Discorder CITR-FM (Radio station : Vancouver, B.C.) 1995-08-01

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♦homino to fM fonder 1XSCQKBEK editor Pfltd T. Brooks rtfUns*
through his tw»sh. *U< P«mI T, realty sunk «o le*? Was lit* We really
the* miserable wtthoxt -the w*»? Apparently Hr vas, co Ken, kfrut somI
that he J*, asked VetA T. to design this ninth's cover. Wot bad for a has
been, eh? Qwst WddlngJ
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KICfcC ©
£0£tAPA£.002A 10
Vancouver special     *-*4>
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real live jetton
wider review
on the dial
-DiSCORDER"  1995 by the Student Rodio Society of the University of British Columbia: Al  J
• figh1! reserved.
.   Circulation 20,000.
Subscriptions, payable in advance, 10 Canadian residents are $15 for one year, to residents of    :
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course).   Please make checks or money orders payable lo DiSCORDER Magazine
DEADUNLS: copy deadline 'at September issue isAugust 1 6th (and I red//*/mean it this timelj;
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ext. 3. Our rates are available ypon request. DiSCORDER is not responsible fotrtow, damage,
Of any other injtiryas lo unsolicited manuscripts, unsolicited artwork (including W not limited to
drivings, pholog'aphs arid transparencies), or <Siy other unsolicited material. Moteriof can be
submtted on disc (Mac, preferably) or in type. Aaplways, English is preferred.
;   from USC tolongleyond Squamish to Minghwn, CiTR can be heard at 10K9 fM as well as
"through a8 major cable systems in the Lower Mainland, except Shaw in Wfiiterocfc Cail the
CiTR DJ lineal 822-2487, our office al 822-3017 exl. 0, or our news and sport*lines a) 822-
3017 ext. 2. Fok us at 822-9364, email us at CiTR@UNIXG.UBC.CA, visit out* web site ot
http://www.ams.ubc ca/cilr or just pick up a goddamn pen and write #233-6138 SUB Blvd.,
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PH. (604) 689-7734 FX. (604) 689-7781
^i COCAt DfRTt
W' hile many bands may have stars in their eyes,
Scratch recording artists Porkqueen had stars
n the audience during their recent performance
on the second stage at Lollapalooza. Spotted to the left of
the stage was the world's biggest loser, a.k.a. Beck, while
to the right of the stage lurked Sonic Youth's suspiciously ever-
youthful Thurston Moore. Porkqueen were actually invited to
play the second stage at Thurston's request, and after the show
the grand-pappie of grunge conducted an impromptu interview with the band for MuchMusic. Porkqueen are currently
working on a CD to be released in September...In other
Lollapalooza news, CiTR's own Nardwuar the Human
Serviette was forcibly extracted from the event TWICE (with
the help of RCMP officers the second time), despite having a
completely legitimate back stage pass AND being escorted
backstage by Eric Erlandson of Hole. No one has had the guts
and decency to fess up to this heinous act, but we suspect a
certain major record label that doesn't seem to appreciate
Nardwuar's unique style of journalism. Oh well, try as they
might, the cowardly culprits couldn't prevent the mighty Serviette from scoring interviews with Thurston Moore, Drew
Barrymore, and all of Hole, including the otherwise reclusive
Ms. Love...While we're dropping names, the Foo Fighters
showed up to pay their respects at the Coal/cub/© benefit
for arson victims Mark L'Esperance and Ani of Spanking Betty.
The show itself was 'smoking' according to one source with a
of humour. Another benefit for the same cause, featuring the
Rattled Roosters and Flash Bastard, was equally successful ...Seminal Vancouver punks D.O.A. have a new al
bum coming on Virgin Records, to be titled Black Spot...Bum,
fresh back from a tour of Spain, are currently writing a new
album which will be recorded in the fall under the able guidance of Kurt Bloch (Fastbacks)... Still single-handedly keeping
the smoke machine industry alive, Superconductor will also
have a new (double) album out in the fall on Boner Records.
The boys also have a new 7" coming out in late August/early
September on Mute Records (!)...Well, it's about as close as
this city's gonna get to a supergroup - The Beauticians,
featuring members of The Smugglers, Hard Rock Miners and
Knock Down Ginger, have just released their debut full-length,
entitled Imperiale...A.O. Chapman, tin-whistle players the Real
McKenzies, will be revealing more than just what he and his
fellow Celtic punkers have under their kilts in a planned tell-all
book detailing the band's x-rated tour antics. The Real
McKenzies have just released their eponymous CD debut on
IFA Records...BNU are said to be seeking funds to record a
new album. Members of the band can be contacted at the
Cambie...The ever mighty Sparkmarker are currently on a
tour which will include a stopover in New York City, where the
band will lay down some tracks for an upcoming album...Also
hitting the road in an effort to get some songs recorded are
The Smugglers, who will be touring down to Lafayette, IN
where they will record their next album. The Smugglers will
also put out a split CD with The Hi-Fives (formerly The Ne'er
Do Wells) this fall, the second release to come out of Mint
Records recent "marriage" to SF mainstay Lookout! Records.
Both labels will remain completely separate entities under the
deal, releasing material simultaneously in each of their respective countries. The first Mint/Lookout! collaboration will be a
split CD featuring cub (who will be on tour with the Muffs and
the Queers in August) and the Potato-men, available August 25... Old school Zulu recording artists The Pointed
Sticks, The Modernettes, and The Young Canadians
are being rediscovered by a whole new generation of punks
thanks to the recent release of re-issues from all three bands,
while new school Zulu recording artists Perfume Tree will
be heading out east in October, possibly to play with labelmates
Daytona and Knock Down Ginger. KDG may not be so
eager to hit the road again after their recent cross-Canada
trek, however. The tour had its up and downs, but some of the
downs were pretty far down, like when the band arrived at a
venue in Winnipeg, where they were supposed to play with
Zumpano, Six Finger Satellite and Hardship Post as part of
the "Human Touch Tour," and were told by a roadie to "get
the fuck out." Nothing like that "human touch"... Pubescent
pop-punkers d.b.s. are just about to head out on a six week
tour that will take them down the west coast and across Canada
and will see them playing shows with the likes of The Circle
Jerks, Voodoo Glow Skulls, Screw 32 and the White Kaps.
d.b.s. will be releasing a split 10" with the East Bay's A.F.I, in
November on Nefer Records... Rumour has it that Mint Records
power-poppers Pluto may be signed to a major label by the
time you read this. Hope the lucky label is picking up the tab
for the band's flight to Toronto to play Edgefest later this summer- it sure is a long way to go for one show...Pluto's labelmates
Gob will have a new CD, called Too Late...No Friends, ready
for release on September 1, and will be touring non-stop until
then...The Sister Lovers are just about to release their first
full-length on their own Horrifying Circus Music label. Entitled
Friendless, the CD will be supported with a tour of western
Canada in the fall...Other recent/upcoming local releases
□ YES! I am a pathetic little weenie.
So send me a CiTiU-shirtl
•(Q L)-(Q XL)-(Q XXL)«
□ Kelly Green□ Forest Green □ Grey
□ Navy Blue   □ Black □   Red
□ Aspen □ White □ Yellow
Name ______
_ Province
Send $15 to CiTR to have a t-shirt i
[flr__ei£k_ on&__ u£ _at__ CiTR __fqi
ailed t<
4    AUGUST 1995 include a new McRackins7 full length on Nanaimo's Lance
Rock Records; the Oh Canaduhl covers compilation featuring Bum, the Tonics, the Smugglers, the Evaporators and more,
also on Lance Rock; Atom Smasher's Shut Down on Big
Brother; Zolty Cracker's independently released Go Please
Stay; Spiritual Heroine's This Body Is Stolen; Ralph
Alfonso's Coffee, Jazz & Poetry on Beatific Bongorama;
and Sex With Nixon's
eponymous full-length on
Prezedential. With the way
bands are pumping out
music these days there's
probably a bunch more Ik
we've missed, so our
apologizes to anyone
who's been neglected.
Well kids, that's all from
us. Let's see what Dale
had to say for himself
this month...
oiMo tmewst
If there was anything Special that happened in Vancouver this month it was the release of three precious CD's
by the Zulu groups that serve both as a celebration of the
kind of legends that can be gestated right here in this very
town and as discs that are great for getting really wrecked
and partying to. Part of the Noise, No Escape, and Get It
Straight are the titles of the releases by the Pointed Sticks,
Young Canadians, and Modernettes, respectively, and
each contain demos (hence the coverage here), live recordings, and tracks previously released on the Z corporation's
predecessor label Quintessence. I tell ya, when the original
records came out, there was nothing like ducking into a cool
downtown record store, picking up these slabs of hot vinyl,
and hurrying home to the suburbs on the bus quickly enough
so as not to be shit-kicked by one of the local gangs of rowdies fascistically enforcing their AC/DC-only (or maybe Floyd
if you had some pot) regimen. There's tunes here that kick butt
on anything out nowadays, yet have languished in obscurity
since their creation some fifteen years ago. Lotsa talk these
days about other cities' "scenes" that were happening in the
late '70's, such as L.A., New York, San Francisco, and Deer
Lodge, Montana, but the music on these three CD's proves
that whatever kind of scene was going on in Vancouver at that
time was fuelling some amazingly creative rebel pop. And
this wasn't the only good punk/new wave around, as listens
to records from bands like the Secret V's, Tim Ray's AV, Wasted
Punk Rawk Pop Quiz
If you can name three important local punk/indie music venues that
existed in the 1980's, but have since
disappeared or been renamed» we'll
give you a three CS pack featuring
the Pointed Sticks' "Part of the
Noise", the Young Canadians' "No
Escape" and the Modernettes' "Get
It Straight". Just get your ass up
to our office in UBG's Student Union Building (room 233-6138 SUB
Blvd.)* tell us the answers, and
the booty is yours 1
All prizes  courtesy  of those
fabulous  folks  at   Zulu
Lives, Payola$, Maurice & the Cliches, Private School, I,
Braineater, and Active Dog prove.
Even if you were diligent and collected all the releases by
these particular bands (Pointed Sticks, et al, that is), there's
plenty of out-takes and live stuff (with many otherwise
unreleased compositions) to justify these purchases. If you
don't have any
of this music,
then go, GO!,
run, and pick
these up; the ex-
notes will catch
you up with the
historical details,
the photographs
and graphics tell it
like it was, and,
most importantly,
you'll get a generous sample of some
of the finest
songwriting this
town's ever produced (though I
ss it's hard to
beat nuggets like
"Seasons in the Sun" and "3 Dressed Up As a 9", isn't it?).
I really do wanna leave it at that, but my conscience forces
me to acknowledge some new cassettes that show the creative spark that was electrifying the above bands still has plenty
of juice today. I gotta be brief, though, so I'm gonna rely on
those irksome "comparisons with established bands" in order
to quickly pigeonhole these bands and get on with it.
Wave is the solo project of Pete (formerly the Velvis Eyebrow) of Perfume Tree, released on Toronto's Plan Eleven. It's
atmospheric and ambient without being New Age, and doesn't
lug around any danceability pretensions. Put it on and you're
floating in plangent cybernetic clouds much like the clouds
you float in when you listen to Richard James/Aphex Twin.
Pete's a Brit himself, so it must be something about that tea-
time they have over there that tranquilizes people and produces the Brian Enos and David Syfvians that keep the world
in balance and prevent it from plunging into punk-rock pandemonium.
Still using synths, but striving for a harder edge, is SPM,
or Sound Pressure Manifest, with the cassette A Taste For Hate.
Ministry and Nine Inch Nails are their cup of tea, but, amazingly enough, thanks to low-generation dubbing and damn
good engineering, the crunching metallic guitars have more
horsepower here than the major-label goth geeks mentioned
above. Relentless.
Father of Sam are real singalong popsters, with a passion for the Pixies. They use triplets and snippets to good effect on "Funny Peculiar," their 11 -song demo. Nice clever tunes
on this tape, and the class songwriting on tunes like "Bond
Offer," "Let Go," "Drive Out of Town" (they also know about
not capitalising conjunctions in titles), and "Dirt Between Our
Toes" leaves me saying, "I'm impressed." Did I mention I was
Back to atmospheres and moods with Floating Ground,
the newest incarnation of ex-Noisefloor (and ex-Ontarian) Robin
Walsh's flourishing guitar work, with help from Cary Dykhuizen
on drums and Trevor Davis on more guitars. Although it's 100%
instrumental, I had to listen to it a couple of times to determine
this because of the lyrical quality of the stringwork here. Guys
like Michael Rother and Allan Holdsworth (in his non-flashy
moments) come to mind, but the closest thing I've ever heard
to this is the Basic album from New Yorkers Robert Quine and
Fred Maher that came out around 1984. Like that album, Floating
Ground's five lengthy cuts make one appreciate the smells and colours of a warm rainy day in summertime, in the early evening, with
a hint of sun shining through. And a big fat cigar.
Lastly, Dementia Theatre presents Permanent Cranial Damage [Unwanted Sounds Vol. 0) (distributed by
L'Eyes), is totally fucked. I guess that's why I like it so much.
Thank you very much, ladies and gentlemen. Toodle-oo 'til
next month, and, until then, you don't do anything I wouldn't
do, and I won't do anything Hugh wouldn't do.
Friday, August 4: Tchkung!, Terror of Tiny Town, Diesel Candy
& Johnny Millennium at the New York Theatre (7pm)
Saturday, August 5: Rock Against Prison w/ Submission Hold,
Daughters of the Wind, Spanking Betty, Ten Days Late & more at
Crab Park (North foot of Main St. - 1pm) and Circle Jerks at the
New York Theatre (7pm)
Thursday, August 10: BNU, Gob, Gus and Pipebomb at the
Romper Room (New York Theatre - 7pm) and The Tea Party &
Econoline Crush at the Commodore
Sunday, August 13: 6th Annual Under the Volcano Festival
(see enclosed program guide for performance details) at Cates
Park in North Vancouver (1 lam)
Friday, August 18: Strain, Seismic, Puncture & Black Room
Shag at the New York Theatre (7pm)
Friday, August 25: King Apparatus w/guests at the New York
Theatre (7pm)
Saturday, August 26: Speedbuggy, Banned From Atlantis,
B'ehl, Les Electrosoniques & guests at St. James Community Square
(7: 30-3214 W. 10th)
Wednesday, August 30: The Warped Tour w/Quicksand, 17,
Sublime, No Use For a Name, Orange 9mm, fluf & No Doubt at
the Coliseum Concert Bowl (1 pm)
(Call 684-PUNX for info on all-ages punk shows. Putting on a
show? Call us at 822-3017 ext. 3 or fax us at 822-9364 with
the details.)
sitting on the porch, waiter brought the gun up to his
eyes and pulled in the bottle sitting on the fence some
twenty yards away, tt was a long shot but he had, on a
bet done it before, a steady hand was needed and this
morning, even though he felt a little off, a little shaky,
he knew he could, with a little effort nail it. the chair he
was on was in need of some repair and wobbled a bit as
he closed his left eye tightly, lined up the sights, and prepared to pull the trigger, his shirt was wet from the
shower he had just had, his wet hair falling slightly into
his eyes and impairing his vision just a touch - just enough,
brushing his hair back, waiter f eft the power was in his
hands, the power that he could at any time pull the trigger and shatter the glass, sending it flying off into the
yard, and the undeniable fact that the glass would wn&
ever be the same, no amount of repair could make it
right ever again, no bond strong enough, not for love or
money, once the trigger was pulled it was a done deal,
the gun felt good in his hands as he wondered what it
would be like to be hit by a bullet out of the blue, in the
shoulder: the leg. the heart, a bullet breaking the skin
and tearing through the flesh and settling in his body,
the blood, the bones breaking on entry, the muscles tearing away from the bone, the rifle was settling in so much
now it felt as though it was part of him. and maybe
now it was. leaning forward and resting his arms on
the railing in front of him waiter pulled the trigger and
the bottle exploded and as if the trigger and the bottle
were connected, shards of glass flew through the air and
onto the lawn and into the garden, glistening like diamonds as they sat on the soil, the barrel was hot and
smoked a little as waiter sat it down mX to him on the
porch, raising his hand waiter made a pistol with his
hand and lifted it in front of his face, and after blowing
smoke from his finger that was the barrel he got up and
went inside, it was time for breakfast,
"Grand Prix" is infused with
all the spirit, wit and
fluid harmonies t
their acclaimed major-l
debut, "bandwa60nesque",
sparky's dream'
and "mellow doubt".
