: Poncho Bien (sic) in San Francisco has awesome burritos—the best burri tos in the world. There's also a cafeteria chain in Texas called Lilly's (sic) that's really good. Bunnt: I like the Big Chief burritos in California. Muc: Yeah, Mexican food in California is the best. The Waffle Houses in Arizona are great. ^^^^k Bunnt No. They're good the first time, but... Bunnt Yeah, we've driven through almost all of them and played in about half of them. Where are you most popular? Muc: Definitely, Canada. Bunnt But we do pretty well in California and Detroit. Muc: Minneapolis is pretty good. Bunnt: We can get shows all over but we tend to do best in California. Canada is the best. When we got back together, after two years, everyone in Canada still knew who we were. In America it wasn't quite the same. They kind of forgot about When It's all done, how would you like the SNFU tombstone to read? Bunnt: The epitaph? Bac o' the van photo by Eric Thorkellson cess while younger bands that haven't paid their dues are overnight sensations and set for life financially? Many of these so-called overnight sensations are In many cases playing the type of music you've been playing for years. Is there any resentment In not having the recognition you so rightly deserve? Muc: No. It's a flaky business. You don't ever wish that was you? Muc: Yeah, I wish it was me but there's no resentment towards them. There's always been amazing, great r not to say that we're great r that have done stuff and played musi and never got appreciated forwhatthey'v done. Starbuck: Here lies SNFU and why not? Is there anything else you'd like to say? Muc: Go and buy our new record and come and see us play. Bunnt: We play at 86th Street on December 17. Anything else? Bunnt: Yeah. Jason Schreurs is a weenie. He can write whatever he wants; he just wrote about Twelve Eyes and why they weren't signed to Epitaph instead of us, because they sound more like the other bands on that label. Has he ever thought that maybe they signed us because of the fact that we sound different? IN DEFENSE OF ANIMALS A BENEFIT COMPILATION FEATURING UNRELEASED MATERIAL FROM TODAYS BEST ALTERNATIVE ARTISTS IN DEFENSE OF ANIMALS IS A NON-PROFIT ORGANIZATION DEDICATED TO THE PROTECTION OF ANIMAL RIGHTS. THIS COMPILATION FEATURES: previously unreleased tracks by MICHAEL STIPE SKINNY PUPPY HELMET SARAH McLACHLAN CONCRETE BLONDE & SISTER PSYCHIC plus-.. IjfarXjL crish |^1| daniel\lanois W hofchousejgpowers mi^|9i^*h#%if' the^c^-gi^iy hiP ... songs by PEARL JAM PRIMUS JULIAN COPE THE SHAMEN CONSOLIDATED GROTUS DISPOSABLE HEROES OF HIPOPRISY MEAT BEAT MANIFESTO MATERIAL LUSH BOOGIE DOWN PRODUCTIONS crash vegas daniel lanois hothouse flowers midnight oil the tragically hip This summer, these five acts joined together for the Another Roadside Attraction tour, performing 10 shows in 9 cities to over 130,000 people. In April of this year, the provincial government of British Columbia announced that logging would be permitted in 74% of the virgin rain forests in an area known as Clayoquot Sound, killing thousands of ancient cedar trees via a brutal land-clearing process called clear-cutting. This summer, hundreds of individuals were arrested while protesting against clear-cut logging at Clayoquot Sound. On the night and morning of July 30/31, the A.R.A. bands united to record Land. A powerful track with a timeless sound and feel, Land was produced by Daniel Lanois. All proceeds from the sale of the Land CD and cassette single will be donated to the Clayoquot Sound Defense Fund, a legal reserve set-up to aid in the defense of people arrested at Clayoquot Sound since April. cms® Co-distributed in Canada by MCA Records CARGO RECORDS WANKS DISCORDER FOR THE GRACIOUS DONATION OF WIS ADVERTISEMENT. In opening for this month's peer at the classical music scene I should firsdy acknowledge a small error in last month's Classical Beat. Near the top of the second column I mention Beethoven and Handel (b. 1685-d. 1759) in the contest of the early 19th century; this should read Beethoven and Haydn, but somewhere between my mind and the keyboard a mutation occurred. Presumably this is due to the EMF produced by my rather old it I c. all of you reading this that in die future I will wear a lead suit while writing to avoid resurrecting any more composers. But enough of this, on with the music I In last month's column I mentioned an up-coming Early Music Vancouver concert featuring Andreas Staier performing works by an unspecified Haydn and Mozart. If you guessed these to be F. J. Haydn and W. A Mozart, then you turned out to beright. The concert was held at 8:00 PM November 5th in the Recital Hall of the UBC Music building before a nearly sold-out audience. It seems*! that Mr. Staier has a rather good reputation as a soloist bodi with harpsichord and fortepiano, the instrument employed for this concert. This should not be confused with I the modern piano, as the two neither look nor sound the same. The fortepiano is a sort of transition keyboard instrument between die earlier harpsichord (in which depression of a key causes the internal strings to be. plucked, resulting in a sharp, harp- like sound, thus the name) and die modern pianos (in wluch the key causes a hammer to hit die strings, which is then silenced by a dampener when the key is released). In the fortepiano, a small harpskhord-like case encloses a system where die keys operate hammers, but widiout die same comple&gedafcoperateddamp- eners present in the piano. Tlie resulting sound is brighter than the piano and with more dynamic range than the harpsichord. Two major schools of artisans produced fortepianos Airing the lifetimes of Haydn and Mozart these being Walter and Schanz (with Stein and Striecher). Hadyn is known to have greatly preferred the Schanz design, and Mozart was highly impressed with it as well. Both composers wrote a good deal of their keyboard music specifically for this sort of instrument, and although today such pieces are often performed on the regular piano they do not sound quite the same. It was thus a real pleasure to have a replica of a 1785 Schanz fortpiano (owned by the UBC School of Music) for this performance. The program opened with three works by Haydn: the Sonata in C Major op.48, the Andante con Variazione in F minor op.6, and the Sonata in E Flat Major op.49. While Haydn in general was fond of putting Utde surprises into his orchestral works, these three solopieces were exceptionally full of sudden stops, pauses, ami changes of theme to keep the hstcn- er'sinterest. Even the actual form of the first Sonata wax unusual, with what is known as thefdfTJia] 'sonata' style. It is easy to imagine I laydn writing these pieces almost to amuse himself. After the intermission Mr Staier perfoflaed fW. Mozart's Praeludium aid Fjiga in C Major,, ami Sonata in F Major, both daUng from 1782 or thereabouts. As one might guess from the name, the first of Ihese was a work of ihe older counterpoint Fuge style as often employed by the likes of J.S. Bach. llus is of particular interest, because -Itltough Mozart had a great appreciation for this form and is known tohave studied the works of Bach, he apparently found it a very hard form to compose in. Tlie PraehiduiumaDd Fuga is thus one of the few completed works of diis genre which wc have from Mozart, and it is (sadly) not very often heard. To conclude ihe concert two encores (a movement from an unfinished Suite for Keyboard, and a Concertino,both by W. Mozart) were performed. Mr. Stater's performance was flawless; he clearly had a great feel for the mood of the music and the brightnessof the sound produced by Ihe forteptano allowed for its full expression in a way I doubt a regular piano amid have rivalled, tech of the notes was beautifully sharp and distinct. If one were to look for an argument in favor of increased use of peruxl instruments (that is, ones like (lie composer wrote tlie piece for) in iiuxlcrii performance, diis concert would be it. So wh<4 about this noted humor of Haydn's, which keeps popping out in his music? It seems to stem from his early years and continue throughout his long career starting from his rathar humble beginnings in 1732 as the son of a cartwright in the small Austrian town of Rohrau. As a young child he is mostly noted for a great ability to mimic sminds coupled with an ejuiberanl sense of humor; supposedly atthe age of four diis nearly got turn mistaken for the Devil by a poor local peasant, who heard the unmistakable sounds of mooing and trampling of straw in a barn which the peasant knew to be empty. The local priest was hurriedly fetched to open the bam, revealing a young boy delighted at having so fooled everyone. He was andi. ^^^^^ red with gratitude by j% Incouraging him in his studies, especially in music. Frankh was responsible for Haydn's first public performance when shortly before a festival ihe kellle-drummer in Fran kh's orchestra died; he ordered Haydn to fill die part and in characteristic light-heartednes* the young Franz decider! to practice by tying a cloth across a flour tub kept for making bread and running dirough the town, pounding on the makeshift drum with a stick. According lo die story, Frankh had to catch linn and clean the flour dust off hurriedly in Order to gel Haydn to die procession on time, whereupon he did a fine job. (Honestly, I'm not making any of this up)! Atthea^eof seven, lus performance in achurch choir was heard by a Viennese choirmaster who was suffi- ciendy impressed to offer hi ma place the following year in the choir of St. Stephan's Cathedral. He spent the following nine years there, learning the basics of composition from the choirmaster. At eighteen, Haydn's voice changed and he was expelled from the choir. He spent die next two years wandering and often living in die open; desperate for money he tooktoplaying the viohnutthe streets of Vienna. One evening in 1751 a listener was sufficieudy impressed to ask him to compose an opera awl allhough he had never hoard an opera Haydn was willing to try the task. The opera was a great success on its opening, and after a few more ups and downs (after its second perform- ance, the opera was stopped on charges of being libellous to 'local persons') Haydn was off on lus career. In spite of a ralher bad marriage (when (lie woman he was in love with joined the convent, Haydn married her sister... a woman portrayed by history as a shrew) Haydn kept his sense of humor for the rest of his amazingly productive and long life, producing more dian 100 symphonies alone before his death in 1809. Another concert 1 was fortunate enough to attend was the Vancouver Symphony's Masterworks Series presentation on November 15th. The program, conducted widi obvious enthusiasm by Conductor Laureate Kazuyosht Akiyama. opened with Rossini's Overture to La Cenerentola; a great choice for an opening, this short and fiery work in the usual theatrical Rossini style (the theme to The Lone Ranger is another of his overtures) was well performed and served to set the generally bright and cheerful theme forthe Grand Viola, with internationally acclaimed Rivka Golani as soloist. Playing a work by Paganini is in some ways the pinnacle of achievement for the soloist; as the composer was writing for himself, an almost superhuman technical prowess is demanded in return for results which can showcase the performer's skill in a way no odier composer achieved. Ms. Golani and the supporting orchestra bodi showed themselves more than equal to this demanding challenge, turning in a riveting, seamless performance. The program then shifted gears (and centuries) to the Romantic Fantasy for Violin, Viola, and Orchestra, written here in Vancouver in the early 1940's by the English composer Arthur Benjamin. Again Ms. Golani was a soloist, llus time along with Robert Davidovici as solo violin. While the work was performed well, I found il to be rather too modern in style to be really enjoyable to listen to. Short solos for many ofthe orchestra members spontaneously appear and disappear, changes in modulation ralher than in Ihe feel ofthe music are used to create mood, and while the original theme of firsl movement is clearly apparent in die third and final movement I was left with a feeling that no true thematic development had occurred. This is not in any way lo be taken as less than greal work by die musicians; perhaps I'm just not cultured enough to appreciate the subde- ties of works in Ihis style. After the intermission, another modern work appeared on die program. Marjan Mozetich'.s A Romantic Rhapscxly was expressly written for the Canadian National Youth Orchestra and first performed in 1983. Sadly, only die first of three movements was performed; the beautiful string melodies carried by a suong \ wind and brass background was nol only delightful to hear, but fit die general theme of tlie evening better than I felt the work by Benjamin had. The program kept die besl for last, widi a performance of the immensely popular Fourth "Italian"Sym- phony of Felix Mendolssohn. In his Ihese this is perhaps the most popular. It came as somewhat of a surprise to me, then, to see in die program notes lhat Ihe composer himself was quite unhappy widi this work, and »n fact refused to allow its publication during his lifetime. Such dissatisfaction is hard to imagine, as one feels enchanted by the resplendent diemes which so eloquently bring to mind the sundrenched beauty of the land which inspired its composition in 1831. Production of a piece of this popularity is something of a risk in that so many of the audience members are familiar with die work, and will thus be more critical dian usual. The orchestra needed no fears in dus; they gave a world-class performance of this work, and one got the impression that Ihey musl have truly enjoyed playing it. The entire evening was recorded for later broadcast by the CBC. and in Ihe last piece above all they have a work rivalling any oilier recording of it currently available. All told, a wonderful concert and a real feadier in die collective orchestral cap, although I for one would have gladly traded die removal ofthe Benjami n work for the ent irety of Mozetich'.s newer work wluch I feel would have fit in belter stylistically. December is a bit of a slow month for up-coming performances: neidier Early Music Vancouver nor Friends of Chamber Music have any scheduled concerts, however at the Orpheum Ihe VSO docs have a VSO Pops series concert conducted by Newton Wayland on Uie 3rd and 4th as well as Holiday Harmonies on the 17lh and 18th, a collection of Christmas music including a narration by CBC's Phil Reimer. All of these will be at 8:00 PM; ar(ditionally they have a 2:00 I'M December 1st concert featuring works by Franz Von Suppe, conducted by Clyde Michel). (While on the subject of the VSO, I neglected to mention last month that as a bonus for gelling a season's VSO subscription, one gits 20% off CD's and tapes at Sam the Record Man; something to keep in mind if you plan ou attending many of the concerts anyway and are trying lo build up your own music library). Bit of disap|X>ititing a anyone looking forward to the V special prase nt al ion of A Mutter on March 1 (A ter is expecting her second child all | of her winter and spring concerts have been cancelled. In its place die VSO will be hosting a recital by another well-known violinist, Nadja Salerno Sonnenberg, on March 9di. For any of you who already had tickets frc tlie Mutter concert, these will be honoured forthe replacement wluch promises to be outstanding. Only other bit of news for this mouth is lhal ifyou went looking for TTic Magic Flute recently, you might have been surprised to find its old location vacant. Well, they haven't moved far, just across die street and up about I wo blocks inloa newbuild- ing wilh what seems to be a better Good listening for die next DECEMBER Q) \y z _ _* =^ » AsY Reggae Night with DJ. George Barret SIS ! i^»V7 Psychedelphia 68 to 73 l_=Uiil»/AY7 U4EA with DJ. David Hawkes _^iJfi._»V/Noahs Arc with DJ. Noah L,EE2D November 20th My LiFe With The Thrill Kill Kult November 26th I Braineater Don't be a victim of EXAM BURNOUT WORK OFF A LITTLE STEAM! LIVE BANDS EVERY THURSDAY NIGHT! ADMISSION IS FREEH BANDS START. 