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
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aged 8 to 12 who are at risk of getting
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If you have about three hours per
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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
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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
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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
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Tickets available at all ______g__^* outlets, Track, and Highlife
, or charge by phone at 280-4444
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If you're in a band with cd's, cass.or 7"
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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.
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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
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) Dec 1, 1993
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