S88 Seymour location ONLY.
Describe the origin of Frightwig in
philosophical terms.
We were fearless. Mia and I were Laverne
and Shirley: "We're gonna make it." We did
it all with no real money or help! But mother
nature showed us who is in charge in philosophical terms, (a reference to getting preg-
What was the best piece of fan mail
that you ever got?
A guy in jail wrote us and asked what kind of
underwear we wore, if we like kissing girls
and is we like visiting jails. When he got out,
he came to see one of our shows in Los Angeles and totally harasses us in front of a whole
bunch of people for not replying to his letter,
He ended up writing for Flipside.
Where was your first gig and was it
I used to book gigs at a place in San Francisco called the Sound of Music in 1981-82.
We did a lot of anarchist type shows with
bands like D.O.A. It was actually a real bar
that served alcohol, but most of the bands that
we booked believed in all-ages shows, so we
had an understanding with all the underage
kids that if the cops showed up, they would
have to run over the stage and down the stairs
where they could hide in the basement. This
worked very well. Our first scheduled gig was
at the sound of music and was NOT fun because our first drummer Tanya informed us as
we were moving our equipment that she
couldn't do the show because she "couldn't
play in front of people." We fired    her!
If you had a choice, who
would you have been in a
past life?
Anyone who was strong and
had a good life.
What was the strangest
thing that anyone ever
threw at you on stage?
I got a half full beer right in
the eye when we played with
the Butthole Surfers one night
in Denver at this place that
used to be a slaughterhouse.
You could still smell the
dead animals. In Edmonton, four teenage boys
mooned us all at the same
time,  and  each   bum
cheek was used for one
letter of the word F-R-M3-
H-T-W-i-G. It turned out
that one of the boys
was Ford from SNFU
and now of D.O.A.
Describe the weirdest overnight crashing on the floor experience that you've
ever had while touring.
This is great. Columbus Ohio, I think (ha!).
College guy's house. Big music fans. Loved
Frightwig. They had Frightwig posters on their
walls. We were going there to sleep and hopefully bathe. We go in, they put on a Frightwig
record and pull out beers. I'm like, "Can I have
a bath?" This guy says, "Yeah, but wear your
shoes in the bathroom, there's a sirverfish."
"Okay, cool." I slept in the van <
butts and beer cans, it rained, the
I loved it.
Do you have any recordings that are
soon to be released?
We wrote and performed the title track for
Blood Sisters, which is a documentary on the
San Francisco women's leather community. We
are doing a five song EP for "Hello CD of the
Month Club" which is put out by John
Flansburg of They Might Be Giants and will
be produced by Eric Drew Feldman. I will soon
be releasing a compilation to commemorate
the 25th anniversary of the Lynyrd Skynyrd
song "Freebird", tentatively entitled The West
CoastTribute to Freebird. This compilation will
include ten or more versions of the song
"Freebird" by west coast bands from Canada
to Mexico. The bed tracks for the Frightwig
version were recorded at Circus Maximus Studios (The Funky Toad) in Vancouver and will
feature Shug from Mudwimmin. versial lyrics and butt-kicking rock
songs to knock a few bricks out of
the PC intellectual wall" (Vancouver
Special - April '95)?
JJ: Yeah, whatever you smart people wanna
Jason: No, that's not our mission. We live in
Abbotsford. We are Rednecks. I don't even
know politics are anyway. Music is supposed
to be fun.
Dean: Politics are for city folk. We like beer,
sex, and music, so we sing about it.
Any names that you wish to drop at
this point?
We love Funkyard and The Four Foodgroups
of the Apocalypse and all of Vancouver. Oh
yeah, and of course D.O.A., Ten Days Late
and Queazy.
What is the innermost passion that
keeps Frightwig
The passion to create musically. There's nothing
like it. Playing music
makes me well in this sick
world. There's are many
passions in life. Everyone
go for their passion.
Cat Farm Faboo (1984 -
Subterranean Records)
Faster, Frightwig, Kill! Kill!
(1986-Caroline Records)
Phone Sexy (1989 - Boner
Wild Women Never Die... -
CD re-issue of first two albums
(1993 -Southern Records)
Frightwig questions by Evan and Angela. Answers by Deanna, guitarist/vocalist for
Who are you, and what do you do?
Jason: drums and vocals
Dean: lead guitar and vocals
Chad: guitar and vocals
JJ:. the Cheat: bass guitar and backing vocals
Describe your sound.
Jason: Redneck, beerswillin' Rock N Roll.
Dean: Sleazy sex for the beer drinkin' working
What is the connection between
Budget Rock Showcase and the Mummies?
Jason: The only connection is that we ripped
off the name Budget Rock Showcase from the
Mummies hit LP Play Their Own Records, and
I enjoy their music.
How hard/easy is it to play a Green
Day song?
Jason: I do not understand the question but
I'm sure it's pretty damn hard.
Dean: Like Christianity and Jehovah's Witness,
Green Day was drilled into my head.
JJ: Never heard of 'em.
is your mission really "to use contro-
What's the best zine in Vancouver?
Jason, Dean & Chad: Gee-zuz
JJ: Playboy or Boy Thing Quarterly.
Whafs the worst thing that's ever happened to you on stage?
Jason: Played sober with no free beer tickets.
Dean: I was attacked by many angry feminists and nearly lost my manhood. I'll never
play a riot grrrl show again.
JJ: My hair fell out of place.
Budget Rock Showcase -11 song idependent
Contact Budget Rock Showcase at:
34769 Marshall Rd.
Richmond, BC
V2S 1N4
ph: 852-0933
fox: 850-7095
Who are you, what do you play, and
what do you taste like?
Michel: I'm Michel. I play guitar and I sing. I
taste like a lollipop...
Jon: I'm Jon (bass) and if you want to taste, I
would taste sort of like a sugary brine.
Paul: I'm Paul. I play guitar and I am Devil's
food cake.
Flavio: I'm Flavio. I play drums and I really
don't know what I taste like.
If you -were to go on a musical journey, where would you
go and how 'would you get
Jon: I think to the place where
Hendrix and, like, everyone else
resides... Rock and Roll Heaven,
man. Nah, no...that 's not my     J
real answer.
Michel: We like to get various
perspectives of the world and
transcribe them into our songs;
there's no specific point, we
like to be everywhere...
Is there any territory
left to explore, or have
all the good ideas
been used up?
Jon: Well, you can always
explore the farthest reaches of your mind,
man, and that really never comes to an end.
Michel: Yeah, I think there's no end to music.
When our CD comes out in September you'll
see that there are different sounds and different ideas that might seem nostalgic, but they
are genuinely new also. We want to exploit
the past, the present, and the future at the same
time; that's very important.
Is Vancouver the place to be?
Michel: Definitely. In Canada this is the best
place for the artists. It's very inspiring to have
the mountains. It's very important to be able
to go up on a mountain and watch from above,
to see from that perspective who we really
are and not try to be anything else...
Paul: It's the city of inspiration; it's where the
best music will always be written.
Being that the majority of the band
hails from somewhere back in the
mysterious east, what have you noticed about Vancouver crowds?
Jon: The people are really good, laid back...
a lot of people do hallucinogens and that helps
out the perspective of the band.
Michel: The crowds are very diversified. They
want something different all the time and it's
up to the musicians to bring something different into the music scene. There are a lot of
good original bands, and they get along here,
not like in Montreal...
Jon: Yeah, we've played with a lot of really
cool bands, and there's not that snooty rock
star attitude
Flavio: There's a lot of cooperation here, and
in a showcase with three bands that don't even
know each other you find everyone's pulling
for the same thing.
What should everybody know that
you can tell them?
Paul: You've got to look deep down inside for
the secret of life, and when you find it, hold
onto it forever
Jon: Free your mind, and the rest will follow....?
Paul: No wait, there's two set of footprints in
the sand....
(SCM interview by Jamie Bilan. Photos by
Darren Hull.)
from  *P*mA wffc
101.9 f"1
larcand 1 rill
1 JbA rAK 1 I
with guests
econoline crush
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THE EXPERIENCED PIERCERS "Sextasy," we said to ourselves.
"Hmm...sex, and ecstasy, and a
couple of wicked bands, and a
bunch of underground art, and a
whole room full of people in wild
bondage gear. Yeah... Hell, yeahl"
Yeah, right.
As is often the case with sex and/or drugs, the
Sextasy Ball promised a whole lot of things it didn't
really deliver. First of all, there wasn't nearly enough
sex in the air at the Ball. And based on the number
of people who asked me if I knew anyone selling X
I assume there wasn't enough of that either... Anyway, a little background: The Sextasy ball is a touring show featuring My Life Wilh The Thrill Kill Kult
and Lords of Acid. Also displayed are slides of artwork in various media, and a video installation -
basically a wall of TVs showing film clips from horror movies. Local shops and organizations are given
the chance to sell their wares and promote themselves at tables set up along the walls.
The tour has run into some snags along the way
(like when the cops raided it one night and confiscated some artwork featuring youths and children),
but it made it across the border all right and hit
Vancouver on July 10. My friend Craig and I were
there, looking divine I might add, and we took the
opportunity to speak wilh Kitty and Blackie Oz of
the original Bomb Gang Girlz from MLWTTKK.
DiSCORDER: Tell us about the new album.
There was an advance cassette, but we
didn't get one...
Kitty: I wasn't given one either!
Jackie: It's called Hit and Run Holiday.
Kitty: It's a story - all our albums have a theme. This
one is wild, y'know, take off and hitchhike across
the country, pick up a guy...
Jackie: It's a cool theme.
Kitty: Y'know, have a good time! We're doing seven
new songs in the set tonight; almost the whole first
half of the set is off the new album so no one's ever
heard ihem before. We're getting a really good
response from people. They're singing along even
though they've never heard the record, which is
kinda funny! It's goto good gc**go trash thrill Ronettes
kinda thing.
So the women had more influence on this
Kitty: We actually have more women than men
this time.
What's the current line-up?
Kitty: Well of course we have Groovie Mann singing. And we have Buzz McCoy, who plays guitar
on the first half and keyboards on the second half,
and me, Kitty, on keyboards, and Jackie doing her
thing. We got a new girl, Cinderella Pussy, who
sings, and the Beat Mistress on drums. And of
course, Levi Levi on bass.
Where did you record the album?
Kitty: In Malibu. Buzz has his own studio there.
Is this the first time you've played with
Lords of Acid?
Kitty: Yeah, and we've been waiting to play wilh
them for years. It's been really good, cuz they rock.
Jackie: Plus they don't know what we're talking about.
Having a little fun with the foreign people?
Kitty: Yeah! They're starting to get it though, so we
have to tone it down now. They're starting to
comprendez (laughs). They're great!
Are you still affiliated with Wax Trax
Records at all?
Kitty: No, but we're friends. We're hoping to take
Chris Connelly out with us on some dates in the fall.
Have you seen all the art installations being shown? Are there any ones we should
look for?
"Kitty: Well, I have six slides showing, paintings.
Any problems at the border?
Jackie: (smiling brightly) We told them we were
going fishing! Salmon fishing!
Kitty: And ihey confiscated this guy lhat I had kidnapped. They wouldn't let him over, so I had to
leave him. I gave him 20 bucks - what'd he want
me to do?
Jackie: He was from Texas, he should get ihere soon.
On the road, are you a democratic band?
Jackie: No! It's a dictatorship - whoever has the
most power.
Kitty: Whoever has the bottle of Absolut! You gotta
be nice to whoever's holding it and you can't put
anything down or it's gone.
Any other good stories or sleazy innuendoes?
Kilty: Oh God, it doesn't even seem sleazy anymore.
It's like you're in grade school or something. Like,
'Oh yeah, another big black penis rolling down the
stairs, big deal.'
Whafs your number one entertainment on
the tour bus?
(The Bomb Gang Girlz cough profusely and look
Kitty: Uh, the people who come parading through
every day - they bring us stuff...
Jackie: Little boys.
Which you then abandon at the border!
Kitty: (shrugs) The younger and cuter ihe better! We
get a pretty good freak show parade coming through.
Do you think the hype over
the few industrial bands
that have gotten really big
over the past couple of
years has helped create the
recent explosion of S&M
bondage culture, or was
that happening anyway?
Kitty: It was totally happening
anyway. It's just the 'Eye Witness
News Team' hadn't figured it out
yet. It finally dawns on ihem, and
they're like, This is a big blah lhat
just happened.' We've been doing it ourselves for fifteen years.
Jackie: That's how we met!
Kitty: And our freak show that
comes through our bus are the
people we met when we started
doing this eight years ago. They
show up every time with their new toys, and they're
fun. They do a show for us, we do a show for ihem,
sometimes at the same time! It's nice, actually.
So much for ihe nice part - on wilh the complaining! In short ('cause the deadline is long past), the
art was mostly very interesting, but poorly labeled,
making it damn hard to figure out who had done
what (a program would have helped a lot). As for
the video wall, well, I can rentMaximum Overdrive
any time I want. I hate it when people confuse slop-
piness with sensory overload.
The evening's show began with fire-eater Hiro
Hauato, who also juggled it, breathed it ond generally got closer toitlhan you'd everwantto. Neat.
Next were MLWTTKK, who, despite having a stage
full of groovy-looking people, seemed incapable of
getting any real excitement out of themselves or the
crowd. The band played mostly new material wilh
a few oldies ("Kooler than Jesus" was definitely the
high point). Maybe their expanded show in the fall
will be better.
Far more entertaining were the Lords of Acid, a
band who actually had a touch of the wild abandon the night was lacking. Unfortunately, I'm not
too familiar wilh their stuff, so I couldn't tell you
what songs they did. Oh well. As for the rest of you
who wimped out on the chance to be really fabulous for one night, hey, if Craig managed to cram
himself into a dress and fishnets, you could have
done something wilh your hair, at least. The sea of
jeans and sweatshirts was enough to make a girl
loose all faith in perversity. Y'ought'a be ashamed
of yourselves...
What is campus and community
(c/c) radio, anyway? And why
should you care?