9:30 THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUILDING, 6138 SUB BLVD. • 604-822-6511 In a world where neat-o things don' t happen that often, I was angered and disappointed after sludging my way through "Mofo's Psychosonic Pix." Last month Mofo took local sensations cub apart bit by bit in an "I- think-cub-get-too-much-attention- yet-I'll-devoCe-an-entire-coliimn-to- prove-it" bullshit rant. Ah, irony can be a wonderful thing. If you beUeve half of what he said in his column to actually be true then, brother, you need to get a grip. Or, better yet, sit back, watch and enjoy a band who is actually moving up and out of this back-subbing, bitter bullshit town, instead of analysing the situation so much you actually feel the need to disclaim them in a public newspaper. The fact is cub are probably the most flash-successful band this city has ever seen, and that doesn't need any drawn-out (jealous?) explanations. I think cub are great and I love their latest releases. Besides the Betti-Cola CD, Mint Records has released a double seven-inch version ofthe album with 12 songs in all, 10 of which can be found on the CD. The two remaining tracks are "Hello Kitty," which can also be found on the Julep comp., and the exclusive boss-beat of the Tommy- Roe classic, "Sweet Pea." The new originals are great, especially the bitter-sweet "They Don't," the beautiful "Pretty Pictures," tinkly toy piano and all, and the acoustic bliss of "A Picnic." So don't be mean, try not to be jaded and, by all means, don't try to figure it out. Just relax and enjoy cuz, look out world, cub are tumbling you way today! (Mint, #699. 810 West Broadway, Vancouver, BC. V5Z 4C9) It's been a good month for local record releases. Why, right now, in my sweaty mitts, I'mgazin' at the impressive vinyl debut of local poseur-boys The Sister Lover*. The recipe here is four songs of corny, new wave-ish power-pop from an equally bizarre and nutty combo. The production is pretty sucky and the vocals a tad obnoxious but it's half the charm, and "Paula Stop Pretending" is just too damn catchy to slag! It's the Pointed Sticks revisited! Note: Tlie Sister Lovers are Nardwuar the Human Serviette's fave local band. (Horrifying Circus Music, P.O. Box 78069, 2606 Commercial Dr., Vancouver, BC. V5N5W1) Then there is The Rends. Don' t confuse this local garage band with any of the other bands called the Fiends from around the world, these guys are our very own. The Fiends are apparently The Worst in disguise, although there is nothing written on the sleeve to prove that. Funny thing is that there is absolutely no difference between this retro noise and what I' ve heard from the Worst! It's exacdy the same! Three songs in total including a rude cover of "Ain't ItHard"by the Electric Prunes and a very Gruesomes- like original called "Two's A Crowd." This is snotty '60'spunkat its Worst! (Primitive Records West, 380 E. 15th Ave., Vancouver, BC, V5T2R1) Vancouver's Final Notice Records has a new one out from a group of rabid young lads outta Kamloops. They're Sineater and the record's called Duncecap. What we have here are three energetic songs of noise-chocked post-punk with tempo changes and everything! It's slammin' skater rock! It's time to swallow our sins and start moshin'! (Final Notice Records, P.O. Box 1457, Station A, Vancouver, BC, V6C 2P7) And if that one doesn't have quite the amount of core ya need, try Fifth Column's "All Women Are Bitches" 7". This record looks and sounds different from the usual K love-rock but, if anything, it falls in the tradition of Mecca Normal and Shadowy Men On A Shadowy Planet. Fifth Column hail from Toronto, are an-all female act and have something to get off their chests (obvious in the title). Tlus is anti- men punk rock: a mixture of lush vocals on top of harsh screams, distorted guitar, and a pounding, erratic beat. The B-side calms down a bit .'"-Ii lilt; Uiy lb -IIIUUU-U ni UdIKII-bb dn llldt lb (j--',: !. ij the notorious pop underground MOV. Tues.30 SPECKLED JIM w/ Bent Outta Shape & Sick Sick Y< DEC. Thurs. 2 PLUTO ^^^^^^^^_ Ontario's STAND GT w/ The Illicit DEC. Fri. 3 ZOLTY CRACKER, & LOOSEw/The Beauticians DEC. Sat. 4 Kinder Nacht Issue Release Party RATTLED ROOSTERS w/ ska from Seattle EASY BIG FELLA DEC. Thurs.9 Soundproof live! BRAND NEW UNIT 12 EYES (from Winnipi " '**'"* THRILL SQUAD (ex-Go Four 3) v Circle of Fire & Touchn'Goes EC. Fri.17 ~^^~ Punk rawk'round the Kristmas tree with the STROLLING CLONES & The Fiends DEC. Sat. 18 Double Down/ cruel elephant presents: SUPERCONDUCTOR & MECCA NORMAL 364 water st. 6.8.4.1.9.6.8. for the sugary "Donna" (featuring the drum styling of Shadowy Man Don Pyle) and brings to a close another 7" in the history of Musique de Canada, albeit on an American label but what else is new....(K Records, Box 7154, Olympia, WA, 98507 USA) Well, lookee here! A Sub-Pop single...God I haven't seen one of these in...actually, I think it's been out for a while but I' ve only just now had the chance to hear it, and she done deserve some praise. The group is '68 Comeback, outta Memphis, featuring Jefferey Evans ofthe now- defunct, but fab, Gibson Bros.. This dark 'n' twisted combo pick up where those cats left off and present two warped, whacked-out zombie- stompers, coming off like Carl Perkins against the Flat Duo Jets in a mud wrestling dual to the death. A great rock V roll record. (Sub Pop) The Single Of The Month Award goes to a hot new combo from San Francisco that inch out '68 Comeback in sheer brilliant stupidity. They are The Rip Offs, featuring ex-members of SF's best and now gone groups the Mr. T Experience and Supercharger—if that ain't a recipe for absolute musical destruction I fail to know what is. Solid, blast-off punk rock of die highest calibre, these guys are so cheap they put both songs on side one because they couldn' t afford die extra $40 for a second side! (Rip Off Records, 581 Maple Ave., San Bruno, CA, 94066 USA) Also from San Fran, are The Sarnos, whose "Peter Murphy's Dead" 7" presents a pop mix of Bee Gees-like melody with the delivery of early Violent Femmes and the humour sans volume of Sloppy Seconds. The vocals are nice and gritty, and manage to carry the tunes to an above-average rating. To cap it off, the B-side is an amusing mid-tempo romp through a cover of Love and Rockets' "So Alive." (Hairy Records, P.O. Box 170301, San Francisco, CA, 94117 USA) Now let's beat it outta North America and hear what's shakin' in ye olde UK First up is London's Television Personalities who dig playing Uiose wild 'n' tired chords of the mid-'60s. Like the liner notes say, Uiis one's dedicated to "the Kinks, Joe Meek, Lee Hazelwood and NancySinatra, John Lennon and Elton John." Included is a spot-on cover ofthe Kinks' hit- noire, "I'm Not Like Everybody Else." So if you're a fan of 1960's authenticity, write 'em. Me, I like a bit more twist to my shake. (Little BY GRANT LAWRENCE Teddy Recordinga, Schifferstrasse 1, 8000 Munchen 21, Germany) Also from England is The McTells' 7", "Derek/Alice." Put out by the Budget-Pop "runaway mennonites" at Four Letter Words, this one, like the Rip Offs', is also a one-sided slab, not quite up to The McTells' pop potential. Quirky weird-beat with light Beatle-esque riffs make this slightly and, oh so, disagreeably bland. (Four Letter Words, 4960 National Ave., #33, San Jose, CA, 95124 USA) wanna rock! I'm going to France! Now hear this! Les Thugs are not the only rock V roll band from France! The Squares are fresh outta the garage and are definite defiant contenders for France's hottest export since escargot. What we're blessed with here are four chunky tunes o' fire-rock, including the pound-o- rama "Congo Square" and the spooky and strangely familiar "Night Of The Square." Ah yes, kids, just like Ray Davies used to write 'em. Punk=Squares. (Get Hip, P.O. Box 666, Canonsburg, PA, 15317 USA) Back to reality and Bellingham, it's The Nowhere Garden'» "When I Look" and "All End In A Dream." A couple light, hippie-ish, mai nstream pop songs from a group that was once a Grateful Dead cover band—that, as we all know, is an unforgivable and unfortunate sin. Eerieenough.thesinger'softenover- bearing vocals reminded me of a serious and straight(?) Pansy Division. (Flaming Cow's Head, 1319 Indian St., Bellingham, WA 98225 USA) It's always an ugly review when all I like about a record is the cover...that's die unfortunate situation with Rake's new one. The home-made jacket is 100% duct- tape with the band logo stamped directly on top; the music is a sonic, post-modern metallic sludge-fest. You make the call, I'm spent. (Expectorant Records, 946- 19th Ave. E., Seattle, WA, 98112 USA) And then there was O. O plays in Fluf and has his own record label called Standard. Standard's latest release comes from San Diego's Drip Tank, who has shed most of their patented pop-core for a more funky, noisier sound on "Motherlode" and "Shithouse." Problem is I'm not too sure I dig the new angle. It'll probably grow on me but by that time it'll be too late. Drip Tank will be signed to a major soon (they are from San Diego, remember) and by dien it won't matter what I tliink.... (Standard, P.O. Box 9000-108, La Costa, Ca, 92108 USA) I v. i gonna Gus 7" but Kinakin beat me to it, so closing with a 7" from San Francisco's Horsey seemed like the next best tiling to do. However, when I pulled the record out ofthe sleeve it shattered! It's probably for the better, it would just end up confusing people. On tliat note, I Uiink it's about time to sign off until next monUi. Have a wonderful holiday and I'll see you in January with my year-end Top Ten lists! You can't £s-£ir£ir&r OH, LOOK! ADVERTISING! WHAT ARE THEY SELLIM}?^^^ Nothing, really. We just want all those freaky, spaced-in, thrill seeking bands from Vancouver to play in our bar in Winnipeg when they go on tour. Call for details or mail a press kit. We are: THE ROYAL ALBERT HOTEL ^2rj4^94^4^e) 48 ALBERT ST. office/ansr machine WTG^MANITOBA (204) 943-8750 P.S. Bring Narduar! jr, ivi r* inn. fc5B!E7 DECEMBER Q) m T# Special Guests: HMD BOMB Ufe-fvNN fS? SAT, DEC, 4. 86 STREET I H*fi>*\ POWER DRIVE WW5M CiTO presents Attic/A&M Recording Artists c IriHIIi'HHIIHH TUESDAY- DECEMBER 7 WITH SPECIAL GUESTS I TOWN PUMP DOORS 8PM •SHOW 9PM SHARP! TICKETS AVAILABLE AT TRACK & ZULU RECORDS ONLY! «,< Wed. Dec. 8 1 Coliseum I Concert Bowl n m—mam 7:30pm *********+***m mm with special guest c ran db rne s B9S %l ^s:r CiTR presents MCA Recording Artists 101.9 fM BESTKISSERSINTHEWORLD WITH SPECIAL fiUESTS WEDNESDAY, DECEMBER? TOWN PUMP B _H0W<?PM REALLY1 ■ TICKET!. AVAILABLE AT TRACK & ZULU RECORDS ONLY! 1 WEDNESDAY, DECEMBER 15 8 TOWN PUMP DOORS8PM'SHOW9PMTRULY1 JN ■_j!ViniLl_t_m DUE TO POPULAR DEMAND SECOND BLIND MELON SHOW ADDED TUES. DEC. 21 • CC Tickets available at all ______^m___. outlets, including Zulu Records, or charge by phone 280-4444. mmsmmmw Nov. 26&27 MARK HUMMEL from San Francisco Dec. 1-4 FRANKIE LEE Dec. 7 FAT BOOGIE ORCHESTRA Dec. 8-11 CASH McCALL with THE DEMONS Dec. 13-18 AMOS GARRETT Dec. 20-23 OLIVER & THE ELEMENTS Dec. 24&25 HAPPY HOLIDAYS Dec. 28-30 MIKE JACOBS Dec. 31 HARDDOG BROWN and THE BLOODHOUNDS DOHlWSSMKim'SJAMS: SATURDAY 3-8 PM / SUNDAY BLUES MARATHON JAM 3PM-MIDNIGHT JACK LA VIN'S JAMS ARE SPONSORED BY MOTHER'S MUSIC AND THE DRUM SHOP OPEN EACH NIGHT PROM 9:30 PMTO 1:30 AM OPEN WEEKDAYS PROM 11:30 AM THE Ml|lT IS STILL A * mm thing \e the smoky torchy-lounge sound of Coal combined with Motorhead's "Ace of Spades"!* Then imagine the chubby pesky arena-rock of cub combined with Motorhead's "Killed by Death"!- Then to top it off, imagine a re-issue of Tankhog and Wind walker's infamous 1991 tribute to Ministry! All on CD EP! DECEMBER Q Spend Christmas with., theSm^lers! W rou Chmstmas Gtrr) "In «•** i_j .. to rM oa/ THecoM!y In *ne Mali of Fame CO Mom's the Devi/" AmtABU w (fAA/coursR at Sam's, Scratch, Track, Blast aa/o Zulu A/otvf £>** <^? bpirii oi IKeWesI with spec iaJ ones I ^Andrew Gash FRI. & SAT, Dec.lO& 11th Vogue Theatre 8pm Tickets available at all ______g__^* outlets, Track, and Highlife , or charge by phone at 280-4444 SAM'S INDIE STREET CHRIS FIELD ##.