On June 19, representatives from CiTR, my
self included, traveled to Edmonton to participate in the National Campus and Community Radio Conference (NCRC), an annual event
hosted by the National Campus and Community
Radio Association. As a body that represents c/c
radio on a national level, the NCRA is an organization of Canadian radio stations like CiTR and
Co-Op in Vancouver, CIUT in Toronto, CHMA in
Sackville, NB, and approximately 30 others based
on campuses and in communities throughout the
country. Its conference, held for more than 10 years
now, attracted some 1 20 delegates from these stations for the purpose of defining the NCRA's ideals
and its place on the Canadian landscape.
Through a series of resolutions, the delegatei-
chose to define the NCRA as an organization
dedicated to fighting sexism, racism and
homophobia, ablism, etc., and to supporting
social issues ranging from native land claims to
the prevention of Mumia Abu-Jamal's ixecution
(Abu-Jamal is an alleged political prisoner presently on death row in Pennsylvania).
Commitment to social justice is certoirityan im*-
portant component of Canada's political and activist-based movements, but the NCRA, by dedicating
resources towards these movements, becomes a collection of narrowly focused activists involved in ra
dio. Unfortunately, c/c radio includes more than
just these people - even if they weren't all in attendance at the conference.
As a consequence of this focus, the organization
and its conference do not adequately deal with issues lhat only a body like the NCRA con deal with.
Important issues, like maintaining ihe freedom to-
broadcast counter-establishment voices or sexually
explicit material, are not given the emphasis they
should demand.
These aren't just philosophical matters either:
they're real. After th* CRTC (tha Canadian Radio-
Television ond Telecommunications Commission -
radio's regulatory administrators) received a complaint in 1993 concerning a tonus piece of
homoerotic poetry ihof was broadcast on CKDU
.(Dathousie University's campus rodio station), the
station was compelled (as Is ony station which receives a complaint) to respond; its response led to
o series of incidents which resulted in a restrictive ■
license far CKDU, one that prohibits the broadcast
of sexually explicit material at certain times of the
day. This "explkitness" was never defined, but it
did refer to the aforementioned compfo'mt. (For more
information on this Incident, see Krista James'
-CKDU vs. the CRTC" in the Dec. '94 issue of
The CRTC and its complainkJriven processes are
in need of review, but CKDU's problems could have
been prevented, or at the very least reduced, had
they had greater experience dealing wilh ihe CRTC.
The NCRA, as a body composed of representatives
from stations across the country, has ihis experience,
and it should ploce its emphasis an sharing its knowledge and resources wilh its member*. If a well established, relatively targe station like CKDU can run afoul
of the CRTC because they lacked the experience ond
the knowledge, ho* con one expect the many smaller
and newer stations to fore any better?
Some issues with o broader relevance were
touched upon, like digital radio ond the impact its
excessive costs wii hove on c/c'» radio's access to
the public in years to come {as o new radio format,
digital rodio will resort in CD-quality sound driven
by a technology similar to that used by cellular
phones -the CRTC would like to see this format
phased in by 2017}. But issues like student government cutbacks (at a primary source of funding),
and other longer term issues were missing from lie
conference's agenda. And what about the internet?
With the advent of reol-time audio, it's now possible to actually broadcast over the internet. For os
little as $5000 you could start up your own "station* wilh millions and millions of listeners. As net
access improves, there will be more ond more lis-      only the vocal few.
teners, and more and more "broadcasters." Not to
ring any doomsday bells, but radio as we know it
could be a dead format 20 years from now. And
where would the NCRA be? If it continues in the
direction it has headed the last few years, probably out protesting some matter lhat could better be better dealt with by a political party or
activist group created specifically to address the
issue in question.
My impression is that the more vocal NCRC delegates prefer the NCRA's emphasis where it is, with
a strong focus on the politics of social justice. These
same people seem to have a vision of c/c radio as
an entity that speaks on behalf of otherwise voiceless social groups, to ihe exclusion of those who
have differing ond contrary ideas to express. Radio airwaves ore still public space, (
should n*   '
J not be used to suppress any vi
I suppose t got away from the second question I
posed atthe beginning of this article: why should
you core? First, c/c radio is a recipient of some
of your tax dollars oneway or another. As well, it is
about the freedom to speak, an opportunity for experience, and it'san alternative to the banality of
mainsfreom media. More importantly, c/c radio is
about communities of people. I just hope that the
NCRA wilt be able to oct for all of the people, not
By Brian Wieser Access all areas...(Whether they want us there or not...)
Nardwuar: What's going on there?
Drew: This is the picture of me picking my butt that I was
talking to Courtney about!
Courtney: I asked Eric if he would find out where you got
that dress, cuz I saw the other side, and it goes down to
here, (points to lower back) Where did you get it?
Drew: I made the Engu/rerforthe "Would You Be
Caught Dead in This Outfit?".
Courtney: Yeah, but that's my goal. I've been in there
twice. Where did you get this dress?
Drew: Playmates.
Courtney: Really?
Drew: I put two of them on. It fits right above your crack,
perfectly. I like those low cut back ones...
Courtney: Are there any more?
Drew: Probably, I just got it. Call them and ask them.
Courtney: Oh my God, look at Eric. Eric, you look like a
Eric: That's a new suit!
Nardwuar.. Soy„u.rerea|||
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vas the first to feature the guidance of new artistic director Sal Ferreras, whose previous involvement with Vancouver's music scene has included
>rmances in past Folkfests, with the Vancouver
New Music Society, the annual Drum Heat Festival,
the Vancouver Chamber Music Festival, and wilh
group Ancient Cultures. Sal's love for all kinds
music makes him a perfect choice to follow in
the footsteps of former artistic director Gary Christal
providing exceptional and di-
rse programming for the Festival; we can only hope he stays on
for longer than his one year term.
This year's festival introduced
some anticipated format changes,
designed to reduce
tear on the volunteers, perfor
and, naturally, the audie
sic sets were lengthened, allowing
the performers more time to get
ind placating
those who have, in the past, complained about too-brief perform-
The intervals between performances were also lengthened
to eliminate the need to rush from
stage to stage. At first I missed the
frantic pace that typified previous
festivals, but by the second day I
quite used to ihe new format.
Other welcome additions included ihe Iwo hour main stage
matinee, which allowed for more performers to be
seen in a more formal concert setting, the Thursday
night concert featuring country and western great
Ian Tyson with Ranch Romance and Cindy Church,
and ihe series of free Granville Island concerts.
Finally, the addition of an unamplified acoustic
stage proved to be an extremely popular move - so
much so lhat by Sunday a modest speaker system
had been set up to carry the music to everyone
who wished to hear it. ...Discordergoes to
Nardwuar: (reading) "Hole's lengthy rider,
meanwhile, is said to include one pack of
ribbed, lubricated condoms with no spermicide."
Courtney: OK, first of all, A) what if I wanna
fuck? B) we have male roadies.
Nardwuar: What does no spermicide mean?
Courtney: I don't know. Eric, why is there no
spermicide on the rider? I have nothing to do
with that.
Eric: Spermicide? What are you talking about?
Nardwuar: Check out page 39 in this book
(showing book)
Eric: Where does it say... Where? Where?
Where? (reading): "Hole's lengthy rider, meanwhile, is said to include one pack of ribbed..."
That's my brand!
Nardwuar But why is there no spermicide?
Eric: Because that gives you an infection!
jhatyou were Dave Pimer?.^^,,
hair day, it happens.
Nardwuar: Anything we should
ask Eric or Drew? Any kind of
dirt you have on them?
Melissa: Ask her about her...
Nardwuar: (spots Drew flashing her
breasts at Melissa) Oh look! Whoa!
Melissa: ...ask her about her tits.
Perfect. Go do it! Go do it! Ask her
about the tits.
Nardwuar: Can you ask it for me?
Cuz I might kinda... Just ask it. Go
forward and ask it. Drew! Melissa
has something to askyou Drew
Melissa: It's something about the
water and the stars and the tits.
Drew: Oh, see... Oh, Melly... (hugs
Melissa) I love this woman so
much. We are both Pisces.
Melissa: We're bonded at the hips,
breasts, and... C.
Nardwuar: Is she the first Canadian
friend you ever had?
Drew: Actually, this close - yes.
Photos by Hugh Baker
Overall the festival was a crowd pleaser, maintaining its reputation as one of the friendliest, best
organized, and most diverse festivals around. Now
if only they could arrange for some of those gigantic Christo umbrellas to provide shade, things would
be near perfection.
The weather on this evening was cooperative, offering a gentle breeze to cool the expectant masses,
and the concert itself set the tone for ihe rest of the
festival. Vancouver's Alpha Yaya Diallo &
Bafing provided ample evidence lhat world music, and African music in particular, is alive and
well in Lotusland, while the Georgian vocal ensemble Kolkheti dished up a wonderful melange of
traditional Georgian, Balkan and Byzantine vocal
music that was diverse and richly textured. Closing
the show was Madagascar's Tarika, who added
to that country's reputation as a hotbed of music
with an infectious blend of African, Portuguese and
indigenous influences.
As usual, the percussion driven morning workshops
at the acoustic stage proved popular, prompting
even the most timid to risk heat stroke under the
relentless sun. Unfortunately, the lack of amplification hampered this morning's Cajun workshop - a
pity since the calibre of performance was high.
Laura Love certainly had no trouble being
heard during, her main stage matinee set. A spiritual performer, Love's wild vocal stylings ranged
from gentle harmonies to full blown whoops, hollers, yodels and howls.
Somewhat more subdued but no less impressive
was Daniel Lapp and th* BC Fiddle Orchestra, whose inspired performance provided the surprise of the day. Urging his band of child fiddlers
and fellow multi-instrumentalists on to ever greater
musical heights, Lapp played a diverse set which
showcased his multi-instrumental skills and irrepressible showmanship, touching on everything from BC
fiddle music to world beat.
The sun was still burning when the Rosario
Acer Flamenco Dance Company took the
stage, but it was the feverish pitch of castanets that
caused temperatures to soar as this troupe worked
its sensual magic on the crowd. Why did it take so
long to bring flamenco to the Folkfest?
Saturday evening's mainstage performance got
off to a surreal start as Soly Canto's breezy melodies served to accompany the descent of twenty
parachutists floating silently from the heavens.
Where they came from, who they were or where
they went remains a mystery.
Less mysterious was the appeal of Nigerian legend I.K. Dairo, who, along wilh his band the Blue
Spots, gave the Folkfest crowd a rare chance to
see and hear him squeeze a few irresistible beats
from his button accordion. A roucous set of punk-
tinged Celtic music from Wolfstone followed, and
then it was time for Ferron to close the show on an
emotional high. Thanks in part to the powerful play
ing of her band, Ferron performed a set of richly
textured music that proved just what a superior song-
The show over, the crowd was treated to one
last surreal experience as a procession of oddly
shaped lanterns (including a beet, a taxi, and a
dragonfly) escorted ihem out of the park and past a
row of portable toilets, their translucent, whitedomed
roofs glowing in the night like miniature BC Place
stadiums against the backdrop of the sea, mountains and city.
Another hot day ond another loud, early morning
rush for choice mainstage spaces. The Formosa
Aboriginal Song and Dance Troupe opened
this last day of festivities, offering us a rare glimpse
of the songs, dances and rituals of the aboriginal
peoples of Formosa (Taiwan). Their round dances
included what must be the most genteel of all drinking songs, wherein the dancers (both male and female), after loudly declaring their thirst, were fed
rice wine on the fly. The audience - myself included
- was not spared from sampling the sweet wine,
making for a doubly pleasurable event.
Equally pleasurable, despite a lack of libations,
was the Afro-Cuban summit featuring Shango
Ashe and Los Munequitos de Matanzas. With
the combination of Los Munequitos Moorish-influenced traditional rumbas and Shango Ashe's jazz-
tinged Latin rhythms, the summit revealed both diversity and the evolution of Latin music.
Finally, Danielle Martineau provided the
highlight of this day's matinee with a vivacious blend
of Acadian and zydeco tunes.
Over at the now-amplified 'acoustic' stage, the
Blues Workshop offered something for everyone,
from Jim Byrnes' robust delivery and Dee
Daniels' soaring soulfulness to Del Ray's no
sense approach and Harmonica Fats and
Bernie Pearls' gruff urban blues. A true blues lover's delight.
Los Munequitos worked their rumba magic
once again on the evening mainstage, treating the
audience to a harrowing machete dance thai
whirled its way around the stage. Another blues
blow (featuring the same line up as the first) followed, and then it was time for UMF to take on the
daunting task of closing the festival. They handled
the pressure admirably, right down to the teary eyed
realization that it was all over for another year.
As a final note, I should mention that Bill
Richardson, sporting an outrageous collec
of garish jackets, M.C.'d the event with aplomb
and fulfilled the role as the crazy uncle w. "
wish we had. In the end, everyone went home
tired but inspired.
// "I'd like to know/where all the
strange ones go"
The brilliance of Sister Lovers is narcotic. Their lucid eccentricity,
however, is not always understood. Alternative Press, for example, praised their debut School Sux ("lyrics of unsettling beauty,
as artfully crafted as they are offhandedly goofy. - [Sister Lovers] are
concealing a dangerous intelligence."), while Discorder labeled the same effort
as "completely forgettable." Times have never
been easy for those who
walk a taut cable high
above the bounds of the or-
Meet Sister Lovers:
Mark   'Kleinz'
Kleiner (vocals,
guitar, and keyboards), Petey
Wheatjeans (vocals and guitar), Jay Star (bass), and Andy
Pants (drums). Lounged comfortably in their moody "Miami
Vice inspired" living room, the
four Sister Lovers met with Dis-
carder's suave yet unsuspecti
scout Sean Raggett to discuss
group's origins, their new
lease, Friendless, and, mosl
portantly, their knack for tr
forming popular art and imi
into a sardonic pulp regui
tion, something Kleinz sc
quently calls "schizo-pop c
The genesis of Sister Lovers can be traced to a chance encounter
between Petey and Kleinz, a fateful collision that spawned the SL
monster. "Petey and I were walking up Seymour by Track Records,"
Kleinz explains. "Pete had a little satchel full of punk records and I
had some power pop records and we bumped into each other. The
records went everywhere, and I said, "Hey, your punk's in my power
pop!" He said, "Hey, your power pop's in my punkl" And then [we
iooked at each other] and said, "Hey, not bad!"
After the group shares a laugh, Petey tells the story of how bassist
Jay Star entered the group. "We met Jay at a Meat Puppets show and
asked him to play bass - although he didn't know how to play anything." Thinking the offer was a farce, Jay accepted. "Everybody was
laughing and laughing. I kind of jokingly said, 'I'll play bass for you,'"
Jay recalls. "And then suddenly everyone stopped laughing." There
is a flood of laughter, and SL producer Timetoy jumps in with a sly
grin, "Some people haven't stopped laughing."
With Jay's origins revealed, my next question is directed towards
drummer Andy. There he sits, tucked into an upright fetal position,
knees to chin, eyes busily darting about in space. After observing
him cautiously from the corner of my eye, it appears to me that something different lurks beneath the exterior of odd silence he wears so
isily. His quick, random, and cheerfully deranged one-lined contributions to this session fascinate me.
(For example, after Petey explains
how long SL have been together,
the response from Planet Andy is,
"That's 27 in dog years.") In fact,
Andy seems so passionately transfixed by the empty space in front
of him that I begin to wonder if
perhaps he has already accepted
a ticket into a fourth dimension and
is quietly enjoying the ride by himself. His door unhinged, he is rock-
^ eting through his own artistically
A[ hypnotic plane, the perfect Sister
^J0 "So Andy, you're..." I at
tempt, but before I can finish
king him how he came
3 be a Sister Lover Petey
question will upset Andy's
peaceful cosmos. "I'll get to
"II seguel" Petey exclaims.
n the segue kingl" He takes a
■ath, then continues. "We were
playing around with Jay, just doing liv-
n stuff, and Kleinz put an ad in a
tempt, I
A askin,
Ol      ILt J2
magazine. I think it was Tiger Beat."
"I had just learned to read lhat," Andy announces suddenly, briefly
slipping out of his catatonic joyride to join the conversation.
"It said, 'Wanted: drummer into chaotic pop," recalls Kleinz. "So
right away we hired him."
"And I got my first paycheque the very next day," quips Andy.
Anyone who has seen Sister Lovers live or listened carefully to their
records will appreciate the bands ability to simultaneously mock and
pay homage to glam lords and rawk poseurs without offending either
camp. Their unique knack for fusing pop culture references with iheir
iwn sardonic sensibilities embodies more clever
ntelligence than any telepsychic could ever imagine, as exemplified on such early songs as
"Lovers Go Home" and "Crush On a Lifeguard"
from School Sux. "I thought it was a very serious record," claims Kleinz. "Then the reviews
came back - 'wacky, zany, goofy, Dead Milkmen.' I had not a clue where ihis came from,
which is not bad. People laughed at it."
Sister Lovers' second offering was a four-
song 7" entitled
Paula Stop Pretending, the title
track dedicated
to    the    late
Paula Pi
Ihe Pand<
airplay on
CiTR and
was fol-
wilh the un-
 j    der-rat
lenglh release which included a beautiful
cover of the Paul Collins' Beat pop ballad
smoothy "Dreaming".
"Now Give'r was getting
point, an album lhat was fun for the right
reasons," says Kleinz. "It was zany in the
sense lhat people could laugh at it and have
a good time, and ihey weren't laughing at
our expense. I mean, we were ihe first ones
laughing. The whole  thing
off." Petey and Kleinz, both natives of
Saskatoon, explain how Give'r earned its
name: "It's a Prairie thing," Petey begins.
"It's terminology for, you know, you're in
high school on ihe back steps and
one's got their Nova, and they're like, 'Light
'em up! Roll ihe tires!"
"Everyone in Winnipeg says 'Giv'r! Giv'r
shit!" explains Kleinz.
"So," Pete continues, "the sequel to lhat
would be Keep On Give'ner, like a K-Tel
The next offerings from SL were single
tracks released on Iwo Horrifying Circus
Music compilations. The first was on last
winter's Horrifying Christmas Musi
pilation featuring Speedbuggy, Les F<
and Thee Goblins, and festively packaged
wilh Christmas cards, ribbon, and a candy
cane. The second was
on  the recently released Canadian Relics, a five song compilation named after the
cranky (but lovable)
Relic of fieac/icombers
fame. This 7" record
features the local talents
of The Evaporators, The
Tonics, July Fourth Toilet,
and Insignificant Specks
(featuring Zumpano's
Carl  Newman),  each
covering a song by a Canadian artist. "We do a
song called "SweetThing"
by a band called Goddo,
a bar band from Toronto,"
Peter says.
"Seventies coke rock,"
Kleinz clarifies.
"The highlight of their
career," Petey continues,
"was opening for Rush at
Maple Leaf Gardens -
Greg Goddo was quoted
as saying 'I saw all those
*V% lighters, 10,000 lighters in
ij     the crowd, and I just lost
Perhaps explaining SL's
choice of song on Relics,
Kleinz is no stranger himself to the merits of what he
rails "under-represented" stadium-genre cock rock. In fact,
oudly owns an extensive
A dium-c
\ he pro"!
SS? collect!
I   Wr glamrock
of    lo,
_ t-shirts (including Ratt,
Poison, and Skid Row), and the
closet rocker was quoted in Gee-zuz
fanzine as saying, "I have a heavy metal
dick and an indie rock heart."
Sister Lovers' latest project, Friendless, is
the realization of almost 12 months of
hard work. "This has been a very much
down time for the group," says Kleinz.
"We started the record last September
and we've played two shov
has been a real period of growth and
also a period of stagnation, but we've
really been making the album we've
ited to make. I think it was a great
sense of relief for us to have made this
record because we've always heard
in the back of our minds how we could
sound, and Friendless is the first realization of lhat. It has a bit of swagger,
a bit of balladry, a bit of pop rock.
Basically, it's a Sister Lovers album
wilh ihe bipolar and isolated elements
coming together."
/2   AUGUST 1995 Do SL have a favourite track on Friendless! "I hod a meeting yesterday with some of the label people," says Kleinz, referring to the
group's management, Horrifying Circus Music. "They heard some of
the rough mixes, and they said this record is five singles deep. They
figure they're gonna ride five singles out of this puppy, just keep wringing it out like a dirty rag. They were buying the drinks yesterday, five
singles deep, they said."
Friendless was recorded and mixed at Funslrip, a studio affectionately named after an arcade in Saskatoon. The stylish shirt-wearing
producer, Timetoy, explains: "It was where everyone sold dope, and
they would spend all the money they made [selling dope] on video
games." After a brief moment, Petey jokes,
"Isn't lhat what happens [at the studio]?"
Sister Lovers' tongue-in-cheek disposition contrasts their genuine passion for
song writing and performing. In fact, Petey
goes so far as calling the
life, our blood, our music." All things c
sidered, how serious are they? "I don't
think what we do is dumb fun," Kiel
"However, there is an escapist
What we're trying to do is an
escapism that's not retarded; it's kind of,
ence. Getting caught up on pop culture only pushed me away from
my friends and family. A lot of the themes on Friendless are about
looking back and dealing with lhat and saying, 'Look, lhat happened,
but the fun is in the now."
Considering these words, Timetoy comforts his disenfranchised
friend. "Poor Kleinz, it's like smelling wooden flowers."
Not content, nor completely finished, Kleinz continues. "We're
what's called a last chance band. Years ago someone said we're
a last chance band, and it wasn't' like the last chance for fame or
something, it was like the last chance to make sense of our lives. If
we didn't stay together, the four of us as human beings, and try to
work it out - I know right now there were a lot of times
where we almost quit and I know
what I'd be doing. I'm glad I
"It's celebration," Petey says of
their music. "[And] when we're not
playing well, the spirit is there and
that's the celebration. For example,
when you walk down the chilly
windy dark side of the street, you
get a chill, right? You still get something out of it. Even when we're at
our worst and feeling kind of downtrodden, there's still something stirring."
So Sister Lovers is a happy band?
"It reminds me of a song called
"Moody Manitoba Morning" by Ian
Sylvia," Petey replies. "The refrain
goes: 'I'm not sad or happy/I'm just
Irving day by day/In this moody Manitoba morning/And I like it lhat
way." Meaning that we're not happy and we're not sad... it's ail art. Il
comes out when if comes out, and I think that's the same with pop
music, or rock and roll - it's a long life and it's a short life, let's get
the best of both."
it doesn't condescend, you know what I mean?" Speaking specifically
of the 'cocksure' track "Toploader" off Friendless, Kleinz provides an
ideal example. "Toploader is a song about a girl who is [totally]
wrapped up in retro," he begins. "The song is about toploader VCRs,
remember the toploaders? It's about totally embracing a toploader
VCR, which is the most retarded thing you could do...it's the most
unembraceable image, right? A top-loader, like who cares?" I nod,
and Kleinz continues. "The concept is lhat you go so far in one direction wilh 'everything is good' that even a toploader is celebrated. If
we all become too obsessed [with] looking backwards through ihe
rear view mirror, sooner or later we lose touch wilh how to be happy
in the present, for the present, right? One thing lhat really got me
thinking was the review of ihe Sonic Youth/Redd Kross Carpenters
tribute songs in Spin. These bands really are concerned with knowing
how the decade where pop culture became a stand in for spirituality
turned out another era of endless recycling. They were having fun
[then]. Now people identify with Brady Bunch episodes instead of
hanging out wilh good friends. We're more hung up on ihis third
generation visual...and by embracing lhat, [we live] a very cold exist-
Son <2^
1 Featuring
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ind  light spectacular
'sday's through Sundays 9:00 P.M.
:     / Info 738-7827
W3 f&k    A   Roundhouse
real men    production     straight I
! l>~) ?^(i
)rwin Oostindie isn't getting a lot of sleep these
days. As the coordinator of the sixth onnual
Under the Volcano Festival, he's been working
day and night to make all the necessary preparations for this year's celebration of "art and social
j-jstice", to be held in North Vancouver's Cates Park
on August 13. Last year's festival attracted 8000
people and featured 100 artists on three stages,
and this year's will be no less ambitious, incorporating four festivals within the festival: the Decade
of Indigenous Peoples, Grrrlapolooza, the Drum and
Rhythm Festival, and the International Activist Film
and Video Festival. As well, there will be children's
programming, including Evelyn Roth's inflatable storytelling volcano, on Artisan Market with more than
forty booths and demonstrations, o visual arts exhibition featuring interactive cultural games ahd art
installations in the forest, a poetry stage, political
tables profiling environmental, humon rights and
ant-fascist organizations, and workshops on everything from self-defence to the use of video ond satellite technology in political activism. Not bad for
an event that is orgonixed and run entirely by volunteers, has no major corporate sponsor ond doesn't
even sell tickets, choosing instead to rely on dona-
i nder the Volcano was originally conceived
m I of as an almost purely musical event in-
t^Mpa to give people a chance to hear bands like
the Smugglers, Ngoma, and he Evaporators, to
leorn how to tie-dye a t-shirt, ond to eat a veggie
burger or two. The first lew festivals were presentations of Arfesf, a non-profit youth magozine for people "active in the visual, literary or perform ing arts,
or with organisations affecting social change," but
as the festival grew and evolved. Under ihe Volcano become an organisation unto itself, recruiting
and training volunteers, applying for grants and
subsidizes, ond sponsoring summer youth centres.
The festival also began to take on more and more
of a political edge, inviting representatives from
various activist groups to set up information tables
and tospeok between bonds "We just started adding more and more of a political focus," Irwin explains, "and now we see lhat there's a need for
Under the Volcano in that there's no radical cultural
festival in the city where people con openly access
these ideas and hear bands."
But what about Lollapalooza and Another Roadside Attraction?
"I saw a poster in DiSCORDER, ihe ad for Another Roadside Attraction, and right on there, in
big letters, it said 'SOCIOENVIROFAIR.' Sol coBed
Ihem up and said, 'Can we have a table?' Welt,
ihey wouldn't let us have a table cuz they were full.
They had six fucking tobies ihere, six lucking groups,
and then they were full cuz otherwise they would've
had to rent more tables. I meon, if I'd said, 'Here's
$300, I wanna sell sunglasses' - no problem. It just
really reaffirmed for me that you can't rely on ;
Perryscope or MCA to provide ony sort of educational experience for young people- it's purely based
on dollars. But we can't justpreach, you know, 'Oh
well, fuck the corporate music industry...' We hove
to actually provide examples."
For Irwin and the rest of the Under the Volcano
crew, providing examples doesn't just mean producing a weH organised show with cm exciting lineup and wi ihout corporate spon sorsh i p, it also means
getting people • especially young people - involved,
showing them what resources are available ond how
to use those resources to put on their own shows.
"The COol thing about Under the Volcono is it's
a group of people who aren't budding [promoters/
music industry moguls]. They're young people - most
of the people who work on the show are U to 18.;
So we're giving them both something interesting to
do ond we're also teaching them about how to produce shows. Everything is open ond everything is
discussed. W& sort of try to create this model for
how to produce a major show."
Given the moinslream media's obsession with
youth crime and the consequent tendency for many
people in our society to regard kids as a 'problem'
rather than as fellow human beings, one would think
thof politicians and civic leaders would be quick to
praise Under the Volcano's efforts to involve youtfvS;
by teaching ihem procBccd skills and providing ihem •*-•
with an opportunity to use those skills. Some have, >
but others, such as North Von mayor Murray
Dykemcm, North Shore News columnist Doug*
Coflins, and North Vancouver Reform Parly MP led
White, have ottempted to eilher shut the festivol
down altogether or ot least to have its funding cut
(Approximately one third of the budget for Under -
the Volcono comes from grants ond subsidies created to support he arts and youtfv-oriented endeavours.) Dykeman argued that ihe festival was successful enough not to need assistance from locol
government (the rest of NV District Council disc-
greed ond OK'd the funding), Collins complained
to oH three North Shore mayors about this publicly
funded ?tooney sing-a-long* for "Leftist weirdos",
ond Ted White, the only one of the ihree to do ony
real damage, cut the festival's funding forospeciol
summer training program. "We had an amazing „
training program lined up for this summer," Irwin'|':
tells me. "We were gonna hire twelve young people to learn training on Under the Volcono; three
would be doing publicity, three would be doing infrastructure, htae would be doing graphics, ond
ihree would be doing electronic design. We were
going to train them, give them money, and, you
know, it was o fucking excellent plan. And then Ted
White wouldn't give us the funding, so the money
Went back into ihe system to some other fucking
town. It didn't go back to the government, it just
went to some other town. So we lost lhat training
Rather than discouraging the festival's organizers, #»e opposition from Ted White and olher similarly narrow-minded individuals simply adds fuel to
their fire and inspires them to hone an even sharper
political edge wilh each successive festival. This
year, the political focus of Under the Volcano will
be on the Decode of Indigenous Peoples and will
feoture a special component curated by Coast Salish
octivist and artist Kelly White. White has brought
together an exciting line-up of First Nations artists,
activists and performers, os well as arranging for
an extremely rare traditional First Nations welcoming ceremony involving Chief Bernard Ominiyak of
Alberto's Lubicon Cree Nation and representatives
from the Squamish, Burrard, Ha'ida, and Musqueum
Notions. "Possibly for the first time ever in Vancouver, we're going to hove a traditional protocol where
the First Nations chiefs will be coming from the water
in traditional wor canoes. They'll be cominc
beach at the park, then they'll be walking fl*
noes up to where Takaya dancers - troditior
live dancers-will be dancing."
As well os participating in the protocol ceremony, Chief Ominiyak will olso be speaking about
his people, the Lubicon Cree, a small notion of
i-native people who lived very traditional ways of
'life until about fifteen yeors ogo, when oil wos discovered on iheir lana. Since then, approximately
five billion dollars worth of oil has been token from
the land, not o penny of which has gone to the
Lubicon Nation. "The only thing they saw wos total
destruction of their trapping and traditional way of
life and the Alberto government saying ihey never
had any rights to their fond. They're like an invisible nation.'
Two other prominent native activists will also be
speaking ot ho festival: John TrudeB, an artist and
activist whose involvement wilh the American In-
dion Movement in the 1 970's resulted it
der of his wife and children by the FBI, c
Simmons, o representative from the Internatic
digenous Treaty Council who will be speaking al
the situation of native peoples around the world.
All three speakers; Irwin assures me, promise to
provide a very powerful, very inspirational experi-
The decision to focus on the struggles of
idigenous peoples is one which the organizers of
Under the Volcano came to after years of working
with various political and environmental groups.
Referring to ihe plight of the Lubicon Cree, Irwin
explains lhat "this is such a severe example of how
corporations arid governments and the court system are all working to keep industry going [ond] to
destroy people's cultures, in ihis case First Nations
cultures. Right now native people are on the front
lines defending, and it's o prime opportunity for
non-native people to support native people. Because
we're not just supporting native people's rights,
we're supporting he protection of the land."