«» & the mystical express 12 EYES Three Song EP If you're in a band with cd's, cass.or 7" available, we will gladly sell your product on a consignment basis. For more info, contact Rob @ 684-3722 CAN'T FIND IT? SAM'S has Western Canada's Largest Selection and Most Comprehensive Request Service ^ AVAILABLE ^T^S^YMOMJDJWNTOWN]. FOUR FLOORS OF FUN! J 1 . % ^ 1 \m VANCOUVER m 1 * A W ft/ §*s2r/ b 1 K. ... IF ■ *M, 1 ■ #> HP FANZINES Schism #9 28 pgs — 8V2"xll" This issue could have been aptly titled the Born-Again Schism issue since issue #8 came out 6 years ago. But what a rebirth! A real strong support on vegetarianism and animal rights with political views spread throughout. Beginning with an explanation of the 'zine's new lease on life, jumping into posters as protest (complete with news paper clippings), following through to vivisection and political contracts, and rounding off with a trip to the kitchen (vegan recipes included!), Schism's layout is ofthe 90's, Macintosh laser printing type that's become overused lately or so it seems in the political field of 'zines. One could be turned off by all the slogans but ifyou agree with them they'll turn you on. Comparable to the look and feel of Punchline (with more dialogue) or No Answers (with less music). (P.O. Box 75119, Ritchie Postal Outlet, Edmonton, Alberta T6E6K1) Glamour Glue #2 24 pgs — 8V2"xll" Why was this issue stuck in an envelope with a million gold glitter flakes? You know, the kind you decorated every art project in Kindergarten with? My room is cov ered in them now and I hate having to vacuum! Anyway...Suede, Suede, Suede, I thought just the first issue featured a spotlight on Suede. Now I realize that this isn't a generic fanzine at all, it's a Suedezine—aimed at the fanatical Suede fan, weird, weird, weird. Everything to do with Suede...everything. I can not understand the fanatical attitude toward a band that already gets enough press in the mainstream to make a fanzine hke this seem necessary. The one page without any mention of Suede/Smilhs seemed to be a statement against zoos, which made it stand apart, and that was cool. I also admire the editor's laid-back attitude to people who make fun of Suede/Smiths, realizing they aren't for everyone. If it moves you, drive it. ($4 plus $0.86 postage in Canada to Glamour Glue, Box 41023-2529 Shaughnessy St., Port Coquitlam, B.C. V3C 3G0) Snotragn 60 pgs— 9I^'%VI{ Inspiring sketches and statements of freedom and life; the honesty in this 'zineshines strongerthanmost. Only a good conversation could come from reading this 'zine. Tlie editortookatriptoCent ral America andinsteadof bringing back friendship bracelets brought back some truth of what is swept under the rug. It made me realize how litde I know about a country that has so much American i ntervention—it's such a complex cover-up. If it all seems like too much, don't worry. You' 11 be carried through Snotrag with pages coveringissues on rape, racism in art, sexual oppression and general mi nd food. I learned a lot from this 'zine and if knowl- edgeisinvaluablethen$l is hardly a price, (send $1 to Snotrag , P.O. Box 1457, Station 'A', Vancouver, B.C. V6C 2P7) DEMO REVIEWS Kittens — Pony "Fucked" would be a good word to describe this band. Noise and repetition that makes you ask "What?" Pony begins with some guitar noise indulgence, hke a heavy Sonic Youth, but veers into some Steel Pole Bathtub, j^u- distortion. "Disturbing" would be another good word to describe Kittens. "Geez, they must be sorta cute and fluffy..." Naw, more Uke the monster that kills the kitten and spits the remains on yourdoor- step. Fucked. (267 Barker Blvd., Winnipeg, Manitoba R3R 2H4) Endorphines — Sex Like a Canadian Supposedly, the Endorphines have been around since'85, fadedoffin '89 and now arises again with this 2-song tape. The first song reminded me ofthe Violent Femmes so much as first that I thought they may have found an out-take and recorded over the vocal tracks. The second song was more mellow and reminded me of an acoustic Tubes song. That could be their influenceforhumour, who knows? (#209—1881 BrunswickSt., Halifax, Nova Scotia B3J 3L8) Color Wheel — s/t demo I' m led to believe that this band is mentally unstableorweird. I would describe this, at best, as up-tempo Gothic or at worst, cheez-rock. I' m not very kno wledged in either genre so I'll stop my babbling 12 Eyes — Demo Schmemo 12 Eyes have been around for quite some time, touring alot across the prairies through to Vancouver, but I don't know why we haven't seen any vinyl from them yet. Catchy pop-punk a la Youth Brigade on ^ u 1 fc "Consider The Alternative" *3sJ Foggls Captive Bead (ggr Jewellery Company • Piercings atThe Underground 710 Robson St. 684-6398 Thurs. - Sat. weekly " "no attitude"^ guaranteed Phone: 322-8924 the first track, and on tbe other an early Doughboys feel, complete with a vocal drawl. They rock hve and give it everything. However, it's unfortunate that there are so many pop-punk bands in Canada these days to make one go, "Oh, no, not another. "I hope that doesn't deter them. (934 Somerset Ave., Winnipeg, Manitoba R3T 1E7) Second Guessing It Only Rains in England for the Sake of American Tourists This get the Cool Tide Award on top of having really creative and ey e-catchi ng packagi ng. Thi s could be a solo project but I may be wrong. The vocals have a delay effect on them throughout the whole tape, which might nerve you at first, but you get used to it. Rotorcloud's singer guests on one song but his voice is effected as well, which I felt took away from hisbeautiful voice—oh, well. Musically, it's soft, layered, acoustic pop guitar tracks with soft percussion—a real airy type feel. Mood music. At first I couldn't recollect who they reminded me of, but I soon reali zed that I' ve reviewed an earliertape of theirs before...and it still stuck in my mind. (3573 W. 16th Ave, Vancouver, B.C., V6R 7G2) Motherwell — demo Four songs that went everywhere at the same time and, as I understand, that's the intention. Cool, but that makes it hard to listen to at times. The vocals seem to be bur ied most ofthe time (mumbled and hard to make out) and not always matching the dynamics ofthe band. I saw them live, by chance, at the Southwall and I could draw comparisons to the Rollins Band without Henry or free-form instrumentalists with mumbled vocals. If the vocals were more direct and upfront it might have brought it all together for me but I guess I just don't understand where they're coming fromor what they'retrying to do. (c/o Jim Knight, 2037 E. 8th Ave., Vancouver, B.C. V5N 1V3) Ragamaroons — Here Cometh the Beefetha Trucketh Winnipeg's only 10-piece worid beat band. I guess that says it all, really. Ifyou hke Roots Roundup or Ngoma, you will probably hke the Ragamaroons: humour, politics and alot of pot. Um...yeah. (#3- 111 Lewis St., Winnipeg, Manitoba, R3L1W8) Sinus Envy — Karkalark Park Igot an early punkfeel out ofthis— Vancouver punk: D.O.A. or Slow. I missed the early punk scene so maybe that's why I don't understand. Bar-punk, maybe? I have a feeling that they are entertaining hve...humorous? I'll bet they even dress up in silly clothes. Kid Champion — demo I guess I fell victim to some hype surrounding this band: new band, plays some shows, Mint Records instantly offers to put a 7" out for Ihem...that's suppose to mean something? From this basement recording I couldn't quite grasp the excitement. I could hear the Pavement (synonymous for 4-track recording) influence but it seemed more disjointed and, sadly, more out of tune at times. Maybe that's the point. Maybe I should sec them live. Maybe this recording is old. Maybe I'm really scared of missing the cool hype wagon and afraid to say "me- diocre"incase I'm proven wrong. I have a feeling that this band hangs with the Blaise Pascal and/or Horsey crowd (an assumption to make a comparison). If you're in a mellow/ depressed mood, the ability to hke Kid Champion increases. ALL—AGES SHOWS Sat. 18th - Benefit Bash for the Animal Liberation Front Support Group (ALFSG) w/ Strain, Stovebolt, Insult to Injury and the Deprogrammers at the Southwall (LonsdaleRec. Centre, North Van.). ATTENTION — Ifyou would hke your all-ages shows mentioned in "VancouverSpecial," drop off, mail or fax (no phone calls, please) lw_ copies of the notice of your show (one for inclusion in this column and one for on-air mention) to: All-Ages Listings, c/o "Vancouver Special," Discorder Magazine, rm #233-6138 Sub Blvd., Vancouver, B.C., V6T 1Z1 Fax# (604) 822-9364. COQUITLAM STORE IS MOVING CHEAP SHIT MAN U VANCOUVER 872-2999 COQUITLAM 931-5070 DECEMBER © Jesus Lizard Cop Shoot Cop Superconductor Commodore Ballroom Sunday, October 31 Halloween '93 was hosted by the one and only Jesus Lizard so, naturally, this would be the best Halloween ever. Perfect match wouldn't you say? Superconductor, less a few members but still gigantic live, started off to an empty floor that slowly filled up. They seem to have mastered stage volume, as everyone' s playing was discemable, but the soundman buned the vocals for theirentireset. I sawSuperconduc- tor aboul a year-and-a-half ago and I thought the smoke machine was to hide the fact that they couldn't play all that well. If tliat was the case, I liave no idea why they brought it out again because they are amazing now. Smoke machines usually stink hke chalk but theirs smelled like a creamy almond potpourri, wluch was rather interesting. Maybe they pul milkshakes or something inside. Superconductor rocked and peoplegravitaled to the stagelike bugs lo alight and sniffed away. They were great and that drummer is awesome. A mean and nasly Cop Shoot Cop pounded out a long set of industrial bass weirdness that was super heavy. Some parts were drawn out and repetitious but they had a great hypnotic effect. They slammed through songs sounding like Skinny Puppy meeting the Jon Spencer Blues Explosion on a dark NYC subway, while pumpkins were lobbed and happily returned to the stage in fragments. They were mesmerizing and the power was amazing, kind of like Hitting Birth's evil, deformed cousin. Cop Shoot Cop were unique, experimental andextremely punk rock (if you think about it). Opening for Jesus Lizard is a tough job and both bands did great. Tlie crowd was primed and ready forthe Lords to come on and take us away when Jesus Lizard hit the stage. Their fifth trip to Vancouver, Jesus Lizard ripped everybody's eyes out and put them back in backwards. During the second 28 ESKgojxjs^j. song, vocalist David Yow lost his costume as he dove for the first of many times into thecrowd, returning to the stage with only his lovely fishnets on. The night proceeded with him wearing (and destroying) garments that landed on the stage. He danced, and screamed, and spit, and eased his way through songs as old as "Chrome," from their first 7", all the way to three songs that have yet to be released. Bassist David Sims was in a great moot! and ripped through the set all the while wearing his hilarious bunny suit. Duane Denison hung around his amp being way too damn cool for the whole lot of you and Mac McNeilly played his drums like it was lus last time: eyes closed and arms flailing, he looks hke he's made of rubber when he gets going. Everything was super-tight and Yow didn'l miss a beat singing while floundering on a sea of heads. Il was great lo see them in a larger venue this time and Yow made maximum use of every inch of the stage, naked all night, magnificent peacock-king ofthe indie underworld. Andre McGillivray Forbidden Dimension The Loved One Lunatic Fringe Sunday, November 7 Although the Loved One was playing to an almost empty Lunatic Fringe, these guys put on a pretty good show. (You golta love thai Midi cello. Tins element alone is the bamer separating them from the rest of the guitar-dominated world.) I found them to be a little repetitious after the fourth or fifth song, nevertheless these guys are worth checking out if not just to hear the belching sound of the electric cello. I'll give Ihe Loved One 6 oul of 10 shrunken heads on a stick for their performance. Tlie Forbidden Dimension were nol what I expected. Tom Bagley and crew put on a true creep show. With their pale wliite zombie exteriors, projected kitch honor flick images, and a signpost pointing the proper direction to the forbidden dimension, the Forbidden Dimension would have made a fine house band at the funeral of now deceased Vincent Price, to whom they pay homage to. They are truly the incarnate spirits of punkabilly rock V roll. Their sound has the tainted blood ofthe Cramps running through their ;, with the barking wolfhound of Calgary nipping at their heels. For those who didn't show, and judging by the turnout I'm guessing that's most of you, I can only stress that you shouldn' t miss them the next time they slitherintotown. I'm giving these guys 10 out of 10 shrunken heads on a stick. Bug Edna Special Beat Skatalites The Selecter The Toasters Commodore Ballroom Monday, November 8 A itf most fundamental level, pop/ rock can be broken down into two rhythmic components: backbeat and downbeat. If you like linedancing and clapping along to Robert Palmer songs, chances are you're a downbeat guy or gal. However, if you are inclined to a crisp and articulate backbeat sound, chances are you may have to make a concession...that the ska/reggae beat rules! Bom of afro-spanish roots in the West Indies, ska had its genesis in early calypso and the brass dance band music of Jamaica. Drugs and rasta culture slowed the beat down lo the reggae and dub styles we know today, but the faster ska sound found a welcome home in England where it amalgamated with the mod/punk movements of ihe time. With its emphasis on racially mixed bands, social/political commentary, and mod clothes and lifestyles, the ska and rock steady sound appealed lo the disenchanted generation of kids emerging from the fallout of white sixties rock and seventies disco. Bands came and went and new wave usurped the musical spotlight in the early eighties. But by Ihe end ofthe last decade