The logic by which Irwin comes to this conclusion stems from his belief in ihe necessity of taking
a wholistic approach to politics ond environmental
issues. Not content to campaign on behalf of any
one single issue or to fight to save a specific block
of land, Irwin ond oihers involved wilh Under the
Volcono attempt to iniegrate a rccNcol social critique into their work. "We don't want to just soy,
'Oh yeah, we'll save the Carmanah, or we'll save
Clayoquaf Sound, because basically those are all
single issue campaigns. We want to take the environmental issue os a total social issue. British Columbia's economy is artificially propped up by the
Thinking of distributing
Discorder at your
\-jiue us a. cull!
(604)822 3017 destruction of the forests. All of our lives, whether and check things out on their own. We Iry to make
the person is on welfare or the person buys con- it a spontaneous experience; we don't want a sit
sumer goods, our entire economy is driven by that down concert experience. We don't wont an audi-
forest industry, so we need to critique ihe whole ence experience, we want everybody participat-
system if we're actually going to make any environ- ing equolly*."
mental victories. You can't just save an area, you
need to figure out how it affects the workers. You
need to figure out how you can have community
control over forestry. You have a lot of complex issues, and those issues have always been there and
they always will be (here. We need to look at ihe
environmental movement not as a single issue, but
as a revolutionary movement lhat is looking at stripping the power from large multi-national compcp
nies and ihe government, which are feeding ihis
artificially heallhy economy."
The best way to do this, Irwin believes, is to
empower First Nations peoples and let them determine how the land should be protected. "They were
protecting the land for 5000 years, ond in ihe lost
100 years we've been able to fuck it over so badly
that it's time (hot we give it back to those people
and entrust them as human beings to moke the best
As integral as politics are to Under the Volcano,
they are just one ospect of a festivol that really does
offer something for everyone, whether if be an intimate discussion with John Trudell, a workshop on
permacullure gardening, a poetry reading on the
beach, or a swim in the ocean. The orgonizers even
provide something for those people who have no
intention of attending a festivol that day: "The families who are just coming to Cates Park by coincidence on that day, we entertain them and we give
them a positive experience. We entertain their kids,
and we give them free fruit and juice. And then the
crowd that comes for our show, we entertain them
and we give them a positive experience. So overall, whoever's in the pork lhat day we're going to
give ihem an interesting time. If they don't like the
politics on stage, they can wander to another stage
And lest we forget, there's olso the music. This
year Under the Volcano will incorporate the
Grrrlopalooza festival, an event lhat was a great
success last year when curator Meegan Maullsaid
organized it as a separate festival. Meegan had
planned to do the some again this year, but a desire to colloborate on a project with Irwin and ihe
advantage of sharing Under the Volcano's audience
ond infrastructure convinced her to do otherwise.
Among the bands performing of Grrrlopalooza will
be San Francisco's Mudwimmin', Victoria's Fracas
and the Vinaegettes, and local octs such as Ten Days
Late, Hazel Motes ond Meegon's own band, Punc-
in addition to Grrrlopalooza, Under the Volcano
will also feature a Drum and Rhythm Festival with
the Lil'Wat Hand Drummers, Japanese drumming
by Sowagi Taiko, African rhythms by Ihiala, and
Afro-South Asian vocals by Penny Singh, to name
but a few. It's an impressive line-up for any festival,
and especially so for o grassroots festival put to-
gether by o group of dedicated volunteers on a
shoe-siring budget. "It's important for people to realize that we just barely puB the show off. It's interesting because I don't know what people think when
they go to an event like this. If they find something
out of place well then it's like, 'Oh well, poorly organized festival,' when in focf it's astonishing that
we can acluolly put all this shit together. I think that's
why we keep doing it- it's tike, 'Fuck, we did lhat?
All those people come ond we did that with no
Under the Volcono takes place on August 13 at
Cates Park in North Vancouver. For more information or to volunteer, call 984-ARTS.
2tivig£emtin8. ■«S8: 8&M*
Making its debut at this year's Under the Volcano will be the International Activist Film and
Video Festival, "a forum for artists and activists to learn through informal discussions,
screenings, and workshops." Comprised of three separate components, the film fest wil
feature an afternoon/early evening screening tent showing a selection of activist and artist produced films and videos, a mainstage large screen projection of films and videos from around the
world, and a series of workshops designed to inspire activists to utilize film and video technology.
On hand to share their experiences and expertise will be film-makers and videographers from
around the world, including Joerg Altekruse, a documentary filmmaker from Hamburg, Germany;
Mike Meese and Darryl Geist of Cold Mountains, Cold Rivers, a group of activists and artist who
produce films for organizations such as Bear Watch and Earth First!; and Ted Oakes of Smal
World Media, a project which supports media campaigns for activists in England and produces a
bi-monthly video magazine featuring activist-produced film and video shorts. "The workshops will
be basically inspiring people to learn to use video and how to do independent distribution of thai
video," says film fest curator Irwin Oostindie. "Like the fact that you can buy- if your an activist in
Clayoquot Sound documenting the destruction of trees - you can actually have a backpack satellite
transmitter for $5000. You can do your video taping, you can plug in your Hi-8 camera to this
satellite transmitter, and you can transmit to BCTV in downtown Vancouver. Live. So you can be
documenting an action, the police can be coming in and busting the action, and you can document it and BCTV's got it live. That's the kind of power that activists can actually access wifh their
' (formation rather than relying on some Luddite experience of, like, 'Oh, we don't know how to
write a press release.' Activists can actually seize the opportunity to take advantage of this new
technology and inspire people with their actions."
The actual films being screened will include a sampling of activist produced films and videos,
Ito be shown in the screening tent from 1:00 until 9:00, and a selection of films from around the
world which "tell the stories of individuals and communities as they struggle for sovereignty, social
justice, and environmental protection." Among these films, which will be shown on the main stage
in a sit down, drive-in theatre type format, will be Le Dragon, Droits Devantl, a five minute tape on
the assassination of Romanian despot Ceaucesceau ("Thafs almost like a humourous abstract
political film. I mean, who's ever seen a leader of a country shot to death? That's pretty wild."), Ilha
das Flores, a twelve minute film from Brazil that tells the story of the life and death of a tomato,
"and at the same time, it totally deconstructs industrial civilization", and Taking Aim, another
Brazilian film which promises to provide a unique and inspiring viewing experience. "A woman
from Rio De Janeiro went to visit two tribes, two aboriginal tribes, and gave them video cameras
and tvs - they'd never seen tvs before. They made a video tape and they showed it to the other
tribe, and the other tribe made a video tape and they showed it to the other tribe. These tribes had
been fighting the last few dozen years, and had been actually killing each other, and this tape, this
■ideo tape documents this exchange of video. They talked to each other, saying, you know, we
Wouldn't be fighting each other, let's be fighting this forest company thafs tearing down the forests
>n our land. It's so beautiful and so rare. It will be a very special experience to see that."
In total, approximately 25 films and videos will be screened, and, in addition to the three
scheduled workshops, several film-makers and resource people will be available throughout the
day for one-on-one discussions. Call 984-ARTS for more information.
JALE  Closed
©<DQ 0©00©G>©
mack up, state rinuun
Please write for a free catalogue:
P.O. Box 2372 Halifax Central,
Halifax, Nova Soctia. B3J 3E4
PF Records
Box 21003 Kingston, Ontario K7L1C0
Sault St Marie
Thunder Bay
Vancouver Corporate Rock!
It's easy to say, but how easy is it to do?
to sit on a good story we here at DiSCQRDEi
out our crack research duo, Les Vegas
Wieser, to find out for themselves...
With the increased commercialization of "punk" and the incessant arguments
and "what is the punk ethic/' we wonderea: How many people in the lower Mair
themselves when it comes to setting up shows? just how nord is it to put on o show? \
that it ain't that hard at all. You too, dear reader, can do it yourself! All you need is access to
resources, a little bit of money, and most importantly, the knowledge of how to do it And that's where
we come in: This little guide we've put together is meant to be a resource tool for any one who wants
to put on a show, whether it be a punk snow, a hip-hop show, a reggae fest, or an intimate evening
with an acoustic folk-rock duo! We're not telling you THE way to do it, but we hope we can let you
know what some of your options are.
Now, though we do, on principle, pride ourselves on our own arrogance, we stopped short at
thinking we knew everything there is to know about putting on all ages shows. In fact, before putting
this guide together we knew almost nothing. So. rather than blow smoke through-our orifices, we
consulted various experts in the field — not of orifices, mind you (well, except for C^rant), but of these
events. The one thing all of these people recommended was to use the resources available to you, be
it your local community centre, borrowing equipment, or simply speaking to someone who's organized a show before for advice. "Go for it, it's easy" was a common cry from our panel of experts, but
this ease belies the hard work that may be required of you and should not be read as an indication of
potential wealth to be reaped. There s nothing wrong with making a profit if it means you can continue doing something you love, but we, in our naive, idealistic little world, believe mat the main
reasons you or anyone should put on an all-ages show should be ajfor the music, b)for the community/scene, and c)ror the satisfaction it gives you to work hard putting your energy into a successful
project. And now, let the show begin...
The first thing you need to
set up a show is bands. But
■who? If you're in a band
yourself, chances are you'll
want to be on the bill. If you
have friends in a band you
might want them on the bill, too.
And maybe, to draw a good
crowd, you'll want to get an established act to headline your
show. Hmm, what to do, what
to do? When putting together
your line-up, here are a few
things to keep in mind:
1) Punk and disco go together like oil and water.
Before you approach any bands,
figure out just what kind of show
you Want to put on and what
bands will best moke that show
happen You don't want a bunch
of bands that are essentially
interchangable, but at the same
time you aon't want a bunch of
bands that go together like the
Village People's wardrobe. Variety may be the spice of life, but
it can bore people senseless
when applied indiscriminantly
2) Contrary to popular belief, you don't always get
what you want. Established
bands may draw more, but they
may not draw at all. Either way
they'll probably want mare
moolah than bands that haven't
made a name for themselves yet.
Figure out what you can afford,
and book your bands accordingly, keeping in mind how
many people you think will be
willing to see a certain band and
how much they'll be willing to
pay. Lots of bands will just be
nappy to get a gig, but it's al-
wa)*s nice to get paid, so do your
best to be fiscally responsible,
ie. don't spend more than you're
going to make. Whatever you
do, make sure you discuss payment at the time of booking.
You won't necessarily be able
to guarantee payment - and
don't moke promises you can't
keep - but at least everyone will
know what they're getting into.
Payment can come in several forms, from o flat rate to a
percentage of the door to a
shore of whatever's left over at
the end of the night. Riders are
also commonplace amongst
"bigger" groups, whereby you,
the promoter, may be expected
to provide them with certain
goods {for more information on
riders, please see page 1 1},
usually food and beverages,
but perhaps including equipment or other things.; Even it the
bands aren't "big" it's still not
a bad idea to provide them
with some food or some pop if
you have the budget for it, just
as a courtesy.        i&
Finally, don't forget the
guest list. Decide beforehand
it you want to have one, and,
if you do, decide how many!
people each band will be allowed to put on it. Remember
that each person on the guest
list is one less person buying a
ticket, so lYs in your best interest to limit how many people
you allow in for free. You may
choose to *ise a guest list as a
partial form of payment, but
even if you don't, the bands
should understand that a guest
list is a privilege and not a
right. (If exposure is what your
bands are looking for, consider
a media guest list as well: this
may leadto additional coverage, before and after your
3} The Government can
be your friend > Realty!
Governed by Canada's Copyright Act, all shows must be licensed to pay copyright fees for
performing works of music, and
this is administered through
SOCAN (Society of Canadian
Authors and Composers).
SOCAN requires you to pay
them 2.2% of your gross receipts
or of the production costs (if your
show is free to attend), with a
minimum fee of $20. Perhaps surprisingly, SOCAN pays its members back - generally more than
the minimum fee, even for small
shows, so find out if your participants are members, for more in-,
formation, get in touch with
SOCAN, because otherwise,
they may get in touch with you!
4) Making a run for the
border. Bringing in bands from
out of town, particularly from out
of the country, involves a
seperate set of considerations.
Some bands will ask you to pay
their travel expenses and expect
no other form of compensation;
others will expect you to pay for
everything as well as paying
them. If your bands come from
further away, you may want to
pay them more (if you have it)
than those who are focal, even if
it's the local band that has the
draw. If your local band has ever
toured, they II understand the expenses involved in touring and
probably will take a smaller cut
than the touring groups.
Some bands may ask you to
find and possibly pay for their
accomodation, but most will bei
quite content to sleep in some-5
one's spare room or on a floor.
i Ask the band beforehand if they
have a place to stay, and do
whatever you can to help them
out- within reason. (Eyen.Green
Day had to
when they played in town a few
years ago.) If you do pay for
accomodation, consider it a
form of payment. If you let them
sleep on your floor, well, hey,
wouldn't you expect the same
from them?
Bands that come in from the
U.S. or abroad are legally required to get validation for em-i
ployment mrough the Canada
employment Centre. Whether
the bands are going to be paid
or not is irrelevent in the eyes of
the law; they are considered foreign "workers" and must pay for
the privilege of ploying in
Cananda: #125 per person or
$250ford group of between^
and 14 They must also meet all
the usual border regulations, ie,
be in good health,"have identification, have no criminal
record, etc.
( Now; while we here a%
DiSCORDER neither encourage
nor condone breaking the Iaw0
there are other options. Some?
promoters get foreign bands to
leave their equipment at home
ond borrow equipment that belongs to locals. These people,
then, are "just visiting." (Customs officers are usually pretty
suspicious of "visitors" with a
trunk full of t-shirts and CDs. so
smart bands either send their
merch up ahead of time or leave
it at home.)
When equipment must be
brought across the border, some
promoters recommend that
bands get a receipt showing that
they are scheduled to be recording at a studio in Canada
(whether or not the studio exists
or the band is actually recording may be another matter altogether), since bands are allowed to record in Canada with-
Now that you've got your bands, where are you going to put
them? You certainly don't want a domed stadium to hold a cou
pie of local punk rock bands, but you don't want to cause a riot
because people can't get in, either. Basically you want to find a venue
that you can fill, that doesn't cost too much, and that meets all, or
almost all, of your needs.
piper. If noone else makes„any money on
chances are the venue will. This will likely be your single
(depending on your sound and lights), so b
lyou will be able to afford.""
_ cost of your tickets^ whicl
jle willing to come p your JL,
$8 for a certain line-up, but maybe a
people. It's all a matter of balance
. Ticket price, the^d
. yoriabfes you wilHja>
contribute to the success
extraordinarily high ticket prico may turn
ey's worth may attract people to your gig. (The opposite can also
hold true - some people are suspicious or super cheap shows.) Generally, it's best to keep your ticket price as bw as possible.
Choosing a day is also important. Sometimes you don't have a
say in the matter; either because your out of town band will only be
available on one day or because your venue of choice only offers
itself to you on d given day. But its safe to say that weekends are
better, especially during the school year.