English style ska was on the upswing again, with an added dash of funk. Older bands, taking advantage of the revival, reformed and started touring and putting out new-recorded material (although groups such as Buster Bloodvessel's Bad Manners have been putting on excellent live shows for nearly a decade). However, younger generations of ska bands from all over Ihe world have been putting out well-written, fast-paced and highly energetic material in recent years as well. So I wondered, as I headed down to the show, how these reformed former mega-giants would compare against the mythology wliich inevitably gets built around them and the general quality of Well, I must report that these patriarchs (and sole matriarch) of the ska family definitely earned their place at the head ofthe table. band who have been around for years (and whom some consider the best ska band currenUy active), were up first and put on a rapid-fire and delightfully tight set (including band member stage dives into the audience alaFishbone)—much different than the somewhat lightweight quality of their recorded material (bonus points for asuperb hom section). The Selecter was up next and, despite a shaky start, quickly sped into a fine selection of old stuff, including 'Train to Skaville," "Missing Words," the inevitable cover of "Too Much Pressure," and the crowd pleaser, "James Bond the Killer." Much of the band's success lay in lead singer Pauline Black's unbounded enthusiasm and humour. The Skatalites, one of the original Jamaican groups, primarily a large brass ensemble, transformed the Commodore into what seemed like a southern street festival: raw and boisterous, playing the older, slow steady beat and mixing in Cuban and Latin themes. The Skatalites drew enormous applause, and rightly so. These guys have been playing since the forties and fifties and are still giving it their best! Finally, after a long intermission, and ncaring one 1:00 AM, the Special Beat emerged onstage featuring, among others, Neville Staples, John Bradbury, and Roddy Radiation (if I'm not mistaken) of theSpecials and Ranking Roger of the English Beat (whose unexpected presence brought gasps of surprise from the crowd). They rocketed through a raft of old Specials and Beat tunes, and a couple of new pieces, balancing fast and slow (somelhing all bands should do) and playfully interacting with Ihe front, including tolerating divers and a few improvised duets with audience members. The set highlight was definitely a blistering version of "Mirror in the Bathroom"! Judging by the number of Vespas parked outside (some from Washington) and the credible number of mod suits inside, it seems ska culture is alive and well. Its emphasis on racial tolerance, social acuity, anti-fascism, and geeky (thus hip) clothes and body shapes (as opposed to all the suriy, pouty, pretty-boy/girl fashion bands around today) make it a worthy pursuit. Keep on skankin'! J. Boldt Bad Brains Prong Commodore Ballroom Wednesday, November 10 I wish I could say that I am a longtime Bad Brains fan, and that I've always harboured a dream of seeing them in concert, and how they lived up to my expectations, so on and so forth. I can't. My first encounter with their music was about two weeks ago. I was intrigued enough that I went to the show to find out what they were all about. And I was impressed. Fronted by a singer who at times looked possessed, this four- piece band puts out some really exciting music; the crowd was sweating by the end of the first song. I just couldn't stay still and soon found myself in the middle of the mosh and up against the bar rier. This was the music and the atmosphere that I had been craving fora long time. This is the ultimate music to thrash to. What still stands out in my mind are the really funky bass lines t hat were loud enough in the mix to satisfy my taste. Most bands are guilty of not having the bass loud enough to really let you hear it, but Bad Brains weren't guilty of this and it was hot. The drummer was solid and ught, putting out a rhythm that was a really cool mix of reggae grooves and a solid punk beat. Backed by the solid, funky rhythm section, the guitarist drifted from punk to reggae to metal. Exciting and refreshing. It's a pleasure to hear a group who doesn't have a bunch of songs that sound the same. Bad Brains do not only want to emanate the vibes of love but they want to give out a message of peace and brotherhood. Their new singer supports this by imploring the crowd to not tolerate racism. He made a special plea by telling us that we have to reach out and help our native brothers and sisters. The crowd's response was loud and enthusiastic but, for some reason, I had the feeling that the true message went by most of those who cheered. Robin Beech Dead Can Dance Vogue Theatre Friday, November 12 Dead Can Dance took music to its highest level as a form of art. Not constraining themselves to aural formulaic Western-centric music, their continual ethnic melodies took me lo another world. Lisa Gerrard stood behind a podium and one couldn't help but get the feeling of being at a sermon. And that analogy isn't too far off. Her voice was absolutely amazing. I heard a remark that if she had sung the way she did that night without music, she'd probably be just as famous on her own ("famous" being a loose Brendan Parry, however, stoletheshow. At times, Gerrard's voice annoyed me but Parry's voice was soothing, and his knowledge, as well as the band's knowledge, of the mandolin, lute, koto, biwa, music box, sitar, flamenco finger- cymbals, gongs, chimes, and various percussion instruments astounded even cynical me. I got particularly excited when a flute solo was performed. Harkening back to Chinese folk melodies of the Song dynasty, it was a trip to another time; a good indication of how powerful a little melody can be, huh? Christian Lemonheads Hole Waft Mink Commodore Ballroom Saturday, November 13 I was going to write an open letter to Courtney Love, to parallel my good buddy Biffs to Evan Dando, but I found I really had nothing to say to her. The faux-punk styling of Hole left me utterly bored of the whole (pun completely intended) phenomenon. I'll grant the band that the audience, not exactly receptive, was probably comprised mainly of Lemonheads fans. Nonetheless, after an hourof their music I was among those Love told to "fuck off" in response to their boos. Perhaps the year as Spin magazine's unofficial voice of women in rock has taken its toll on Love's throat but her atonal singing (screaming?) "style" added nothing to Hole's essentially uninteresting songs. 'Fat? Did you call me fat? There's not an ounceoffat on me!" was Love's idea of between-song banter and clearly indicative of her devotion to the advancement of the perception of women. Maybe playing a punk rock groupie in Alex Cox's Sid and Nancy gave her the idea that anyone with a bad ass attitude, affected or not, could be in a band. Unfortunately, for most, musical talent also has to factorinto the equation somewhere. In any case, I'm sure Hole feels for me exacdy the same thing I feel for them: nothing. Wow, aren't we all hardcore? Tania Bolskaya Dear Evan, Please, help me. I'm so confused, I just don't know what to make of you. There I was at the Commodore last Saturday night, in eager anticipation of bopping along live to your latest pop musings. My hopes were high that the great venue and sold-out show would inspi re an above-average performance. Instead, you came out and whipped through every song like you were bored by being there. Now, granted, I was very tired and sober, and couldn't afford to get drunk paying the Commodore $4.50 foreach warm beer, but even in the most giddy state of mind I think I would have been yawning. You never engaged in lively banter with the audience, except to say a few humble "thank-you"s. You never moved your feet, nor do I recall you ever even looking at the What's wrong Evan? In your latest video you look so happy and carefree but onstage you could barely manage more than a few hair flips. Have you suddenly become a shy and awkward soul frightened to look out past your bangs? Impossible to believe when your dippy face beams out from every magazine rack like a lighthouse for teenage girls whose pubescent pinings have gone adrift while waiting for the second Barenaked Ladies album. Perhaps you have a surly and anti-social quota to maintain if you wish to keep the first half of your "altema- hunk," monicker. Whatever the reason, Evan, I was thoroughly disappointed. Watching you in concert was like looking at an out of focus pin-up while listening to your albums. Oh well, maybe next time you'll be better rested for your big day. Your's respectfully, Biff Paradise NOVEMBER 93 LONG VIN YL50 1 SEAWEED FOUR SUB POP 2 SWERVEDRIVER MESCAL HEAD A&M 3 SUPERCONDUCTOR HIT SONGS FOR GIRLS BONER 4 YOLATENGO PAINFUL MATADOR 5 UNWOUND FAKE TRAIN KILL ROCK STARS 6 THE BOO RADLEYS GIANT STEPS COLUMBIA 7 ERICS TRIP LOVE TARA SUB POP 8 DEAD CAN DANCE INTO THE LABYRINTH 4AD g TEENAGE FANCLUB THIRTEEN GEFFEN 10 ARCHERS OF LOAF CKY METTLE ALIAS 11 REVOLTING COCKS LINGER FCKEN' GOOD... SIRE 12 DIE KRUPPS A TRIBUTE TO METTALCA HOLLYWOOD 13 HAZEL TOREADOR OF LOVE SUB POP 14 THE NIGHTBLOOMS 24 DAYS AT CATASTROPHE CAFE SEED 15 ROSE CHRONICLES DEAD AND GONE TO HEAVEN NETTWERK 16 MAZZY STAR SO TONIGHT THAT 1 MIGHT SEE CAPITOL 17 STEREOLAB TRANSIENT RANDOM-NOISE... ELEKTRA 18 FRONT 242 05:22:09:12 EPIC 19 CUB BETT IE-COLA MINT 20 KING KONG FUNNY FARM DRAG CITY 21 SEAM THE PROBLEM WITH ME TOUCH & GO 22 PIGFACE TRUTH WILL OUT INVISIBLE 23 THE BREEDERS LAST SPLASH 4AD 24 KMFDM ANGST WAX TRAX 25 MUDHONEY FIVE DOLLAR BOB'S MOCK COOTER REPRISE 26 BZJAM WELCOME TO HONKYSVILLE... SUGAR 27 COCTEAU TWINS FOUR-CALENDAR CAFE FONTANA 28 THE MELVINS HOUDINI ATLANTIC 20 NIRVANA IN UTERO GEFFEN 30 POLYPHEMUS SCRAPBOOKOF MADNESS BEGGARS BANQUET 31 REDD KROSS PHASESHIFTER THIS WAY UP 32 NEWKNGDOM HEAVY LOAD GEE STREET 33 BIG STAR COLUMBIA-LIVE AT MISSOURI BMG 34 THE LEMONHEADS COME ON FEEL.. ATLANTIC 35 CAHO YEAR AFTER YEAR CAROLINE 36 ORBITAL ORBITAL 2 FFRR 37 TAD INHALER GIANT 38 PSYKOSONIK PSYCHOSONIK WAX TRAX 38 ST JOHNNY HtGHASAWTE CAROLINE 40 LES THUGS AS HAPPY AS POSSIBLE SUB POP 41 DON CABALLERO FOR RESPECT TOUCH & GO 42 THE SPNANES MANOS SUB POP 43 MECCA NORMAL FLOOD PLAIN K 44 TWNWNG FEILERS UNION ADMONISHING THE BISHOPS MATADOR 45 GEORGE CUMTON HEY MAN.SMELL MY FINGER WARNER 46 THE THRILL KU KULT 13 ABOVE THE NIGHT INTERSCOPE 47 PEGBOY FORE 1/4 STICK 48 PJ HARVEY 4-TRACK DEMOS ISLAND 40 MOTORHEAD BASTARDS XYZ 50 HOLY ROLLERS HOLY ROLLERS DISCHORD NOVEMBER 93 INDIE HOME JOBS NOVEMBER < 13 SHORT \ /INYL 35 1 BIKINI KILL NEW RADIO 7' KILL ROCK STARS 2JALE EMMA 7' DERIVATIVE 3THORSEN EG-.SAGA7- MEAT 4 PANSY DIVISION TOUCH MY JOE CAMEL T LOOKOUT 5RAOOUL FRESH AND NUBILE 7' LOOKOUT 6PERFUME TREE REMOTE EP ZULU 7NEUTRAL MILK HOTEL EVERYTHING IS... 7' CHER DOLL 8SISTER LOVERS PAULA STOP PRETENDING 7' HORRIFYING CIRCUS 8HORSEY SELF TITLED T TRACKSHUN 10 THE SHAMS SEDUSIA EP MATADOR 11THE FRUMPIES BABIES AND BUNNIES T KILL ROCK STARS 12CAT FOOD LOST CAUSE T CARVING KNIFE 13STEREOLAB/UNREST SPLIT 7" TEENBEAT 14BETTIE SERVEERT KID'S ALLRIGHT EP MATADOR 15 THE SMEARS KICKED MY BUTT T HELL YEAH 16 KILLDOZER THE PIG WAS COOL T TOUCH AND GO 17THE CUPID CAR CLUB FOUR SONG 7' KILL ROCK STARS 18PINEAPPLES SHE BRINGS ME DOWN 7' PLACEBO 10 HAIR AND SKIN TRADING CO. GO ROUND EP BEGGARS BANQUET 20 CRAYON THE SNAP-TIGHT WARS 7' HARRIET 21 MOBY MOVEEP ELEKTRA 22 CATHERINE WHEEL SHOW ME MARY 7' FONTANA 23 BUTT TRUMPET 1 LEFT MY FLANNEL IN SEATTLE 7' HELL YEAH 24SOAP' JOH HENSHI BYOIN DE GO T SCRATCH 253DS BEAUTIFUL THINGS T MERGE 26SIX CENTS AND NATALIE SCX CENTS AND NATALIE T HARRIET 27 BLOOM CRUSH/RAIL T PAINT CHIP 28 MAN OR ASTROMAN? SUPERSONIC TOOTHBRUSH HELMET T GET HIP 29VCTIM*5 FAMILY MAYBE IF 1... T ALTERNATIVE TENTACLES 30 FIFTH COLUMN ALL WOMEN ARE BITCHES T K 31 FINGER FINGER T THIRD SISTER 32 HITTING BIRTH HALLELUJAH T WILL I33GUS GUS T HEADRUSH 1 34THE ODD NUMBERS SO MANY GIRLS T EIGHT ONE NINE 1 35 DELILAH DELILAH 7' MEAT 1 MEET DAISY SHINY 2 WD CHAMPION SEvEN FORTY SEVEN 3 MARK (FROM HORSEY) SPRINGCHICKEN •» TICKLE TRUNK REVOLUTION 5 10 DAYS LATE UPON THE ROOF • COAL ACE OF SPADES 7 BLAISE PASCAL SPOTLIGHT MOD ■ WINDWALKER KNIGHT MOVES • TIGER BEAT ONE DOZEN HAPPY DAYS 10 HUGO TIME OF DAY 11 REAL MCKENZIES PLIERS ia THE VINAIGRETTES FISHING FOR A TROUT 13 WMUNEWN ALWAYS CLEANING UP AFTER YOU 14 CURT JULIANA IS CONSPIRACY-A-GO-GO MAMACITA W SICKO FB SONG » ASHES ROOFTOP "• MOVIELAND (A SORT OF) ICARUS 1» THE BOMBSHELLS IS THERE A PLACE? 20 KARLMOHR THE SKY IS ON FIRE HOME BASS COUNTDOWN TO ARMAGEDDON 1 BKXHIPC. 2 FORCE MASS MOTION 3 UP ABOVE THE WORLD 4 MIND CANDY 5 ILSAGOLD • THE PRODIGY 7 TECHNOHEAD FORCE INC/GERMANY i NUTfi )GEN THE RISING SON 10 HOUSE PIMPS C8EP SONIK SOURCE EP TRYING TO REACH YOU IM GOING MAD UPSOLUTE EP ONE LOVE EP PASSION EP BATTLE OF THE NEURONS THUNDERPUSSY/NTHLDS AFGHAN ACID XPERIMENTAL/USA GET THE HOOK (ILSA GOLD REMIX) WHITE LABEL EXIST DANCE/USA STRENGTH/USA TENSION/USA XL/UK REACT/UK DINOSAUR ROCK DISCORDER CHARTS 10 YEARS AGO 1 PUBLIC IMAGE LTD LIVE IN TOKYO 2 X MORE FUN IN THE REAL WORLD 3 GANG OF FOUR HARD 4 IGGY POP AND THE STOOGES I GOT A RIGHT 5 XTC MUMMER 6 ELVIS COSTELLO PUNCH THE CLOCK 7 TALKING HEADS SPEAKING IN TONQUES 8 ECHO & THE BUNNYMEN PORCUPINE 0 THE CRAMPS SMELL OF FEMALE 10 SIOUXIE 8c THE BANSHIES A KISS IN THE DREAMHOUSE -THC HUNGRY EYE _*»3 W. CQRt>DVA JT. b88-535l FRIDAY l>C<. 3 DECEMBER Q) The Stoaters Keep the Head (Turtle Records) Ah, die Stoaters ...just a of their name brings back memories of many a drunken night at local night-spots, whooping it up while irying to stagger-dance to dieir raucous, energetic Celtic beat But it's been a while since dus lad's seen the Sloe'ers. I moved on (down) to a dingier scene, cheaper hootch and louder music while The Stoaters seems lo have move on as well, although in the opposite direction, lo die world of Big Album Rock. One would assume that it's amightmore difficult-) translate the traditional acoustic side of Celtic rock music to die digital age dian it is with a loud guitar rock band, but many groups, such as the Pogues or Spirit of the West, have risked it and have had many pleasing and successful results. So the question is "what happened here?" Keep The Head is a disappointing listen. The strong ElectroSonic NoiseTek FutureCore Neural Stimulation Event WEDNESDAY, DECEMBER 8 Peaturinq: Glenn Scott WITH OREO LAWRENCE | POLYTEK SYSTEMS RECORDING ARTISTS A childrem of a Tom HUNGRY EYE NigbtClub VIDEO SLIDES FILM VIDEO SLIDES FILM VIDEO SLIDES FILM Glenn Scott's solo art show Dec. 8-15 Opening night $4 ADMISSION - PROPER ID REQUIRED E[JECTR" PN»-' .