Most oH-ages show tend to start between 7 arid 8 o'clock and
with good reason: car-less kids have to take the bus, and most buses
don't run all night bng. Beyond this, parents still impose curfews,
and the chances of your show being busted, should tt be less than
completely legol, increase as the night goes on. Afternoon shows are
definitely an option, but they can be risky. Successful daytime gigs
tend to tie 'events', so you may not wont to consider this ojafion
unless you have something really special to offer Whenever you
have your gig, do your best to stay on schedule - people will leave if
the show drags on too long, and some venues will keep your damage deposit iryou go over your allotted time.
3) All fight, motherfuckers! We're gonna rock this \
motberfucking ...church?! Atmosphere is important, so choose *
your venue with the porticular style of your bands in mind. Most bands j
are fairly well suited to hall-type venues, but others may require more \
unique or intimate space. If you're booking a meltawer, ambient type I
act, consider o soft seat theatre or a coffee shop. And if the band nas
certain audio-visual requirements to adequately perform their set, be
sure your venue will be capable of meeting these needs.
4) Location, location, location. When choosing a venue, consider its location in terms of accessibility to your audience. As we said
before, car-less kids tend to be the mercy of BC Transit and their parents, so try Jo pick somewhere that's on a major bus route, or ot least
in a location that parents will be willing to drive to in order to drop-off/
pick-up the hard rockin' fruit of their loins. Make sure there's parking
for those who do have cars, ond if it's at all out of the way, include a
map on your posters and tickets (if applicable).
5) The path most travelled... Using a venue that has been used
before for simibr events is o definite plus: few people will have questions about how to get there, you'll be able to speak with other people
who have put on shows there to find out what sort of problems you
may encounter, dnd the owners/staff will have experience in dealing
with gigs and will be bette-r equipped to assist you. The downside, of
course, is that the cost is often higher, both for rental and for damage
Your other option is to establish a venue yourself. This is how many
places like the South Wall or the Hastings Community Centre started
holding shows - someone osked. There are innumerable options open
to you, from community centres to coffeeshops to skateparks to ort
galleries - and oil you have to do is ask. As well, you can always put
on a show at you* home or the home erf a willing friend. If your looking
for an intimate environment and a super-cool crowd, what better place
then your own living room or backyard with a few dozen of your
cbsest friends?
One thing to remember when establishing a new venSe is that it's
probably not going to he legal (^SeebeloW'for licensing/zoning regulations.), so void putting on a show where people are likely to complain about the noise, where on influx of teenagers will have people
bolting their doors and calling 91.1, or where the police are likely to
pass by frequently. In other words/be discreet.
6) "Follow the hall to the door on your left, then head up
the stair* to the alley and find a comer..." No matter where
you hold your show, be considerate of your audience and make sure
its not a shithole. Are there adequate restroom1 facilities? Are they
accessible for disabled/physically challenged people fyou never know,
there could be a whole segment of people who would otherwise turn
up for these events if they Knew*they could)? Do you have fire exits?
Can you have a concession stand? Are you allowed to consume food
and drink fnon-olcoholic, of course) in your venue? Can you sell itk*
chandise? is "it a pleasurable experience to go to your location or is it
a stinky sweat-hole with no view of the bands? Find out the capacity
too: halls and other ptaces are issued licenses which state a maximum
occupancy for a given place at a given time and if the venue doesnt
enforce this, the fire marshal may. You should keep in mind the maximum number of people you want to albw into a venue anyway -
stuffing 500 people Into a space for 50 is not only going to make alAcrtiwis*
Extremes abound at the Sixth Annual
we celebrate differences as we celebrate
common struggles. Welcome to the kind
of grassroots Festival where you can see
traditional First Nations dancers back-to-
back with hardcore punk rock bands.
Highlights include African rhythms and
reggae, Grrrlapalooza hardcore and folk,
Decade of Indigenous Peoples' poets,
dancers, and canoe races, and in the dark
tent and night sky short films that will
make you say 'wow!'
We are Vancouver's Festival alternative
and we set our own agenda. We don't
charge you $35 for the day, and we stay
away from image-greedy corporate
sponsors like DuMaurier, Pepsi, Molson
and others.
Because big corporations aren't footing the
bill and paying us big salaries, (this is totally
volunteer produced by 160 people,) we
need your donations! The Festival budget
is about $40,000., so we need you to kick-
in $5-20 towards the production, artists,
and promotion expenses. It's a pay-what-
U-can policy that respects people's ability
to pay.
Welcome to a day of learning, rocking
the status quo, and hanging out in
beautiful Cates Park, in Burrard Inlet.
Celebrating our cultures of resistance
and rockin' the status quo!
Join artists and activists to be
entertained and inspired!
Festival MainStage, Second Stage,
Poetry Stage,
Burrard & Squamish Nation Canoe Races,
Children's Area, Artisans Market, political
info tables, speakers and workshops, art
installations, forest trails and the beach.
This year's Festival theme of
Decade of Indigenous Peoples
pays respect to the determination of
the Lubicon Nation, of Northern Alberta,
in their fight for land rights and justice.  o
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at Festival
11am DJ Don Chow
wakes up the park—sound bytes and
smooth tracks to get you in the mood
12:20 Ten Days Late
Fuzz-burning, chord-ripping sista quinteta.
Like being on an I.V. unit full of caffeine.
12:50 Arrival of war canoes
with special guests—at the beach
1:05 Squamish
Sea-going Society
"Having been involved in the canoe has
brought back a revival of our songs, dances,
language, and old traditions. We look
forward to sharing a part of our culture with
all of you." A tremendous spectacle in
the water in large sea-going canoes, the
group will also present traditional songs
and dances from the MainStage.
1:30 Children of Takaya
In 1959, Chief Dan George organised
the predecessor of this family entertainment group now led by his youngest son
Chief Leonard George.
1:55 Elder Bobby George
Tsleil-Waututh Nation
(Burrard Indian Band)
2:15 Suwagi Taiko
Bigdr-ums + Asian women + raising
hell=Suwagi Taiko
Chief Bernard Ominiyak,
Lubicon Cree Nation
"There must be a reason why the
Creator put us in the area that we're in,
so I guess from that perspective, the
onus is on us to try and protect the
Earth, the environment and the wildlife
as much as possible."
3:15 Puncture
Female-fronted energized politico
stomp-core. Like
being tailgated by
an out of control
years. A Santee
Dakota, he
headed the American Indian Movement
during the 1970s. A charismatic and
looming speaker, John's music echoes the
frustration and anger which accompany
the struggles of his peoples.
John Trudell's 1986 release AKA Graffiti
Man, was referred to by Bob Dylan,
during a polling Stone interview, as "the
best album of the year." Just coming off a
4 month European Tour, plus a 22-date
tour with the Indigo Girls, he will present
a spoken-word perfoi
year's Festival.
4:30 Ihiala
Ezeadi Onokwulu and Ihiala perforn
the first time at the Festival, igniting
African drums and rhythms sure to
inspire and move us!
5:20 Bill Simmons,
International Indian
Treaty Council
Simmons is an active member of the
IITC, which has
United Nations
consultative status.
He has worked
since 1977 on
behalf of indigenous
peoples from North, j§
Central and South
America. IITC is
a co-founder of
Decade of
Indigenous Peoples.
Bounty Hunta
Rapper Bounty
Hunta heads this 5 piece Vancouver
reggae act lifting us off our feet and into
the higher air!
6:35 Awol Love Vibe
Canada's premiere polyvocal action poetry
ensemble, exhibitionist + populist!
7:00 Fracas
Victoria punk trio combining frantic
riffing with intense vocal power. We'll
sell you the whole seat but you'll only
need the edge.
7:50 Achl Brasil
A smaller version ofthe hit8-member
Brazilian sensation of last year's Festival.
Dance and smile!
Sonic artwork that
can't be framed. A
primal, sludgy cabaret
with a potent brew of
tribal beats, huge slabs
of riffs and intelligent
lyrics. This all-women's
four-piece from San
Francisco strays beyond gender and genre.
A return of last year's
captivating fire performance off the stage.
9:40 International Activist
Film & Video Festival
Nu-in view lighting up the night sky,
some of the best works leave the
screening tent & move to the MainStage.
11:00 'til next year...
Shuttle bus departs connecting with BC
Transit routes.
1 Annual
Second Stage
12:20 Ramon Flores
& Friends
music and rhythms from Latin America
12:50 Lil'Wat
Hand Drummers
will accompany the official arrival of the
ocean-going canoes atthe beach,
adjacent to the Second Stage,
♦programming will follow the MainStage
welcome dances
1:40 Nomadic Addicts
Erratic sporadic group out to exorcise
and destroy the
system. Rappish,
raggish + funked-up.
Atash Dance
Traditional Persian
dance, from this
North Vancouver-
based company, led
by Artistic Director
Mojdeh Sharhriari.
2:55 -
Kin Lalat
Traditional and contemporary sounds
from Guatemala. A welcome return
after 3 years of performing at the Festival
3:40 Lil'Wat
Hand Drummers
More than 20 hand drummers & singers
from the Lil'Wat Nation, near Ml Curry.
4:00 Hey-Way'-Noqu'
Youth Theatre
A powerful 30 minute theatre + dance
performance by this culturally-based
educational and counselling theatre program. This youth retreat program helps
participants committed to healing themselves and resolving family issues. Hey-
Way'-Noqu' Healing Circle for Addictions Society is designed to help urban
Native and Metis families work through
issues around addiction and the result of
addictions experienced by families.
4:40 Vinaigrettes
Victoria's cow-punk sisters provide the
soundtrack forthe end ofthe world
5:25 Sandy Scofield
Metis singer/songwriter blending melodies and spirituality with a socio-political
message. She has performed across
Canada, and in 1994 released her first
cd "Dirty River".
6:00 Tammy Forman
PJ Harvey's long lostcousin. Like an
adrenalin bomb waiting to explode.
6:40 Jeet Kei
Chinafled hip hop flows of fury.
Poetry Stage
2:00 Trish Kelley
Riot-grrrl wonder. Voice of the WHY?
2:20 Alice Tepexcuintle
rbetry with an edge.Like a punk band
without the music.
2:50 3 in 1 Dance
Fusing dance/physical theater
and poetry to create a unique
performance piece.
3:20 Anthony Favel
Performing with Jimmy Sidlar
and Donald Morin, Anthony is
a Cree flute player, drummer,
singer, traditionalist activist,
teacher, and arts curator.
4:00 Amy Newton-
Folk and blues inspired vocalist,
environmental actvistand organizer
4:30 Hazel Motes
An original folk-pop band injecting beauty
and humour with a shot of danger.
5:15 Peter Reade
Peter will be presenting his nude kinetic
sculpture performance in the forest and
will bring an 18 minute piece to the stage
Children's Area
Experience Evelyn Roth's Storytelling Volcano, and visit our First Nations
teopoos. Enjoy performances by
Cowgirl Julie. Victoria's Vinaigrettes, the
dynamic Sawagi Taiko. and First Nations
youth dancers. Check out the on-site
schedule for show times.
Come and participate in ourdrumming
and juggling and dance workshops. A
fun-packed day for all ages, the children's
area also includes dancing, mural and
face painting, instrument making, water
playing, and costume parades. Frao
organic snacks and juicosl Come
one, come all, big or small!
War Canoe Races
A competitive sport race for Coast Salish
Nations, canoes historically were used
for travel and communication. Each
summer, races are held throughout
Washington State and southern B.C.
attracting large family participation.
host races this afternoon, featuring local
First Nations canoe clubs. The canoes
can best be watched from the beach
near the Second Stage.
...plus more!
Activist Film &
Video Festival
Nu-in view documents + experiments
Call 280-280I forcomplete schedule
1 -9:30pm Screening tent
with films and videos
plus filmmakers presentations
9:40-11:00pm MainStage
screenings from around the world
Hear a speaker on stage, then join in an
intimate and inspiring discussion: Logging
in Vancouver's watersheds; Free ex-Black
Panther Mumia Abu Jamal, framed up for
murder & scheduled to be executed Aug
17; Wen-Li-Do intro to women's self
defense; Philippine Women Centre &
international labour migration; Campaign
to stop grizzly bear hunting in BC; and
info tables
More than 30 groups will present info
and campaigns: environmental, animal
rights, anti-fascist, health, and media.
Artists Market
Forty artisans offering their workfor
sale, demonstrations, and more.
Healthy food!
Check out the international kitchens on-
site. Enjoy vegetarian lava burgers, baked
fries, ice cream, hemp seed smoothies,
Getting there
Take the bus (from Lonsdale Quay, or
downtown Vancouver) to Phibbs Exchange. From there take our shuttle bus,
or Seymour or Deep Cove buses. By car
from the Second Narrows bridge take
the first exit, head east for 10 minutes
on Dollarton Hwy.
office 604.984.ARTS fax 604.984.2781
Box 21552, 1850 Commercial, Vancouver V5N 4A0
_ _     ■ _ mm        Give us a hand and receive a Festival t-shirt, food, and post-Fest party! Help with
VOIU nteer   I nTO   the food kitchen, security, merchandising, children's area, set-up or clean-up! Call
984-ARTS to register in advance, or show up on-site at the Festival Info Booth. Venue
ANZA * 876-7128
Bridge view Comm. Ass'n * 580-8444
BC Place • 669-2300
Cafe du Soleil * 254-1195,
New York Theatre * 254-3545
Padfic Coliseum * 253-2311
Mara of Nations * 682-0777
Polish Comm. Centre * 874-8620
Qneensborough Centre * 525-7388
Romper Room * 254-3545
Russian Hall * 254-9932
St. James Comm. Square * 739-9373
Station St. Art Centre * 688-3337
SUB Ballroom * 822-5336
Town Pump * 683-6695
VECC* 251-1363
Vogue Theatre* 257-6205
3 West 8tb Ave. Vancouver
11475-126A St. Surrey
777 Pacific Blvd. Vancouver
2096 Commercial Dr. Vancouver
8337 Granville St. Vancouver
870 Granville St. Vancouver
748 King8W«y Vancouver
6515 Boosor Burnaby
3096 E Hastings St. Vancouver
3325 Kingsway Boowby
20699 42nd Ave. Langley
639 Commercial Dr. Vancouver
Exhibition Park Vancouver
750 Pacific Blvd S. Vancouver
4015 Jrrasej* St. Vancouver
920'Ewen New Westminster
639 Commercial Dr. Vancouver
600 Campbell St Vancouver
3214 W. 10th Aw. Vancouver
930 Station St. Vancouver
6138 SUB Blvd. Vancouver
66 Water St. Vancouver
1895 Venables Vancouver
918 Granville St Vancouver
Capacity      Cost
PA System
Includes one ANZA staffer; All Ages shows on Sundayoply
Bands set the door price - the cafe j
Underground paifcing*
Call Drew for more information
Includes 2 staffers; Events on Saturday nights only
Price depends on day
Centre collects SOCAN fees for you; Admin, fee is $32.
■■■>. Security is requested to come from Intrepil for most ev|||.
To fence off the venue, a screen in available for $2650
2 tods ate available witf*-different size and ligbttog
Monthly events - bands are payed $80 for playing.
Quiet/Acoustic music only; no food or drink allowed inside
Different spaces of different sizes available
Contact Pam at AMS Programs
Contact the Pump for more info.
ilk to your bands to find out what they need. Do they do foui
piece nor monies? Have they got a drummer that can onfy he<
something if ifs in his or her headphones? Do they have a light
show as an integral part of their oct? Is audible clarity important? After
you figure out what you need, find out what your venue has: many
places have o baste PA/lighffng system and some don't even charge
for if. Call your friends to piece together the res! of if, and if all else
foils, call around the music stores to shop around for the best prices.