■..»■»■»■-. !-■ -■ : ' 111 i lilll I ' « ■-" I i n FAC0O1 F3kxnec_-iano*_. Q^be-chrtst Send cash or IMO (Payable to A. Amy. fc» Canadian tunas, please) to: FACTORIA B.C. 3139 Ducness Avenue North" V7K 3B7 live vocals of Dennis and Robert seem buried on most tunes, as does most of the low-end, making the mandolin, acoustic guitar and percussion give off an annoying tinny din. The toe-tapping beat is still there, as are the of accompanying i such as bagpipes, organs and flutes. There are even two live numbers tacked on to the end as if to say, "don't worry, we can still shake it up live." But that credit doesn't help here. Then again, I could still be considered a "mixed up youth" and, as the Stoaters are certainly no spring chickens, this album may be more appealing to the thirtysomething sect. As for me, I'll look forward to more drunken romps live from the stage. Grant Lawrence 30 e_R_Pu-urn*:* Curve Cuckoo (Anxious/Charisma) Curve initially burst onto an English indie scene desperate to foil all the down-to-earth laddishness of die Manchester scene. The first three EPs with their vicious, cerebral attacks of songs like "Coast is Clear" and "Ten Little Girls," hinted at the emergence of a potentially great band: a bastard cross between Siouxsie and the Banshees and N.I.N.. Then came the debut album, Doppelganger, a major let down which was content to wallow in godiic pretensions rather than express any real aggression. So Curve had something to prove with Cuckoo; to some extent they' ve fulfilled their initial promise. Many of the lyrics on the album were inspired by singer Toni Halliday's bitter, emotional break up widi her boyfriend and producer, Alan Moulder. This gives the album a very dark, genuinely harrowing feel. Combined with this is a greater musical eclecticism. "Left of Mother," forinstance, isdistinctly Eastern-tinged making it very reminiscent of a 90's version of Echo and the Bunnymen's Tlie However, the problem widi Cuckoo, as with Doppelganger, is that when Curve hit upon a formula, albcitapretty goodone, they stick very rigidly to it. Thus, the album becomes monotonous at times, blunting its passionate edge. Curve could still fulfil their initial promise. They just need to experiment a bit more and be prepared to fall flat 01 When they do this they're music will become genuinely dangerous. Cuckoo is a step in the right direction but not quite a big enough. Simon Hemelryk Engine Kid Bear Catching Fish (C/Z) Forget all that you' ve heard in the past about Engine Kid ("Post Hardcore"?). Forget the Slint comparisons, Engine Kid possess a sound all of theirown. Atwisted, convoluted, sometimes tortured, often times beautiful sound. Bear Catching Fish is eight long, long tracks seemingly lacking structure in any conventional sense, awash in a cascade of noise and discordant guitar. Sometimes hypnotizing and soodnng. Sometimes a full- on barrage of noise for noise's sake. Soft then hard and heavy. Loud then quiet. A subdued ultimate climax, tapering off to once again tempt to lull you back Regardless of whether Ihis was recorded in "the basement of some guy's brick house" in Chicago (I guess that can help sell a lot of records). Bear Catching Fish stands tall and proud on its own merits and unique sound. Eric Flexyourhead Radio Wendy (Sympathy For the Record Industry) If I tried to tell you that this young, San Diego quartet doesn't sound like Rocket From the Crypt I'd be lying. Sure, they've got enough chops to fill a butcher shop but something tells me this ain't grade "A" quality. Maybe I'm not giving diem enough credit, but when I listen to songs like "Mean Edier" and "Badassteriod" and start humming RFTC lyrics, I start to worry. Good in theory but not in practice. Bryce Dunn The Gun Club Fire of Love (Slash) Those of you who were caught in a hardcore haze in the halcyon days of punk rock may have lost this in the shuffle. Fire of Love introduced Gun Club as a wailing wallof noisy blues, inspiring both the minions of lower east side NY noisesters, and stimulating the southwest cowpunk movement. Without this 1981 release there would have been no Pussy Galore, no Giant Sand, and no Royal Trux. We owe these guys something. Fire of Love was supposedly recorded on a three-day spree of cheap amphetamines and good vibes. The aura of positive occurrence is all over it, and when "Fire Spirit" breaks through the chorus into the bridge there is a Utopian energy that belongs to everyone. The blues acuity of guitarist Ward Do tson and singer Jeffrey Lee Pierce carries Fire, a meld of abrasively vibrant guitar and well-timed serenity. This is the Gun Club's shining moment. Nowadays they can be found in that Potter's Field of those formerly great, unwashed bands of yesterday. Part three chord scree, part electrified Robert Johnson, Fire of Love is a naively genuine release from a bunch of doped up guys who just wanted to preach the blues die best way diey could. Steve Miller Residents-visit-the-circus instrumental that just might be the soundtrack to the cool black and white picture book that accompanies the package. Definitely a must for fans of contemporary American ska, but I'11 stick to my Skataliteboodegs. Dave O'Rama Kirsty MacColl Titanic Days (I.R.S.) I have to admit, it took half-a- dozen listens before I started to enjoy this latest offering from Ms. MacColl. In her defence, it took me that long to weed through the muddy production which isn't helped any by MacColl's voice. As sweet and distinctive as it may be, it's not powerful enough to grab the listener initially. Kirsty MacColl has at times been likened to the late (& great) Sandy Denny and on this release she carries the torch admirably. Nothing wrong with that. Nothing wrong lyrically either, there's plenty to listen to here. Most of the songs are collaborations with Mark E. Nevin, there's also one with Johnny Marr, but ultimately it's MacColl's strength as a lyricist that satisfies. Musically, Titanic Days sounds kind of folky in a British pop way. There are enough surprises though to bring the overall sound up to date and make the album worth the effort. Norm van Rassel Tiny Hat Orchestra Funhaus (Scrap Yard Records) I'm a hard-boiled fan of original Jamaican ska. Artists from the early sixties such as Lord Comic, The Skatalites and Lee King Perry are Gods tome. They truly posses their groove licences. Even the ska revivalists of Britain in the early eighties wore their passion and dedication for ska's Jamaican origins boldly on their sleeves. Heck, The Specials even had the legendary trombonist Rico Rodrigues in their ranks. Unfortunately, the current crop of American ska enthusiast- seem to think that ska originated in 1980. Consequentially, a third- generation, watered-down version of ska which pays more tribute to the pop qualities of the British revivalists and retains almost none of the jazzy grooves of original Jamaican ska, is produced Tiny Hat Orchestra primarily plays diird-generation, Nordi American ska. If you like that stuff then their newest release, Funhaus, will be quite a treat. It- origins are in ska, yet the Tiny Hats arequite ambitious, blending rock, Latin jazz and Carnival music styles into their mix. The tracks "Rat City " and "Epilogue" stood out but the most pleasant surprise was the uncredited ten- minute bonus track hidden at die end of the CD. A kind of Fudge The Ferocious Rhythm of Precise Laziness... (Caroline) I went to Oregon. Fudge came along. We had quite an adventure. We watched and giggled as our driver was scolded by a portly Bellingham police officer. We admired die driftwood artwork in a suburban McDonald's. Fudge was there with me spinning "Oreo Dust," "Peanut Butter" and "Pez" gendy into my ears. The dream of the American grocer pervaded the air like a pine flavoured car freshener. We watched a kite flying competition and laughed at the hairy, mama's-boy contestant-. The sand was like icing sugar between our toes. ...Precise Laziness..., indeed. Fudge is far from overproduced and provides pretty, mellow and energetic melodies for any occasion. Icouldn'thave chose a more suitable travel companion for accompanying me on such monotonous highways. Fudge sings in a Grapes of Wrath vein and the music itself is reflective of Pond and the Smashing Pumpkins (minus the aggression). Fudge is straightforward and still admirable in spite of not breaking or bending any alternative rules. Yep, with Fudge and I the good times havejust begun. Sure, there's a lot we don' t know about each other yet, in fact, we're hardly as familiar as I'd like us to be. I'm often astounded that I've allowed our relationship to go this far with such a limited exchange of vital information. We'll work on it. I can't tell you where Fudge comes from, nor do I hazard any guesses on their junk- food fetishes, but this is certainly a "so far, so good" situation. Emma Lauder Eric's Trip Love Tara (Sub Pop) Since the release of their two EPs, PeterandSongsAboutChris, earlier this year, Moncton's Eric' s Trip haveleftmany an indie music fan drooling for more of their folk-style punk material. Anticipation of a full-length release equalled the desperation of a strung-outjunkie waiting for the next fix. Anxiety led to paranoia: Could Eric's Trip fill a whole LP with good material? When was that dang LP comin' out? Eric who? WeU, the debut LP, Love Tara, is finally out and it isn't an overdose. The 37 minutes of subtlety and understatement have only increased the output from my salivary glands. Yeah, once again, less is more. Needless to say (but I will), this album is a gem. To be honest, I didn't quite fall head over heels for Tara at first sight. Sure, upbeat tracks like "Anytime You Want," "Sunlight" and "Spring" caught me from the get-go ("Frame" is a classic), but it was over the next couple of listens that the rest of thealbumcreptuponme. Suffice it to say that the silent killers were tracks like "Stove," "Secret for Julie" and "May 11," the more quirky folk-inspired tunes that really complete the Eric's Trip sound. Julie Doiron's soft voice is essential to the Eric's Trip simple, honest ambience but it's her bone-chilling shrill (a la Sonic Youth's Kim Gordon) in "Blinded" that put the icing on All these goodies are delivered in an excellently produced album, taking lo-fi to new heights. Or is that depths? Word has it that Eric herself is a great Uve act. WeU, Love Tara proves that they rule on wax too. Absolutely worth the purchase, even if you're, like, starving or something. Adam Traynor Hey there, Spuds'! The last few months, in a cheap attempt to wrangle some mail from you, I launched a little, sort of, contest thing. The quest? I was trying to see how many people actually read my piddlyli'lcolumnandhowfaraway they were. The prize? Alovely, li'l, canned meat treasure!!!!! The winner? Read on! Mr. Mofo, Greetingsfrom the land of the ham- burgervending machine. Justwrit- ing to express my enjoyment of your column. Various slugs I know in Vancouver usually manage to send me Discorder (the most recent Devil Dogs Saturday Night Fever (Crypt) It's Saturday night and everything's alright. You look at your invitation once more with amazement: "We are the Devil Dogs and you are invited to a party." You've been to their big beef bonanzas before, so you just know this shindig is gonna be a doozie. The fabulous Andy G. greets you at the door: aU smiles; all charm. The latest platter is spinnin' up a storm, the perfect compliment for a perfect party. It's Saturday night and the Devil Dogs make it outta sight!! Bryce Dunn are already weU-versed in the sounds of punk rock, this album sounds really, really dated. The attitude is purely working class, beer-drinker-out-to-get-laid and pissed at the cops because of it all. You know, the same stuff every other band that takes themselves only semi-seriously is about. I found it pretty boring and would rather spendmy money onsomeoldD.OA.orsomething. ERI 9 Problem Children The Kids Next Door (En Guard) If you are just now discovering the wonders of punk rock, this is apretty good place to start. Ifyou Front 242 05:22:09:12 Off (Epic/Sony) Recendy, I had begun to wonder if industrial music had exhausted itsetf. With some bands moving toward techno and others toward thrash, could it be that cyber- bands were a thing of the past? This is not your father's Front 242. Off is the best direction the band and industrial music have taken in the past year or two. That means don't expect a series of top ten hits like they attempted with Up Evil, their uneven album from earlier this year. Rather, Off is a connected coUection of stightiy ambient "related" pieces—it's almost a concept album, I suppose. If Pink Floyd did industrial music it might sound a bit like this. This i s a really strong album, made stronger by the presence of female vocals on a number of the tracks—it's about bloody time, and it sounds great. Admittedly, some of the vocals marred otherwise perfect tracks, but that is a matter of opinion, and production. Disagreements aside, the album is of a superior nature. Off is probably the best album to be released by Front 242 in years, which is saying something, and is undoubtedly the highlight of an otherwise drab year for industrial music. And thank God industrial music seems to have moved beyond cyberbit raving and silly men jumping around in black shirts. Off may just be the watershed for the next direction in industrial sound. Gustav The Wonder Stuff Construction For the Modern Idiot (Polygram) Wonder Stuff singles have always, without exception, been great. Witness the four-minute pop explosions that were "Golden Green," "The Size of a Cow" and "Don't Let Me Down (Gendy)". However, no-one could honesdy stand up in the court of taste and say that any Wonder Stuff album has been an essential item. So they had something to prove with Construction for the Modern Idiot. Unfortunately, it is even less essential than its predecessors. Construction For the Modern Idiot is an album that redefines the expression "a curates' egg" (ie good in parts). It's the typeof album that the skip function on aCD player was made for. It's a frustrating album. After the shameless pop delights of the first fewsongsyou are aboutready to start thinking in terms of a classic. "Change Every Light Bulb" and "I Wish Them All Dead" are packed with zest and venom in equal measure, while "Hot Love Now" simply swoons. Best of aU is "Cabin Fever" which picks up where "Size of a Cow," bouncing along with the self- confidence of a song that knows it's gonna be played at student discos until hell freezes over, left off. But then suddenly, from "Full of Life" onwards, itall tails off into a drab display of Wonder Stuff-by-numbers. "On The Ropes" does its best to get Construction... off the ropes momentarily, but dien it's back to bland nothingness. Theclosing issue courtesy Nardwaur), and the Psychosonic Pix is always a highlight. The 21st of every month here is a day you 'd love. One ofthe largest temples in Osaka holds a flea market on that—date you 'd pee yourself in excitement. Scads ofusedvinyl— '60s Japanese bands and all sorts of non- occidental weirdness. Unfortunately, I have nothing of the sort to send you—/ use my stipend to buy green vinyl shoes and old snapshots of folks Tvenevermet. Saidevent occursvery soon. I'll take Mr. Blaine Thurier (former "Everything _ Ducky " artist )—he's sleeping on the floor of my spare room since his arrival here in this oft-perplexing nation. I've been wanting to order one of your Psamplers for quite e time, but 1 haven't any Canadian or US$ or stamps. The cost of changing yen to dollars is prohibitive—would end up costing $15. Enclosing afew goodies you might enjoy, including cassette labels from a manga aimed at the teen-girl market, and some prostitute business cards (always pasted up in phone booths). Tell the editorial staff to print the books column every issue (ordo they? — Fried') Lose the irksome 'graphics under type' habit. Tim Olive Nara-Ken, Japan Well, I asked for a long distance letter and, boy, did I get it! You can't get much further away than Japan so I declare Tim Olive, "Letter King!" His prize package includes: a 3 oz tin of Maple Leaf Potted Meat and Meat By-product, a strange food that graces a multitude of store shelves in Newfoundland, seconded only by the mighty Vienna Sausage! Not only might it contain mechanically separated beef, it may contain chicken and/or pork!? And don't forget the Byproduct! As well, I figure the poor sap deserves the Psychosonic Psampler Box Set, which is essentially, Volumes 1,2 and, hopefully, 3 enclosed in, well, a box. I'm also gonna drop in some other goodies I find around the house. Thanx, Tim, for the stuff! New things to check out: there's a flea market about three blocks from the New Westminster Skytrain station that has a whole vein of unmined vinyl treasure. I got the next couple o' pix from said market for about four clams. There's a lot more there and hadn't I run outta cash I woulda cleaned up. So get your sorry butts out there before my payday hits!! This month, some Christmas ing soul and R&B of the early— '70s. You got yer Curtis Mayfield "Superfly", Joe Tex "I Gotcha", O'Jays "Backstabbers" and yer Millie Jackson "My Man, A Sweet Man". Of course, Millie's sanitized for your protection, but may I suggest you grab her rawer, more nastier LPs. Another highlight is Chakaka's "Jungle Fever", a great tribal-soul groove that sounds amazing on old vinyl! A perfect collection of rare grooves. Genre: Hot Buttered Soul Cheezability Rating: 0 (this ain't cheeze, folks!!!) 77ie Klowns (RCA) If you can imagine a group like the New Seekers or the cast of Godspell in clown garb with trippy mod clown make-up, you got a good idea whal the Klowns are. Yow. You can bet some A&R guy got die bum's rush after this one. Genre: Up With Klowns Cheezability Rating: 60 (Golden) Usual messages on health, manners, friendship and safety from a guy who smokes apipe and eats spinach straight out of a jagged tin can! Though passable, ihe voices aren't the originals, Cheezability Rating: 50 Super Bad VARIOUS ARTISTS (K-Tel) The first K-Tel album I've reviewed and the best. K-Tel manages to pull off a great compilation of the happen- Tijuana Christmas Party THE TIJUANA HORNS (Arc) Before you start arranging yer guacamole in the shape of Santa, hold on. This is a very hurtin' attempt at the standard carols done Herb Alpert style. Herb is the King, man. These guys are just poseurs Genre: Tija-wannabes. Cheezability Rating: 40 Last, here's what Mofo wants for Christmas! This one belongs to Johnny Hatch, local musician and pal o' mine: Play Guitar With The Ventures THE VENTURES (Guitarphonics System) This a weird vinyl collector's wet dream! A how-to record lhal lets you jam along wilh The Ventures. With a gate-fold sleeve and attached booklet, you can either pi ay rhythm, bass or lead to "Raunchy," "Tequila," "Memphis" or "Walk, Don'l Run." A must-have!!! Genre: Surf Gods Cheezability Rating: 100 That's all for now, get out there and find some nuggets! DECEMBER @ track, "Sing the Absurd," just about sums up the album—a great title that promises much but ultimately proves to be a big let down by failing to be remotely absurd. Once again, the Wonder Stuff have failed to become the pop institution I' ve always hoped they would. Still, the greatest hits compilation is going to be unmissable. Save your money and wait for that. Simon Hemelryk PJ Harvey 4-Track Demos (Island) Ifyou' ve never heard denio tapes with guitar and vocal tracks only, I can best describe die absence of any drumming by comparing it to eating tortillachips without salsa. When you first Iry the chip plain, you're aware that there's somediing missing, and maybe you don't like die taste. After several tries, however, you can really pick out Ihe distinctive qualities of Ihe chip and, soon enough, diey're as addictive as nicotine. PJ I larvey's new release, 4-Track Demos, is jusl like that. Upon first listen I wailed to hear percussion, bul to little avail. Gradually my ears acclimatized to what I was hearing and I began to appreciate diis for what it is: a collection of really good songs in their most raw format. Energetic, frenzied performances were captured on this unproduced recording by PJ widi a minimum of overdubs, only a little keyboard, the occasional drum machine and some wicked backing vocals. The lyrics are interesting as well with numerous references to sex, in tides such as "50 ft Queenie" and "Rub 'Til it Bleeds." 4-Track Demos is an excellent CD in all accounts. So much, in fact, diat I just want to keep listening. I never did expect high quality, studio production but, as with tortilla chips, I can really dig into something with a rough crunch diat's not quite so sweet. This is lo-fi to live by. Brian Wieser Lesion Department of Corrections (Independent) Department of Corrections was created by an encapsulated group of musicians under the arrangement of Jeff Stoddard, whose name you might recognise as guitarist on the first Willalbuni, 32 E__£*_gS_i___tg:*, Pearl of Great Price. ActuaUy, the connection is no coincidence, D. O. C. is mixed by Chris Peterson and features the trademark rants of John McRae, both ofWiU fame. At first, I expected the influences of the Will sound to reign supreme but, to my surprise, I found this album to be very un-Will-like. This EP is a forceful collection of extremes, from guitar-chuming, beat-laden songs such as "Believe" and "Tempest Tom Grind," to the devout, enchanting vocals of Andrea Joseph and the slightly disquieting tale of rejection and self-immolation on "Not Even Close." Now and then you plunge into a certain element of the closeted, infamous, Vancouver music scene that impels you to sit and write. Despite the fact that Department of Corrections is difficult to find (except for being consigned to the larger retail chains), I can't understand how this stuff manages to pass the majority of us by. Nevertheless, DOC is a solid example of what Legion is all about—its only drawback is dial it's tragically short. I suspect that you will find a full-lengdi from this group in the very near future. Bug Edna Tom Waits The Black Rider (Island) Tom Waits isoneof my favourite poels and, after a career lhat has spanned two decades, I'm beginning to believe the man isn't capable of a bad recording. What I admire most about Waits is Ins ability to exorcise his insanity on tape and get away widi it in such a big way. The more whacked out and experimental he is, the more popular he becomes. Go figure. Why, they even steal his voice to sell beer and gum. Aftei re leas recordings last year (Bone Machine and the Night On Earth soundtrack) I was mighty surprised to hear a new release from Mr. Waits. The Black Rider is stranger than usual; it's obvious the man spends a great deal of time in his tool shed. From the clanking of wood on metal to the beautiful lilting sounds of hissaw. Tom displays his musical carpentry skills. Circuses and spaghetti westerns play a big part in dieovcrall ambience as well. A dark and inspiring piece of work. Dave O'Rama Piss Factory (Relativity) This band sounds as tasteless as their name.... This cheesy, pseudo noise-metal wannabe band should seriously consider a career change. Their songs are comprised mosdy made up of one repetitive guitar riff and obnoxious vocals. The monotony is sometimes interrupted by silly noises which sound a lot better than the music. There are twelve songs here but if they were honest with themselves they would have released only one, since the others are quite identical. Vince Yeh Counting Crows August and Everything After (Geffen) Accordions with harmonicas, organs and acoustic guitars permeating about mid-tempo songs make me think, "damn, that sounds Canadian." Perhaps it's because bands like Spirit of the West, the Band, early Blue Rodeo and the Tragically Hip (at times) have produced so much with an ambience that is entirely distinct from anything south of the 49th parallel. So what does this have todo with Counting Crows, an American band based out of Berkeley, California? Their album is rich with these sort of Canadianisms to such an extent that you'd swear they were straight outta Northern Ontario. The poetic, storytelling lyrics of these mostiy laid-back tunes are sung by pianist/vocalist/ songwriter Adam Duritz, and he is clearly the focus of this disc Songs like "Mr. Jones," "Round Here" and "Omaha," to name a few, have stuck in my head since listening to August and Everything After and, with each successive listen, die whole of this T-Bone Burnett production I'm sure Counting Crows will get their share of exposure, but it's too bad that their songs don't qualify for Canadian content status. They're certainly more Canadian than Brian Adams has ever been. Brian Wieser Drop Nineteens National Coma (Caroline) The leaders of youth wank-rock, the Drop Nineteens, have discovered distortion pedals— exacdy what the world needs. Assuming that their parents allowed them to use feedback this time, their sound is that of injury, infinite darkness, pain inflicted by surgical instruments, and bad hallucinogenic experiences. Ifyou want to hear for yourself, hurry down to your nearest used record bin. I know you can find at least one. TimH. concreTe BLOnDe Mexican Moon THe Tea parry sPLenDorsoLis - 13 EnGines „ _erpeTUaL MOTIon Maq____ , MOTHer ear-m DIG RaDiOHeaD .. P3BLO Honey sarnpLe rnese plus 9 more on THe ascoop THis'compiLaTion uJarcHttr i ^e Few.FarBerween Min* rour bl.hd THe Tea MeLon pam t3 EpGinej 1 Ll ri^viL® u__c""T 1 SWING j PI ^^yjJtwml !T* ill mi* Kill ■HEAT-UP Irelease—" 1 LEVER ^^P^r ON THE DIAL DU* by Jchn C-raro is one ol be aHme tavounte wxrcings by many peoptehal ifs ime to play it al Cotaw, hit composrions aid h_ soprano aid km sacophcnes wih Freddk; Hubbard {limpet) aid Erie Ddphy oi Ik* aid -b witi McCoy Tyner (piano), Iwo yeat bassets (Ait Davis and Reggie Wortonan) arid Dvn Jones en *ums The Jazz Show and GavtiWafcer wish alot our great kteners be Best ol The Season! 2XWWO0 bested by Rare may not be surtable SUNDAYS ARE YOU SEHOUS? HUSK lOOAM-1*«ttl Al ol ftne it meaand by its at Mo* broadcaslng *uns art br hcesbous markeHnusic. This show presents be most recent new mus- from around beworld. Eas open Hosted by PaJ Steenhjsen endlaiCrutHey. THE ROCKERS SHOW 1z:1M.