Generally, a decent PA system for a venue with less than 200 capacity
can be found for $ 150 to $200 at the bottom end. This would include
several microphones, a mixer, a power amp, a couple of monitors,
power for the monitors, and cables. And don't forget that you'll need to
nave someone who knows how to use ft all. Maybe a member of one
ofthe bands has sound ond light expertise, or maybe you have a friend
who can do al! of this. If nothing else, you can probably find
to pay to be a sound person. Just ask around.
everyone uncomfortable, but it may be asking for trouble from your
audience and may lead to more people hanging around outside, which
will in turn increase the risk of your show being shut down by the Man. *
6) I fought the law and the law won. As with almost everything
; In our society, what you can do ond where you can do itarelimifedby
j law. Legally, anyone who puts on a concert in Vancouver, no matter
how small it is, is required to get a concert permit from the City. These
permits range in cost from $72 per day for venue with a capacity of
less than 500, $88 per day for one with o capacity between 500 and
1000, $103 per day for one with a capacity between 1000 and 2000,
 i 4i in ul ..„iL „ . —tv  -j! inrw i i_. 4 * ~
and $119 for one with a capacity exceeding 2000. In order to get a
I permit, you must first have secured 0 venue that is properly zonedand
: licensee! for performances. There is no such thing as a temporary per
formance permit for a venue.
Obviously, not everyone bothers with these legalities when they put
on shows. And while most of these shows.go on without being busted,
the risk isaiways there-fake, for example, the recent crackdown on all-
ages shows in the West Hastings area at venues like Ihe Pitt Gallery
and Crosstown Traffic. It's up to you to decide how much of a risk
you're willing to take but as a general rule the more legal you are, the
better. Getting busted sucks, and if you've gone to a fot of trouble and
brought bands in from out of town you're going to be blowing arteries
when the cops show up. {Not to mention the fact that you'll have a
room full of disgruntled punks to contend with.)
7) Punkfn' in the park. While an outdoor park may be an ideal
place sook up some sun and catch a few bands, there are rules governing such things. Regulations vary from municipality to municipality, but
in Vancouver permits are issued by the Parks Board to non-profit organizations only, subject to the Boards criteria of a non-profit organisation. This process takes a minimum of four months and as long as a
ou've got a venue, you've got the videography coverage. Depending on the
bands, you've got the equipment, now octs, this may be another great way to get
you haveto tell people about your gig! some attention.
1} A friend of a friend of a friend told 3) Either this wallpaper goes, or I do!
me. The first step you should take in promot- Postering is probobly the next thing to con-
ina your gig is to make sure that the bands sider, if not the first. In most places in the
tell all their friends about it, provided that a) lower Mainland, you can still poster without
they hove friends, and b) these friends live in worrying about them being torn down, so
or around the city thofs hosting your show, make as many as you think you can reason-
This cbn be a big source of attendance, es- ably put up. be careful not to put too many
if it's a bond that hasn't played of- in any one spot, and don't cover up other
ten and their frtendswant to come out to see peoples posters for events that have yet to
them play for lb first time. take place. Poster in whatever regions you
feel you should focus your publicity, and don't
2) Media spectacle! Media spectacle! just limit yourself to the downtown ewe —
The media is there lobe used, so use it. Requ- try places that your potential pudience will
for mtjsic publications like DiSCORDER far-: hang around, like High schools, convenience
minaipty, and the Georgia Straight will an- stores, record stores, skate shops, etc.
nounce your event in their gig listings free of Your actual poster should stand out as
charge (provided you meet their deadlines!), much as possible, so fry to come up with a
These papers can also help you by writing design that is visually staking. If you can of-
articles on the bands involved or by review- ford it, use colour. Phone around to places
ing the show itself, just remember that most that con provide photocopying and printing
ofthese publications are volunteer-driven and services, or find someone who has access to
cannot assign people to cover certain events a photocopier and is willing to do some cov-
- if they haven't got someonewho wants to ert copying for you. Getting posters profes-
cover something, if won't get covered. sionaly ptnted will cost more, but the end
Radio is worth pursuing, too: Non-com- result will be look far superior to photocop-
mercial stations like CiTR, Co-Op and CJ5F, jed posters.
as well as commercial stations like CFOX or Another option is handbills, which are on
Z, mby be cft§le to offered "presentation" of effective and memorable means of promo-
your wow for aieer,which could entail on- tion. Handbills can either be very simple or
air advertisements and use of;that station's very complex/from photocopiea bits of pa-
logo. (To ovoid disappointment, make sure per with little more than the particulars of the
that the bands in qoesfiewn are actually get- event to the colourful, cord-paper flyers used
ting pfayed on a regular basis by the station fo promote raves. Give out your handbills at
before you start asking them.) You could also shows similar to your own, or at events that
offer on-air giveaways of tickets or CDs/ might attract a simitar crowd to what you
tapes/vinyl as a promotional tool - at least are looking for. Also, many record, skate and
on the non-commercial radio stations. Atthe dothing stores have areas set aside for fly-
very least, radio stations should be oble to ers.
odd the event to their own on-oirgig listings. Making tickets available at record stores
And don't forget about television: ot your dis- or other shops may dso acts as a promo-
posal may be programs like Soundproof on tional tool. Places like CBO and Ticketmaster
your local community station or MuchMusic's will make tickets for you at fairly reasonable
rates, or you can just make your own. {Just
be sure to that your tickets are hard to duplicate so that people won't be able to make a
few extras for their friends.) Selling tickets in
advance also gives you the option of charging less than
you will at the door, thereby enticing people
to commit to going to your show.
4) When in doubt, sell out! If you know
people who run businesses (and even if you
don f) which cater to people that might come
to your show, you may want to involve them
somehow. Money may or may not change
hands (this can be an additionof source of
revenue for you), but if you can get the store
to sell tickets in advance and aBow posters or
other promotional materials to be displayed }
prominently, you're getting some of the best
publicity you could ask for. Perhaps you'll want
to get mem involved on-site, loo. As part of
your concession, you might consider getting
a local pizza or sandwich store or some olher
eatery to have sole rights to sell food in the
Everyone has different views on corporate/
small business sponsorship, but the bottom line
is that it is in your interest to get the revenue to
pay the bands/venue/whatever, and in the
sponsor's interest to promote themselves to your
attendees. And besides, they have to eat from;
somewhere, so it might os well be ot the same-
time as they're listening to bands. Vou should
be careful about the sponsors you choose,*
though • impressions that people have about
the sponsors may affect their decision to attend, and ihis could be favourable or unfavourable depending on ihe sponsor and your
■       ■ *■      : ■    ■       ■        ■       **    ■   ,: ■* ■.:.....       ■     *■* :..■,.■..■.;■.■■
1) On with the show, this is it. (music,
fanfare) Aside from panicking about last
minute crises (see below), what do you plan
to do on the day of the show? First or all,
make sure that you've got enough time to set
up and tear down all of youreguipment. Depending on the venue, tni "**
tra. Plan for at least 6C
need the equipment to;
after the show is compl
ble after booking your'
for everything you can thi
room is important - where
if there's no stage? Where will the merchandise table (if any) be? Where will people enter? Where will they buy tickets? Where will
they exit? Can attendees easily cause dam-
safe" stage-divi ng/c rowd-surfi ng/slam mi ng.
"Unsafe" generally means overly aggressive,
which means big. toys with little brains who
don't give a fuck about everyone else at the
the same guys who will
basically be a pain in the
eye on them whenever you
watch out for may include
ighting, and otherwise
' nave to contend with the
stepping over the stage if it's
jh over the crowd — more than
have had permanent teeth
Eroblems as a consequence of someone
nocking a microphone into their mouth. If
you think you'll have a rowdy crowd, make
sure you have some kind of barrier, even if
"We almost always play all-ages. The thing is, we can't
draw 100 people to a bar. When we set up an all-ages
show, we can draw 500 people. When we set up a bar
show, we can draw 50 people. The promoters in town think
that because we sold, Hke a thousand CDs in Vancouver or
whatever, that we're going to draw [a thousand people]
to the Starfish Room. But we don't. It's a misconception to
think that we're actually that popular."
—Jesse of d.b.s..
age to anything at or near the venue? How it's only a table turned upright. As well, brief
large are the bathrooms? Will you be able to your security force. Tell them how they used
check out the bathrooms for graffiti or other to act at 86 St. Music Hall and say "don't
vandalism? Will there be tai ,  do this." Chances are that you won't need
or only chairs? Or none at i! to deal with violence or an ugly incidents,
the bands keep the . out be- but it may be necessary to calm people down
fore going on? Perk r ask *-,em to leave. Tell your door people
established venues, but new ones may or may to be w< 10 look like they may
not be able to accom | an eye on them all
night- .*• tn at all. The bigger
2) I'll take two of those, and one of - concerns — if you're
no make that two of th. <iolds more than 500
had a look at the sp« i be able p^-f1* reauire you to bring
to figure what you will need in terms of per- in an established security firm like Intrepid,
sonnel to work the show. Depending on the and this will cost you $$ galore,
venue, you'll need people at the door (at least
two, one for taking tickets and one for taking
money - and these must be people that you
can trust); at the merchandise and concession
tables; at the soundboard and for lights (someone who knows how to use the systems); as
roadies helping with equipment to speed
things along; as security (preferably bigger
than average in size, but leave the goons at
home) to watch for potential trouble making
and prevent it; as an MC; and also to clean
up after it's all over. Depending on the scale
or the event, clean up can be one of the most
time consuming portions. And since some
Earthquakes! Floodsl Asteroid Collisions with Earth! Or maybe your van
just breaks down...Things may go very
wrong and you'll need to deal with them:
bands may not show up, fights may break
out, equipment will fail, or the bands may
just plain suck. What do you? In most
cases these problems can't be anticipated,
but you can do your best to prepare. If
venues charge by the hour, this is one area
where you want tohave people helping out.
Unless your event is at a large venue, you
won't have to (necessarily) pay for your staffing requirements (this also assumes that you
hove friends who are willing to help you out).
However, It may be a good idea to offer something for your volunteers, even if it's just free
pop or cheaper merchandise • something to
show your appreciation. To identify your volunteers to other volunteers, you should have
stickers or something else that stands out.
(Similariry, if you plan to allow audience members in and out privileges, be sure to have a
stamp or some other means of indicating that
they've already payed.)
3) Secure the fortl Man your
battlestationsl Okay, this is one area in
which you don't want to screw up. People
can be seriously injured at gigs if proper care
isn't taken, so watch out for things like "un
things go horribly awry, don't despair;
consider it a learning experience and
hope you didn't lose too much money (or
too many friends).
Well, that's all folks - we hope this guide
will be of use to you. It's by no means
comprhensive, but it should give you an
idea of some of Hie things you'll have to
consider before putting on your own
rock'n'roll extravaganza. Just remember:
start small, use the resources available to
you, and ask people who have done it
before. There's nothing like the experience
of others to help you get your shit together.
Except, of coufse, experience of your
Special thanks to all the people who shared
their infinite wisdom with us (in no particular order): Grant Lawrence, George Barrett,
Don Webber, Theo from Gob, Jesse from
d.b.s., Trish Kelly, DJ Havok, John Ruskin,
and Irwin Oostindie. o Discorder has decided
| to resurrect its book review
" column and to grant me ihe
jf privilege of writing it. It took a bit of
lling to decide which title to start
wilh, since all I knew for sure was
lhat I wanted the first book to have
something to do wilh ihe music business. I eventually decided on Michael
Turner's Hard Con Logo (Arsenal Pulp Press, 1993).
Published a couple of years ago, ihis story of ihe revival of
Hard Core Logo, 'the seminal punk band' of the late 70's, has a
certain retrof etro quality to it lhat I couldn't resist. Like all things
relro. Turner's book seems to be benefiting from increased
attention lately • an afternoon nosing around in a few of
the larger book stores in Vancouver met with repeated,
'Uh, sold out of lhat one, but we've got it on order.'
doubt this has something to do wilh ihe fact lhat indi
film-maker-done-good Bruce MacDonald (you know,
ihe Rood Kill, Highway 61 guy who recently made
Dance Me Outside!) has decided to direct a film
adaptation of ihe book. I find this all very interesting since Hard Core Logo calls itself
collection of poetry. Poetry. My one r
son for hesitation.
Like many of you, I suppose, I went
through a longish phase of poetry-writing, 90% of it spewed out in ihe few
years after I graduated from ihe       j£™
sexual apartheid of a Catholic S^_-
High School. High-minded stuff,
it was, all of it earnest. All of
itdrek. Perhaps it's because
of ihe lingering bad taste
of my own poetry lhat
I've become suspicious
of contemporary poetry    generally.
Since tie gangrenous infatuation
with     postmodern
like boils rupturing
on the high brow
of writers everywhere, attending a poetry reading ha-
become a bewildering, if not infuriating, experience. The poets' self-absorbed evasion
of'meaning,' the sniggers arising among 'in' audi
bers when an 'in joke' is de-ciphered, are enough to raise the hackles
of a dog. As a friend of mine at the Railway Club so cogently put it
one lime, 'Yeah, well, I can stand up ihere and read a list of my
favourite words too.'
This sort of criticism doesn't apply to Turner's collection. The main
reason for this is that while it does hijack certain poetic forms it's not
really poetry. But it's not conventional prose either, and its strengths
and weaknesses issue from this straddling of two forms. Unlike a standard piece of fiction (which most Canadians read only slightly more
often lhan poetry), Hard Core Logo isn't made up of sheets of elaborately woven text. Instead, we find empty spaces littered wilh vignettes
- mostly textual, sometimes photographic - gathered from sources as
varied as bill receipts, ads, journal entries and song lyrics. These
fragments are strewn together like a collage of artifacts in the
wake of Hard Core Logo as it is reformed for a benefit, then tours
western Canada.
Told in snatches, the story and its main characters literally have to
be pieced together by the reader, much in the same way that we
fictionalize the lives of friends from bits of gossip and the stray details
they provide us a few limes a week. Hard Core Logo is about as hard
to follow os a gossip session as well, unlike much of the 'real' poetry
out there. Taken individually, many of these 'poems,' are pretty thin.
The poems aren't compressed bundles of emotion recollected in tranquillity, but textual sound bites from an all too prosaic world. Given
ihe subject matter of this book, the post-punk world and the underclass
that populates it - with all their self-imposed injuries, their self-
loathing and self-promotion, their anger and their avarice • this
form is particularly appropriate.
For anyone interested in pop culture, the book's subject matter is
inherently interesting (and commercially well-tested, as ihe success of
both print and film versions of The Commitments has demonstrated).
It's also an inherent liability if you want the book to be token seriously
in more self-consciously literary circles. Rock'n'roll is a potential minefield of cliches, and the earnest self-importance of rock musicians isn't made any less irritating by the fact that the
ones in ihis book are punks - song lyrics
intended to register the band's social
igh to
illicit involuntary groans.
ke the story
above paro-
Roddy Doyle realised,
is the human interaction
id the underclass
fc_*****»  AM   glgr    world ihey lead us through.