-W*a1 Reggae ima a" styles and (asNai. George Baret, Mke Cherry and Peter Wians alternate as hoats. SOUL CHURCH 100-5:00 PM Altemaing Sundays witi Brant Argo. Vancouver's only program devoted ertrery to Aiicai- Canadan and Afncav Vence Yeh and Dave Langle (every second we**) BUCK HUSK 6:0O-6:00PM Everything torn lie Ahcan-Amencan radlon Blues, Gospei, Jazz, Soi, R&B, Fu*, Hp Hep. and current Daice Trade. Moid/ vinyl b shiny CD's. You host LacNan Murray. LULU'S BACK M TOWN l:00-9:OOPM No cotton cr even a cotton poly blend. Vmie Carpeli aid Somy fthoe bring you one hour of pure igltyanb, b_ hugging, crooning POLYESTER! GEETANJAU WO-KkOCPM Geetanjaiisaoneho- rado show which teal/es a wide range of musk him India. This includes dassical music, both Hndustari and Camaic, popula musk rem In- dan mwies lem be 193ffstone 1990s, Semi- dasskal music such as Ghazals and Bhajans, and also Quawwafs, Fok Songs, etc. Hosted by J. rjh*,A.Patel_idV.Rarian. RADIO FREE AMERICA 10:00PM-12:00AM Join hosl Dave Emory and coleagueNp Tuck tor so BOXER SHORT BOYZ 7«*0OPM JustacojJeof pys who Ma lo wafc around in lair bora shorfc wih Iw big la guts hanging out Jerome Broadway and Game) Tmotiy Harry alternate weeks. THE JAZZ SHOW WOPM-UKMAM Vancouver's by be ever-suave Gavin Water. Features at 11. DEC. 6: TrvetyMcrictyFrve'istieintiguing He for bnKjhrs Feature. RartsVcornooser Thelonious Monk and his working qjatetol tie ime (1959) will Charlie Rouse (tenor saxophone), Sam Jones (bass) and Arhu Taylor (drums) and a big plus, Trad Jones' aad-fcned cornet. They (five) play five Monk compositions ..great Jazz by masters. DEC. 13: The Jackie Mac Attack* proof fhat 61 yea dd arto saxophone master Jackie McLean is playing better liar ever. Recorded ata Belgian nighl dii) a short ime ago with his quartet McLean shows us that energy, soul swing and fre ae not just possessions of the young DEC 2ft Our last show la the yea (bade on Jan. 3,1994) and ifs a good one. Bdbmake 1:00_n: As our tangents naease I acto_y tw* I nighl be geting somewhere Entertaining, awakerv rig and oontoshg I lake you on a bur ol old musical DIARIES AND ATTICS 1fl0-2:30_n: CiTR's premier e dean ime hour (and a hall). Spectacles, velvets aid ieatiers. The sm_ of old papa. K-owna SCREAMMG INCONSISTENCIES - Part 2 2:30- ♦:00am: JanereUns. TUESDAYS THE MORNING SHOW 7:00.:15AM: BBC n he MADONNA DEATHWATCH 8:00-11:00AM Bryce aid SoootagellheU.R.G.E.1 HELEN'S HUT 11:OOAM-1:0OPM Brrrl Its odd out so here I am dshin' out hot soup recipes and Kleenexes. BLOOD ON THESADOLE1:15-3O0PM Couitymusc b scrape the cowsrit off your boots lo. With yer host- poke Jeff Gray. HARY TYLER HOORE SHOW 3«W:<XHI WOMEN IN MUSC AND GRRRLS IN MUSK; TWO HOURS OF INFO AND RAWK. YA DONT NEED A PENIS TOBEAMUSCAL GENIUS! CORAL AND TRISH. ART ATTACK 5:3W:0OPM MEET IDA BEAN &00-7:OOPM Rap, Ixphcp.and Super Dope Lyrics- so ly hat youl do 3-5 jusl lor geHng caught istering to ha still. Requests ae taken.J you can get trough on he phone! Ida Bean's on he V THEUNHEARDHUSIC 7:00*00*** Meat lie uriierd where tie unheard and tie hordes ofhadfy herd ae head, courtesy ol host aid demo dredor Dale Sawyer. Herd up! WOLF AT THE DOOR M0PM-12:00AM Altemaing Tuesdays will Stamina Daddy. The latest in daice music aid interesting dama every second week. With Lupus Yoiderboy. STAMINA DADDY 9:OOPM-12:0OAM Bootsies on tie stirrups and tie speculum is always warm. Will youi hosts: Bepi Crespai and Greg. Alternating with Wdl at the Door. AURAL TENTACLES MIDNITE - VERY LATE Waning: This show is moody aid i WEDNESDAYS THE YACHT CLUB 11:30AM-1:15PM A nautical tool tie tour comers of he mu-cal world. Drop anchor. Hosted by Mat ADJ. Gav. NOOLEY TUNES 1:15-3:0OPM Spmng the best and worst of CiTR's playist, onry fhe most original requests wi be remotely considered. Emphasis regardess of music- dassicaion NORMAN'S KITCHEN ScOO&OOPM *Paia.having a baby Norman's Nuts about Raisonsl Besangs and Love gifts lor he masses' ODDLY ABOUT SQUAT 5:3O-6:0OPM: Roving featores ai whatever he hel I led Ike doing, ESOTERIK 6:00.7:00PM to one ea and out your moha wh musk tar the proletariat I say, bum he AN0 SOMET1IES WHY 7:0O-8:00PM Wih your host Mkoand Megan This ain't no elevator muse OPBi COUNTRY JOY 12:0W:00AH,1STWED.OF EVERY MONTH. Doit let he ?tW fl? led you. TALES FROM THE HFNTE UVINGROOH 12:00- 7:00AM, 2ND, 3RD, 4TH WED. OF EVERY MONTH. Join Chris Paiahashegiidesyouhrough he scapes aid dean images ol the Infinite Living;oom, tie only place where tie utterly absurd meets he profoundly mearwigless THURSDAYS SHOUR-O-NAVA 7:30-9K»AM Shou-o-nava ae FLEX YOUR HEAD 3:0O-5:00PM •—HARD ERIC — —ERIC CORE-- GET WTHERWG5:3M:00PM Jon M*e and Brian every week to hea hem tag team tie issues wih guests trom al ever he politic- spectum OUT FOR KICKS 6:00-7:MPM No Birkenstocks, noting poHc-ly correct We donl gel paid so you're damn right we have fun with it Hosted by EDSVILLE, POP.6 7:30-9: OOPM Roots of Rod W Rdl - It you don't get rto Rock W Rol Heaven don't blame me! Hosted by Edde J. UVE FROM THUNDERBIRD RADIO HELL 9:00- 11:00PM Local muzak torn 9. Dec 2 • (hm Victoria), Stengh torn W*wi Dec 9-Never Dec 16-Ten Days Late RADIO TRANSUBSTANTIATE YEA!! - Alternating Thursdays 11:00-1AM Cy! Whafs you ganeSheriodc Holmes? M spread yanozal ova yer lace, II buslyou up and down hese lair grounds, youl neva pick up your teeh wih a broken arm, an' II tea off your legs an' beat you ova he head wih 'em! SUMMER OF HATE 1:0OAM- wheneva we drop Thrilling car chases, heart-stopping light serquences, dashing yamg men in ight ittng pan.. Yes we do our ownsUife. Special hanks to SanOBEN,CalleineChaie,ZevAih«,hepest oontd guy, Janes Last, Justh Sulvan and Mrs. Uk lor al pithing in heir damdest to make he show a cuddy bal of fun with a s/ighty priddy attericr. Cluiks. rarypop Muskotvaiouspatsoflranie Aierba^ani, Kurdsh, Lori, etc a hea Iom al ol ou Isteners to be able to gea he show towards heir tastes. Hosted by Mohammad. MDMORNMG COCKTAILS 10:00-11:30 AM Lei he dufoet tones of Tania and ha superior musical tastes ease you hb yet anotier day ol existence. CANADIAN LUNCH 11:30-1:00PM Toques, plaids, badtbacon, beer, igloos and beavers. Eat you lunch every Thursday with Skyler. FILLET OF SOUL 1.-00-2:00 Sane of life's tastes! some morsels served up by Captan Hkjhlner & his maryband of fools. Jumponboad.butdon'tlorgel you harpoon! -.Aztroann. &eg realytxeb imtK FRIDAYS VENUS FLYTRAPS LOVE DEN 6:15-10:00AM Greg is you guide on you journey lo Venus Flytrap's world reknown love den. Geting there is hall he fun Remember to pack a lunch, some candes and maybe a wire brush. Al atooad! Love and hugs, BEE NORMAL 10:0O-11:0OAM Pioneers of Rado Sound advocating he mentaly/physicaly challenged community wih conscious tunes. Wild painfully honest hlarity 'ouch*. Skeene's he music, Conway's the voice. The «*ole is edging the limits. THE PEAKINGCANUCK lUMAM-l:00PM Ifyou ae suflering an idenity crisis you may want tot tone into his show more han once. You host Bob WHiston dir on des Canada to 20h Cen tory sound, LO-FI 1:0O-2:30PMrow«ia'sback,achie'smdass, and berry's come b visit! velvet does Ihe weekly act aordnary poi icaln you hhk twice. Bring you tape deck and two C- 90s. Origin_y broadcast on KFX (Los Altos, California). MONDAYS THE MORNING SHOW 7:30-8:15AM Wake up wih he OTR Morning Show. Al the news, sports and weaha you need to start you day. Plus whafs lappaing a UBC each day w* UBC Digest, a teatore hteniew and more. Topped ofl wih he BBC World Service Newt a 8 00AM, ive tern Londai, Er^aid, BREAKFAST WITH THE BROWNS 8:15-11:OOAM You lavourite brown-slas, Janes and Peter, offer a savouy Hend of he lamia and exotic in an ecaingry luscious Hend of aural deSgrits! Tune in and enjoy each weekly brown plate sped-. THE STUPID RACK) SHOW 11K»AM-1_» PM Wih youhostGoud. CostaringRog.asthaguywtio hangsaound. There is no longer a noon feabre d'CrudixhYouEa'. MEKANIKAL OBJEKT NOIZE 1:15-3:OOPM GTR's only al ndusbial / ambient show with dfferent featores evay week. Wih you dj pals June and Ren. Saah is as dead as a bug can be. STRAIGHT OUTTA JALLUNDHAR 4:0O-5:0OPM Lei Oh Jindwa and Bindwa immerse you in radoac- ive Bhungra! "Ch*kh de phutay". Listen b all ou favorite Punjabi tones - remixes aid originate. M*vH SUN MON TUE WED Eim-iil'Mif.'lli'^IINilH ARE YOU SERIOUS? MUSIC ROCKERS SHOW BRENT ARGO/ SOUL CHURCH BREAKFAST WITH THE BROWNS DON AND GOURDS STUPID RADIO SHOW MEKANIKAL OBJEKT NOIZE JALLUNDAR MADONNA DEATH WATCH HELENS HUT BLOOD ON THE THU FRI (•IT],!1! ii,i ,,■___: DIGITAL ALARM CHRONOMETER THE YACHT CLUB NOOLEY TUNES NORMAN'S KITCHEN ■ -jiv.ii:r>-B JS LAST STAND/THE PEAKING C. SHOUR/NAVA] CANADIAN LUNCH FILLET OF SOUL FLEX YOUR HEAD GEETANJALI ONE STEP BEYOND/ RADIO FREE AMERICA IN THE GRIP OF INCOHERENCY THE JAZZ SHOW SCREAMING INCONSISTENCIES UNHEARD MUSIC WOLF AT THE DOOR/ STAMINA DADDY AURAL TENTACLES .ffi.flJ.--T7.]l__p--Wj'iliif«.fi.'JlTT-| TT AND SOME- WHY THE REAL DEAL TALES FROM THE INFINITE LIVINGROOM OUT FOR KICKS LIVE FROM IHUNDERBIRD RADIO HELL SUMMER OF HATE VENUS FLYTRAP INTERNTL. I BEE NORM PEAKING CANUCK MEGABLAST/ NARDWUAR/ NOIZ SHOW THE SATURDAY EDGE ; i4Y.f i POWER CHORD AFRICAN SHOW COCKTAILS WITH DARYL AND SUSI HOME BASS UMP SINK IN EFFECT | HEATHERS SHOW NARDWUAR THE HUMAN SERVIETTE PRE- SENTS.. 3:304:00PM deol Oeol Oeol THE QTR OWNER REPORT 5.-0MMPM Wh The Voice of Reason ,'ou weekly look back at he week in he news, tongues irmly in cheek ITS NOT EASY BEING GREEN 5:30 - 6:00PM Attempting to make it on lime, Kelowna wil be very cphaled about he state of movies in ou ime. Guests at*ays COCKTAILS WITH DARYL AND SUSI 6-O--00PM Underground sound system-style mastermix rado. FOR THE RECORD 6:30<:4$PM Excerpts tern Dave Emory's fl»<*o R— Amtrict Senes HOMEBASS -00PM-12: 30AM The orighal ive mixed dance program nVancouver. Hosted by DJ Noah, he man locus of he show is techno, but also includes some tance, acid, Ital, etc.. Guest DJs, iiteroews, retospectves, giveaways, and more ae part of he Bavor of homebass. Dec. 10h:DJ Noahs bMiday show. Dec 17th: T.B.A. Dec. 24h: Christnas Eve show. Al request!! Cal in he weeks belore to make sue hat you request is played. Dec 31st New Yea's. Lots of suprizesl! UMP SINK 12:30AM-Morning: Jan al ol you Ump Sink pals as hey shae heir sodal problems wih you. Hosted by he G42 players. The Fritter & Pat Show ■ Formerly he "Fre Pipe' and/or The Postnan Pat Show* aid/or Tats Paly" and or "UmpSink". Fritter and Pat ly Sir constant/ ova medflow heat untie reduced to a shiny lextore ct peacelul Miss. Dec3 The Gritteri Pat Show DeclOTheDodorKJIdaeShow Dec17 The Fritter & Pat Show Dec24 The Dodor Kidae Show Dec 31 Fritter. Pat present 1994 SATURDAYS THE SATURDAY EDGE 8:OOAM-12:0OPM Nowrits 6th yea on he ar, The Edge on Fok featores music you won't hea anywhae else: new releases in he realm ol Cd ic, Fc*c and Roots: stodo guests; British comedy skefches; and Briish soc- oa results at 1130 AM. 8-9 AM: AlricaVWcrld roots. 9-12 noon: Celtic music aid feature pafar- POWERCHOflD 12:15-3:0OPM Vancouva's onry tue metal show, local demo tapes, rnports aid otha raiies. Gerald RaHehead aid Metal Ron do he damage. THEAFRKANSHOW3:00-5«IPM lrsamu_ching icmal -Alrica.* Ifs an awaeness thing of sell and ohers Ifs an African house paly. Stories, music, daice ton. Welcome! You hosts: Umerah THE HEWUCH MANOUVRE 8:00-10:OOPM Sophis- icated radb fer he after dmer acwd. GROOVE JUMPING 10:0OPM-1:0OAM Saturdays Tory, Woz_e, Jeff, Warren. Who wi it be? Who knows! Who cares! It rods! Goligue. SOMETHNG 1:0WKMAM Completely poiicaly corred content wih he fresh and def new releases torn all he Art Schcd students hat have the b_s b just gel up here and do it. Reinventing he meaning of reigion and he renntegraion of Jesus Christ ouLordhtotoctys youth cultore.Awcman's voice late at night... oozing pue cocksudchg sensuaity W you rol over and go to sleep. WHOM & HOW ARTS JOHN SEMINOFF BOARD CHAIR HARRY HERTSCHEG CURRENT AFFAIRS ANGUS WILSON DEMOS/CASSETTES DALE SAWYER ENGINEER RICHARD ANDERSON ENTERTAINMENT CHRIS CHEN LIBRARIAN VINCE YEH MOBILE SOUND DRU PAVLOV MUSIC JUSTIN LEIGH PRESIDENT ORU PAVLOV PRODUCTION HELEN G. PROGRAMMING ADAM SLOAN PROMOTIONS CATHY BADZO SPORTS BRIAN WEISER STATION MANAGER LINDA SCHOLTEN VICE PRESIDENT JEREMY PRICE VOLUNTEER COORDINATOR JOHN RUSKIN 604/822-3017 DJ UNE 604/822-2487 (UBC-CiTR) NEWS UNE 604/822-5334 (822-JEDI) DECEMBER ^) 1 WED CiTR Hoi Wednesdays in the Pit Pub... Francois Bourassa Trio at Glass Slipper... Frank Lee at the Yale... Idiot Savant at the Railway... The Harvesters CD release party at the Town Pump... Color Wheel with Bent Outta Shape at the Hungry Eye... DJ Czech at Luv-a-Fair... Kokoro Dance's Esse at Vancouver East Cultural Centre... Ba Cafe... ThePlf Alley... Day and Video Vancouver Art Gallery, Vancouver Mi Chorus's Allan Gray, Roger Boufland & John Hall's Hidden Legacies (7:30 _ 9:30pm) at llBC's Frederick Wood Theatre; Side by Side: Women Against AIDS in Zimbabwe at Pacilic Cinematheque (7:30 & 9:30pm)... Leolo (7pm) and Being at Home with Claude (9:30pjn) at SUB Theatre.. Dr Petiot at Ihe Ridge (7:15 & 9:30pm)... The Woods at Secret Space Theatre Billie's Song at Hot Jazz Club... Work) AIDS Day... 2 THU CiTR PRESENTS POSTEH CHILDREN AND THE SPINANES AT THE STARFISH ROOM (1055 HOMER)... Pluto wilh The Stand GT and The lllict al Notorious Pop Underground... Love Battery with Elvis Love Child and Stick Monkey al the Town Pump... Annihilator at Lunatic Fringe... Tony Wilson at Ihe Malcolm Lowry Room... Frank Lee at the Yale... Bill Conall at WISE Club... Sub-Sonic Thursdays at the Pit Pub featuring Slowburn and Color Wheel... DJ David Hawkes at Luv-a-fair... Bob Murphy/Pat Caird Quartel at Alma Street Cafe... Idiot Savant at the Railway... The Rhythm Method at Hogan's Alley... The Vinaigrettes, The Minstrels, Polatohead a the Hungry Eye.., Doc Fingers & the Anchor Band at Anchore...UBC Symphonic Wind Ensemble al UBC Old Auditorium... Billie's Song at Hot Jazz Club... Kokoro Dance's Esse at Vancouver East Cultural Centre.,. Leolo (7pm) and Being at Home Willi Claude (9:30pm) at SUB Theatre... They Call Us Misfits (7:30pm) and A Respectable Life (9:30pm) at Pacilic Cinematheque... Dr Petiot at the Ridge (7:15 & 9:30pm)... The Woods at Secret Space Theatre... 3 FRI CiTR PRESENTS PERFUME TREE WITH KID CHAMPION, LIVE AMBIENT DUB TUNES AT WAVE AND MC 900 FT SUZI AT STUDI016 (1545 W 7TH)... Gl Blues al the Malcolm Lowry Room... Zolty Cracker, Loose, The Beauticians at Notorious Pop Underground... Frank Lee at the Yale... Craig Scott Trio at Alma Street Cafe... Skydiggers with Rose Chronicles and Rick Colboume & Hard Poetry at the Commodore... Dread Zeppelin at the Town Pump... Dobb & Dumela at the Railway... Doc Fingers & the Anchor Band at Anchore...Harem Scarem at Lunatic Fringe... Charles Gayle Trio at the Glass Slipper.., I.Braineater with Dog Eat Dog and The Ultra at the Hungry Eye... DJ Czech at Luv-a-Fair... Billy Joel at Pacific Coliseum... Billie's Song at Hot Jazz Club... UBC Symphony Orchestra at UBC Recital Hall... Mojo Nixon & Ihe Toadlickers at the Backstage (Seattle)... (8pm) Kokoro Dance's Esse at Vancouver East Cultural Centre... MBg^u] Misfits to Yuppies (7:30pm) and They Call Us Misfits (9:15pm) at Pacific Cinematheque... Monty Python and the Holy Grail (7pm & 9:30pm) al SUB Theatre.., Dr Petiot al the Ridge (7:15 & 9:30pm)... The Woods at Secret Space Theatre... Robin Blaser reading & book launch at Western Front Lodge (303 E 8th)... g Ihe FV 3 UnrJ HHferty with 'TH Media/culture... Dread 7i. Pump.. Festival de la Sal: Commodore... Frank Lee at the Yale.. Dobb & Dumela at the Railway... DJ David Hawkes at Luv-a-fair... Craig Scott Trio at Alma Slreet Cafe... Sheryl Cfow at the Town Pump... Charles Gayle Trio at the Slipper... Fight With Mind Bom. Cash McCall with the Demons at the Yale... Counting Crows at the Town Pump... Ross Taggart and Oliver Gannon at Alma Street Cafe... Glenn Scott & Greg Lawrence, Children ot Atom, Deprogrammers at the Hungry Eye... DJ Czech at Luv-a-Fair... Al Stewart at Richards on Richards... Duran Duran with the Cranberries at the Coliseum Cullural Centre... Sluts and Goddesses (7:30pm) and Female Misbehaviour (9pm) at Pacific Cinematheque... Christmas Art Sale at the Grunt Gallery... 12 SUN Chick Corea Elektric Band II at the Commodore... DJ Darren at Luv-a-fair... Ranch Romance at the Backstage (Seattle)... Vancouver Youth Theatre's Retrospective at Vano I Centre, 9 THU CiTR PRESENTS AFGHAN WHIGS AND LOVE JONES AT THE TOWN PUMP... Cash McCall with the Demons at the Yale... Street... Sex in Deep Space, Weister Trio, Dish at thi Fingers & the A Anchore...Billie's Song Kokoro Dance's Esse Cultural Centre... A Respectable Lile (7:30pm) and Misfits to Yuppies (9:30pm) at Pacilic Cinematheque... Monty Python and the Holy Grail (7pm & 9:30pm) at SUB Theatre... Dr Petiot at the Ridge (7:15 & 9:30pm)... The Wc Thealre... 5 SUN Mojo Nixon at the Town Pump.. Rita MacNeil at Orpheum.. August Frost at Lunatic Fringe... DJ Darren at Uw-a-fair.. Lee Pui Ming at UBC Museum of Anthropology (2:30pm)... Christmas at Masterpiece at Vancouver East Cultural Centre (2:30 & 8pm}.., Peppermint Soda (7:30pm) and Cocktail Molotov (9:30pm) at Pacific Cinematheque... Monty . the Holy Grail (7pm & 9:30t ■' Theatre... The Demented Video Raiway... Dr" Petiot at the Ridge {7:15 & 9:30pm)... S MON Fast Folk Underground at the Railway... Black Market Flowers with Gnome at the Starfish Room... Rita MacNeil al Orpheum... DJ Darren at Luv-a-fair... Jamie' Parker and Stephane Tran Ngoc a) Vancouver Academy ol Music Recital Hall... Metalist at Lunatic Fringe... Chris Duarte Group and Ghost of an American Airman at the Town Pump... Peppermint Soda (7:30pm) and Cocktail Molotov (9:30pm) at Pacific Cinematheque... Manufacturing Consent: Noam Chomsky and the Media at the Ridge (7:30pm)... The Stray Dog Poetry Project wilh Myron Neville, Chad Norman, Catherine Owen at Procope Restaurant (8363 Granville)... 7 TUE Fat Boogie Orchestra at Ihe Yale... Cruel 70s Disco at the Commodore... DJ David Hawkes at Luv-a-fair... Gruntruck at the Town Pump... The Mahones at the Railway... P-Funk Tuesdays at the Hungry Eye... Manufacturing Consent: Noam Chomsky and the Media at the Ridge (7:30pm).„ 8 WED CiTR Hot Wednesdays in the Pit Pub... The Rootabeggars at the Railway... fthel "ly... DJ ( Luv-a-fair... A Seasonal Celebration at Vancouver East Cultural Centre... Sluts and Goddesses (7 30pm) and Seven Women, Seven Sins Cinematheque... Hungry Eye... Entre Nous (7:30pm) and A Man in Love (9:35pm) at Pacific Cinematheque... Dead Again (7pm) and £V (9:30pm) at SUB Theatre... King of jind The Secret Garden : .Vancouver Youth Theatre's Retrospective (8pm) at Vancouver East Cultural Centre... 10 FRI GTR PRESENTS SHINDIG '93 GRAND FINALS AT THE CRUEL ELEPHANT... The Vinaigrettes at the Malcolm ^^^cCall with the file... Bill Clark Sextet at the "iTR PRESENTS IN THE WORLD WITH CHAINSAW KITTENS AT THE TOWN PUMP... CiTR Hot Wednesdays in the Pit Pub... Patty Larkin at WISE Hall... Touch 'n' Goes with Daytona at the Railway... Amos Garrett at the Yale... DJ Czech at Luv-a-Fair... Sluts and Goddesses (7:30pm) and Seven Women, Seven Sins (9pm) at Pacific Cinematheque... Rock Paper Scissors' A TwistoLChristmas Carol at Station Street. 16 THU Kane/Taylor Explosion at the Malcolm Lowry Room... Eplj-yjd Hawkes at Luv-a-fair... Dianne f Colvin at the Backstage (Seattle)... Seduction: the Cruel Woman (7:30pm) and Virgin Machine (9:15pm) at Pacific Cinematheque... Rock Paper Scissors' A Twisted Christmas Carol at Station Streel... 19 SUN Blues for Christmas at the Commodore... DJ Darren at Luv-a-fair... British Comedy Night at the Railway... My ts Coming {7:3Upr.i) and Variety %M )} at Pacific Cinemtheque... Rock md cissors* A listed Christmas Carol "mon! ifeading Railroad at the Railway... Oi.ver ' 1 the Elements at the Yale... Blind fj/H rilh Tea Party aid 13 Engines at teh dore... DJ Darren af Luv-a-fair... Rock Paper Scissors' A Twisted Christmas Carol at Station Street... 21 TUE Jimmy Roy's 5-Star Hillbilly Boys ylwav... (Met.& the Elements at the II Da___Mwkes at Luv-a-fair... Os Disco at the Commodore... Blind rilh Tea Party and 13 Engines at teh dore... P-Fur* Tuesdays at the Eve___-____Paoer Scissors' A Ct'iiStmas Carol at Station Street... > CiTR Hot Wednesdays in the Pit liver & the Elements at the Yale,.. Lung at the Anza Texas Flood at ti odore... Spirit of the West wi Cash at the Vogue... DJ Czech Luv-a-Fair... Noize Therapy at Lunatic Fringe... Handel's Messiah at Orpheum.. Dying lo be Violent at the Hwigry Eye Sluts and Goddesses (7:30pm) and Female Misbehaviour (9pm) at Pacific Cinematheque... Vancouver Youth Theatre's Retrospective at (8pm) Vancouver East Cultural Centre... Human Rights Day event hosted by Gloria Macarenko featuring Dr Hedy Fry, Svend Robinson, Amnesty international's Jim Ratter... 11 SAT The Vinaigrettes at the Malcolm Lowry Room... Thrill Squad with Circle of Fire and Touch 'n' Goes at Notorious Pop Underground... Cindy Church al Hogan's Alley... Cash McCall with the Demons at the Yale... Spirit ol the West with Andrew Cash at the Vogue... Bruce Nielsen Quartetat ihe Glass Slipper... Amanda HupjttS at the Railway... Andy Irvine at WISE Hall. DJ David Hawkes at Luv-a-fair... Handel's Messiah at Orpheum... Opium Underground at Lunatic Fringe... Happy Man with Illicit at the Hungry Eye... Lung at the Comer Store (Victoria)... Noel with Joelle Rabu (2pm) and Vancouver Youth Theatre's Retrospective (8pm) at Vancouver East 17 FRI Coal at the Mateoim Lowry Room... Strolling Clones with The Fiends at Notorious Pop Underground... Ray Condo & the Swinging Dukes at the Railway- Amos Garrett at the Yale.. DJ Czech af Luv- a-Fair... Marian Rose and Quickstep af WISE Club Dr Unknown at Lunatic Fringe... Yellow Belly, Cozy Bores, The Blue Meanies at the Hungry Eye... Shawn Colvin at the Backstage (Seattle)... Seduction: the Cruel Woman (7:30pm) and Virgin Machine (9i5pm) at Pacific Cinematheque... Rock Paper Scissors' A Twisted Christmas Carol at Station Street... 18 SAT No Means No with Loved One and Pigment Vehicle at the Commodore... Superconductor with Mecca Normal and Mexican Power Authority at Notorious Pop Underground... Coal at the Malcolm Lowry Room... Ray Condo & the Swinging Dukes at the Railway... Amos Garrett at the Yale... DJ David Hawkes at Luv-a-fair... Sex with Nixon and Slowburn at the Hungry Eye- Lung at the Offramp (Seattle)... Shawn Cruel 70s Christmas Disco at the Commodore... DJ Czech at Luv-a-Fair... Jimmy Roy's 5-Star Hillbilly Boys at the Railway... Rock Paper Scissors' A Twisted Christmas Carol at Station Street... 23 THU Oliver & the Elements at the Yale... DJ David Hawkes at Luv-a-fair... Randy Carpenter's Christmas Chaos at the Railway... Rock Paper Scissors' A Twisted Christmas Carol at Station Street... 24 FRI Randy Carpenter's Christmas Chaos al the Railway... the Railway... Boxing at Luv-a-fair... Moscow Rock Paper Scissors' A Carol at Station Street., Jacobs at the Yale... Moscow at the Railway... DJ David Hawkes at Luv-a-fair... Cruel 70s Disco at Ihe Commodore... P-Funk Tuesdays at the Hungry Eye... Rock Paper Scissors' A Twisted Christmas Carol at Station Street 29 WED CiTR Hot Wednesdays in the Pit Pub... Veda Hille at the Railway... Mike Jacobs at the Yale... DJ Czech at Luv-a- Fair... Rock Paper Scissors' A Twisted Christmas Carol at Station Street... 30 THU Veda Hille al the Railway... Mike Jacobs al the Yafe.. DJ David Hawkes at Luv-a-fair... RockPajer Scissors' A Twisted Christmas Carol at SStion Street... 31 FRI Steve Lacy and Irene Aebi at the Western Front... Hard Rock Miners at the Railway... The Real McKacies, cub, Aging Youth Gang, Fork Tongue, Jel at the Cruel Elephant... The Paperboys at the Hungry Eye... Cruel 70s New Years Disco at Planet Polyester... She Stole My Beer at the Town Pump.. Jim Carrey at Orpheum... Harpdog Brown and the Bloodhounds at the Yale... Black Cat Bone Band at Anchor... The Walkabouts, Young Fresh Fellows, the Picketts at the Backstage (Seattle)... ^ K*9t0' #o (jo 60... Wazulanb 2607 &foia St. at 4 !OtF)4 Sfce. The Orb • Live '93 The third full-length release from England's masters of the ambient. More than just a "full- length" release, this is two cds. Recorded this year throughout Europe, it contains lotsa new songs and live versions of tracks from Adventures Beyond the Ultraworld and U.F.Orb. All the Orb you could want and more. 32.98 dbl O import ew Release now on sale 1869 W 4th Ave.. Vancouver, BC V6J1M4 CANADA tel 604.738.3232 STORE HOURS Mon to Wed 10:30-7:00 Thurs and Fri 10:30-9:00 Sat 9:30-6:30 Sun 12:00-6:00 Chapterhouse • Blood Music This English pop contains a good dose of caffeine. The new Chapterhouse surprises the listener with an up-tempo offering that concentrates more on big dance beats. Fresh sounds for fans old and new. 16.98 ltd ed dbl O 10.98 W import ^n A Tribe Called Quest • Midnight Marauders Through the jazz-inflected rhythms of Midnight Marauders, rappers Phife and Q-Tip invite us to once again sit back, relax, and slink into their sexy groove. With thought- provoking lyrics delivered in their distinctive Quest style, Midnight Marauders is definitely hip-hop for the mind and soul. 14.98 0 9.98 P_ import Scrawl • Velvet Hammer An appropriate record for entertaining on cold winter days. Richly textured and deep with emotion, the new Scrawl evokes an indifferent loneliness addressed through beautiful and captivating lyrics. Produced by Steve Albini, Velvet Hammer is a powerful release and a must have. KMFDM ® Angst Angst is the sixth album for these German industrial dance- meisters. Recorded in Chicago, it hits hard and fast with the metallic dance groove of Light and the electro-thrash of the first single, A Drug Against War. By the end of the funky The Problem, you'll know — Angst is going to be massive. 14.98 • 9.98 m import Various • No Alternative In a year of many interesting compilations, this could easily be the hottest comp of the year. Previously unreleased tracks trom the best rock outfits around. Pavement, The Breeders, Smashing Pumpkins, Nirvana, Buffalo Tom, Soul Asylum, and more. Let's face it—you have no alternative. 14.98 O 9.98 IW St Etienne • It Takes a Mess of Help... This collection of songs was originally only available as a limited edition bonus with the So Tough cd. Now available on its own, this is a great package of singles, b-sides, and remixes. Inventive pop music at it's best. Available 1st week in December. 16.98 O import Rocket From the Crypt ® All Systems Co Not a completely comprehensive collection of Rocket From the Crypt's hard-to-find singles (that would be nearly impossible), but a diverse compilation of some of the band's best songs... ever! Singles from Sub-Pop, Merge, Sympathy, Drunken Fish, Helter Skelter, and a whole lot more. 14.98 o 9.98 rm Teenage Fanclub ® 13 How much will you love this new record? Let us count the ways. It's a perfect pop masterpiece. It's the soundtrack for falling in love. It will warm your winter and brighten your Christmas. It will also stick to your heart forever. It will make you very happy. This domestic release includes six extra tracks! 14.98 e 9.98 rm One Dove * Morning Dove White A much-discussed band who are receiving serious accolades in the UK for this, their debut full-length release. Nice vocals, great beat—hey, it sounds like a hit to me! Available 1st week in December. 14.98 e 9.98 rm CD 9.98 14.98 17.98 14.98 14.98 CASS 4.98 9.98® 11.98® 8.98 8.98 15.98® 9.98® 17.98 11.98 17.98® 11.98® 17.98® 11.98® 15.98® 9.98® 17.98 11.98 15.98® 9.98® 14.98 11.98® 17.98 — 14.98 11.98® 14.98 9.98® 17.98® 11.98® 17.98® — 17.98® 11.98® 14.98 8.98 17.98® 11.98® 17.98® 11.98® 14.98 8.98 14.98 8.98 17.98® 11.98® 17.98® — 17.98 8.98 Various Bonanza • Christmas on the Ponderosa Booker T and the MCs • In the Christmas Spirit James Brown » Santa's Got a Brand New Bag Stompin' Tom Connors ® Merry Christmas Ella Fitzgerald » Wishes You a Swingin' Christmas Peggy Lee * Christmas Carousel Aaron Neville • Soulful Christmas Mojo Nixon f Horny Holidays Partridge Family « Christmas Card Bobby Sherman • Christmas Album Phil Spector's • A Christmas Gift For You Ventures • Christmas Album Jackie Wilson • Merry Christmas Various • Blue Note Christmas Various • Blue Yule Various • Bummed Out Christmas Various # Cool Yule Various I Various ' Various t Various ' Various J Various i Various n Various ' Various I Dance Hall Xmas (reggae) Dr. Demento's Greatest Christmas Novelties Have Yourself a Jazzy Little Christmas Hillbilly Holiday Hipster's Holiday Motown Christmas Album Reggae Christmas (Ras/Attic) Reggae Christmas (Profile) Santa Claus Blues Soul Christmas New versions of some old holiday faves Zulu puts a twist into the holidays — not to mention a watusi, two hully gullys, and a partridge... you know where. All at special holiday prices! All prices in effect for the duration of 1993 Now in stock: Cub ® Betti-Cola 12.98 O Zulu Artists Live Coal December 17 18 Malcolm Lowry Room Perfume Tree December 3 Studio 16 Lung December 10 Anza Club December 11 The Corner Store, Victoria December 17 TBA, Kamloops December 18 The Off Ramp, Seattle Mu »xiend«d Cbrktma* hours: 0«:erab-r 13ttt tftrwjgJi 23i_, lakt Jtecenis wtH b« opm »*rt3 9*00 PM B*gh«*- {Cltristma» Eve, Open until 6:00 PM 1
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1993-12-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1993-12-01 |
Extent | 36 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1993_12 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 94aee4be-0834-4c5a-baa6-01daad2d1f64 |
DOI | 10.14288/1.0050081 |
AggregatedSourceRepository | CONTENTdm |
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