2JF* _43h      W    ^**is ios,l|n9 is ^e $ource of all
Hard Core Logo's power. It also
strikes the sparks of humour lhat
illuminate the book. Some of the fun-
when Turner places
punks alongside a few other
shards of Vancouver's fragmented 'Left':
he environmentalists - the band's first gig
M.C.'ed by a character called Rainbow
Trout from the Green World Coalition - and
the comfortable, college-educated alternative
press. How many limes have you read or
heard ihe following sort of exchange between a <
munications major/reporter and a hard core musician:
/.* Do    you think the punk rock movement was/is male dominated? Or more specifically, do you
think that one of the things the punk rock movement never aspired to was the restructuring of the male-dominated music industry?
JD: What?
Though the most interesting facet of the book lies in ihe interaction of
its characters, the characters themselves remain relatively underdeveloped, which I found frustrating. The shortcomings in character development can partially be blamed on the book's unconventional form.
Sound-bites, giving each band member's version of the story, are good
ot relating conflict between the characters, but complex development
of these characters is next to impossible when all we see of them are
scraps of paper and portions of conversations. Turner seems aware of
this problem, since he allows us periodic glimpses into the minds of
three of the four band members. Oddly enough, band leader Joe
Dick, potentially the most sympathetic character, is the onfy one whose
mind is closed to us; ihe book starts wilh Dick's narration, but he is
soon all but drowned out by the other voices. Conversely, we are best
able to sympathize wilh John, ihe reflective, coherent, bassist who
keeps a tour diary - the temptation to make your most sympathetic
character a writer is almost irresistible among writers.
As it is, the four members of Hard Core Logo do not really
come across as distinct personalities. They all speak with more or
less the same voice, and any variation that exists among them is in
their role in the band, in the plot, and in their choice of vice. It
would almost seem that Turner doesn't really want the four band-
members to stand as distinct characters but rather as different components of a single unit. Cool idea, but ultimately
you're left wanting more.
Re-reading the book, though, I think its strengths outweigh its
weaknesses. I'd recommend that anyone read it before seeing the
film, because these strengths won't translate to film. I'm most impressed by Turner's hijacking of certain poetic forms to capture the
ironic anti-poetry of Joe Dick's world: simple repetition, for instance.
Whether it is the answering machine message of the lead guitarist
- who never seems to answer his phone - or the xerox-quality duplication of Joe's curses in his phone conversations with different
booking agents, such repetition echoes like indifference in the emptiness of the characters' lives. The same effect is achieved at those
points when the narrative takes on a metaphorical dimension. When
Joe is discussing his medical problems you get the sensation that
we all might be suffering from similar problems these days.
The more your hearing goes,
the louder you become.
And the louder you become,
the more strain you put
on the vocal.
If the strain goes untrained
you get nodes on your throat.
Overgrown nodes cause complete
loss of voice.
Hard Core Logo is at its best when its focus goes beyond punk
rock, to the society that made it, forgot about it, and has
recently found it again.
1 Locations
Oscar's New York Book Outlet   \
5056 West Broadway
757-5626 *    v
Oscar's Art Books £ Books
1555 West Broadway
751-0555 I
{^ml/-^mwu n cose you didn't know, ifs August, folks.
And you know what that means: Aaaaghl
The first of this month's vinyl delights are two
compilations of neat-o bands. The first is from
Papercut Records, a label run by the folks behind
the zine For Paper Airplane Pilots. The Pilot 7*
starts off with cub's "Pillow Queen," sounding very,
well, cubbyl Ifs another upbeat, perky rocker and
watch out, cuz guitarist Robynn's harmonies will
stick in your head for daysl
You may have read about New York's
Raggedy Ann in Option magazine's questionable article on "cute bands," or you may
have heard their track on last year's Periscope
compilation put out by Oh/mpia's Pat Maley.
Now give a listen to their song "Soul
Sound," an alternating slow/fast,
fuzzy pop song
with really pretty
vocals. The bside
features a song which
is as appetizing as
"Pink Lemonade" by
Tullycraft, whose own
7" we'll review later in
ihis column.
Finishing off the
comp is a song by Weakling, which
seems to consist of Rob from Papercut Records.
A good ending to a great record. Write
Papercut for a complete catalogue of zines,
singles, and CDs. (P.O. Box 12011,
Gainesville, FL 32604)
Ifs too bad we never received Winter's
Mist 1, because the second volume is so darned
excellentl The Love Bandits (known as
Banditos D'Amour by their French fans) open
Winter's Mist 2 with their "Theme song," a romantic instrumental guaranteed to steal your
heart. Next up is Allen Clapp's loungy "A
Change in the Weather," a song which will
make you want to go holiday shopping in
the snow, followed by a nice French pop
song from Meek.
With tracks by the McTells and the
Dufflecoats, side-B of this record is a little bit
more appealing that side-A. The McTells song
is spiced with Mitch Easter-like vocals backed
by retro-British sounding rock, while The
Dufflecoats (whose drummer is also in Adorable) sound like a cross between Stereolab and
Heavenly. Five bands for your listening pleasure. (Silver Girl Records, P.O. Box 161024,
San Diego, CA 92176; e-mail:
Also on Silver Girl Records is an all-female quartet from New York City called Ruby
Falls. Although the songs on their Cafe No
Problem 7" tend to drag a bit, they are strong
and powerful nonetheless. (Ruby Falls also
have a single on Villa Villakula Records. Write
VVR for a catalogue and a directory of
women-run labels: 230 Tremont St. #3,
Boston, MA 0211 6)
Next we'd like to tell you about four
records out of Cambridge, MA. First up is
Chickita's Eat When Soft to the Touch 7",
which reminds us of the Frumpies and the
New Bad Things because of the way-fuzzy
guitars and vocals. Crazy stuff, but amazingly tight.  (100% Breakfast Records, P.O.
Box 381804, Cambridge, MA 02238)
Partially recorded on a hand-held tape
recorder in the back seat of an '87 VW Golf at
Magazine Beach, Trollin Withdrawal's music is as strange as their name.
Massachetts fe
tures seven songs I
by two guys whof
obviously have too f
much time on their /
hands and have a I
lot of fun playing f
with their dr
machine and the j
speed button on
their tape recorder - sorta!
like Beck but taken
much further. Chimp Records' motto appears
to be "Sounds like Shit I Charming as Helll",
and we would kinda have to agree with them
on this one. (Chimp Records, 3 Cedar Square
#2, Cambridge, MA 02140)
We love Harriet Records, and we're very
happy to receive two records from them this
month. The first is My Pretty Finger's A
Season of Light, a collection of very lo-fi,
older Pavement-esque songs packaged in
a kind of neo-psychedelic cover. The highlight
of this record is "Make it Mine," sung so
unpretentiously by guest vocalist Tricia Turtle
that it'll make you want to sing, too.
The hit single of this month has got to be
Tullycraft's latest release, True Blue. For those
of you who were fans of Seattle's Crayon and
were wondering what the heck happened to
them when they broke up, well, look no further! Sean and Jeff have hooked up with a
new guitarist, Gary, and their new project
sounds a lot like their last one, with the same
amazingly catchy sound and ultra-cute does-
he-sound-like-that-when-he-talks vocals. If anything, Tullycraft sound a bit poppier than the
old, mega-distorted Crayon.
True Blue contains three songs in all: "True
Blue", "Skyway", and "Superboy & Supergirl."
The title track starts off sounding very similar to
Madonna's own song of the same name, but
quickly breaks into a fast pop number, while
"Superboy & Supergirl" is the "Snap Tight
Wars" of this record, destined to be the hit of
your indie rock summer. There's even a picture of Debbie Gibson in the clutches of a
crazed fan on the back coverl (Harriet Records,
PO Box 649, Cambridge, MA 02238)
We only have two Canadian releases this
month, both of which are splitsl Montreal's
Right Wide Records brings together
Treblecharger and Punchbuggy, two bands
who know how to pop.
the other side of this record with "Soupy Sales
Lost the Big One" a mediocre rock song which
is just too "commercially viable" for our tastes.
You may want to pick up this record just for the
cover art, however: watercolour paints add the
right touch. (1029 Beaver Hall Hill #505,
Montreal, Quebec H2Z1R9)
Looks like ifs girls against boys on fourteen and Crushed, a split single from Winnipeg, Manitoba's recently formed Endearing Records featuring B'ehl (side girl) and
Cheerleader (side boy). We swear we're
not biased by our gender, but we think that
B'ehl has fairly won this playground game
with their brand of fast, jangly guitar pop with
childlike vocals and pretty harmonies. Cheerleader have a knack for pleasant, upbeat fuzzy
songs, but the singing could use improvement. (Endearing, P.O. Box 69009, 2025
Corydon Ave., Winnipeg, MB R3P 2G9;
e-mail: endear@mbnet.mb.ca)
Inviting you to fight homophobia are the
Car Thieves, an instrumental garage rawk
band with cool song titles like "Steers N'
Queers," "Ass, Ass or Ass, Nobody Rides for
Free," and "Silence Equals Def." Lo-fi, crunchy,
surf guitar sounds. (Planet Pimp Records, 1800
Market St. #45, San Francisco, CA 94012)
Carrying on with the split singles, our next
selection is an international pick featuring Germany's Mr. Velocity Hopkins and I .;, -
Michigan's The I*-, - \ -*x
Many Moods of I y
Marlon Magas. I
Mr. Velocity Hopkins 1
contributes extremely I
experimental pieces I
of, well, we don't |
know exactly.
Sounds? Music?
Noisel Some "parts""
were recorded in the studio, while others were
actually recorded at the Sundgauallee Seepark.
If you like distortion and nothing else, then
check Mr. Hopkins out.
The Many Moods of Marlon Magas play
are slightly more accessible experimental-rock,
and there's even a four-person horn section
which can carry a decent melody. (Bulb
Records, P.O. Box 8221, Ann Arbor, Ml
Pounded Clown also features a horn
section, but in a more traditional way. Their
six song 7", entitled Plate of Poultry, contains
six songs which incorporate a variety of influences, from ska-punk influences to rockabilly.
The singer may in fact be a "pounded clown"
- his vocals certainly sound helium-induced.
Pretty hard to take in large doses, so a single
is perfect.
Also on Last Resort are records by Fighting Cause and Stinkerbell. Fighting Cause
play turbo -pow ered punk-pop with
stereotypically "Gen X" (we can't believe we
just said that) lyrics such as "I don't need anyone"; "I don't know what I'm doing here";
and "No one can tell me what to do." Fans
of Gob should give them a listen.
Stinkerbell's goth-rock song titles
("Death and Blood" and "Teenage vampire")
are misleading. Fronted by four women -
with John Bonham Jovi on drums - the band's
music is reminiscent of Slant 6 and Bikini
Kill. As it says on the front cover, "They
do EXACTLY what you think they dol" They
rawk. (Last Resort Records, PO Box 2986,
Covina, CA 91722)
The Gamma Rays are four lovely
women who play lovely songs with clean,
crisp guitar sounds, cello, and vocal harmonies that remind us of the Shams. "Lovely"
b/w "Forbidden" is very Teenbeat and very
enjoyable, with a bright and pretty cover
complete with silver ink. (Teenbeat Records,
P.O. Box 3265, Arlington, VA 22203)
We had the pleasure of seeing a
stripped-down version of Dahlia Seed at
the yo-yo a go-go festival in Olympia, WA
last summer, when the band consisted of
nothing more than a singer, Tracy, accompanied by her friend on guitar. Tracy has
since put a full band together, and the music they've recorded on this 7H has a heavy,
distorted, almost metal sound. Tracy's vocals
are still sweet, strong, and soothing, and they
complement the music in an interesting way.
Think of Sparkmarker with female vocals. (Theologian Records, 200 Pier Ave., Suite 2,
Hermosa Beach, CA 90254)
Our final review for the month is of
Liquorice, another side project of Jenny
Toomey (singer/guitarist of Tsunami and
Grenadine and co-owner of Simple Machines Records). The a-side, "Stalls," is
a mellow and melodic tune sung by
Jenny and boasting great lines such as,
"You're not racing with your future, you
just decorate your stall." The b-side features "Artifacts," a pleasant if not exactly
memorable number sung by Daniel Littleton,
and "Squawk of the Town", which sounds
like it could be an ambient remix of another
Liquorice tune - or maybe they're just experimenting. (Simple Machines, P.O. Box
10290, Arlington, VA 22210-1290)
Other records you should check out:
Mystery Machine "Heart of Glass" - new
one from local drone poppers whose split
7" with Sparkmarker we have still yet to see.
(Nettwerk, Box 330-1755 Robson St., Van.,
BC V6G 3B7) ♦ Mewlip "Only if You Ask
Nicely" - noisy, noisy, noisy. (Chimp Records,
see above) ♦ Grace Budd "Neon Glass"
-anthemic noise-pop. (Plumb Records, 1085
Commonwealth Ave., #215, Boston, MA
02215) ♦ The Bottom Feeders "I Can't
Stand You" b/w "The Mighty Ranzerox" -
definitely not brooding music. Party punk.
(Scooch Pooch, 323 Broadway #405,
Seattle, WA 98102) ♦ Jesus Christ
Superfly "Dead End Days" b/w "Displaced
Person" - generic power-pop with growling
vocals (Scooch Pooch) ♦ Nine Pound
Hammer "Teenage Head" b/w "Two Tub
Man" (Scooch Pooch) ♦ Tindersticks "The
smooth sounds of ... " (Sub-Pop)
20 AUGUST 1995 Sometimes it seems like there just aren't enough quality zines
around. I know this isn't true and that there ore more great
zines lhan I could possibly read; ifs just that ihey're hard to find.
In comparison to the circulation of a book or magazine, a zine's
distribution can be minute. A single run can range anywhere from 5
to 1000 copies, and a lot of those copies go to friends or are traded
for other zines. Whafs left has the potential to travel anywhere in ihe
world, but the chances of it landing in my lap are pretty slim. If I'm
lucky, I'll come across a real find in a local store or while traveling.
You see, the more zines I read, the more specific my tastes become
ond, therefore, the harder if seems to find zines I am interested in.
Consequently, I am really coming to depend on zine distribution
services to find the zines lhat will offer me some substantial reading.
Zine distro services ore usually non-profit mail order catalogs set up
by individuals who have a desire to spread awareness of their favourite writers. You saw an example of this last month when I reprinted
some of the Fin-de-Siecle catalog. Once you tap into a distro lhat
carries some zines you like, chances are you will realize lhat you and
the editor have common tastes, and you will have found someone
who is very willing to do the discovery work for you!
Zine dislros play o crucial role in networking and succeed in getting greal
zines exposure outside of city limits. The descriptions are meant to encourage
you to order, so ihey don'l contain any critiquing. You, get to make decisions
based on your awn opinions. Many zine dislros collect multiple copies of ihe
cataloged zines, so you write one address to receive many zines. Others work
more like ihis directory and list price and addresses br you lo write to. You onfy
have to pay postage and sometimes the copying costs, so you are saving store
mark-ups. And aside from the lower price, you ore also guaranteeing yourself
something in your mail box.
Here is a list of zine distro services lhat I a
P.O. Box 40520
Portland, OR
Girl Scene City
1573 N. Milwaukee
Chicago, IL,
Subway Sissy Zine Distro
C/O Witknee
1024 Chautauqua
Pacific Palisades, CA
Kidcore Zine Distro
Whitehall, Ml
Basement Children
e., #450     3402 Campbell
Rolling Meadows, IL
Camille Zine Distro
C/O Andrew
P.O. Box 1982
Roaneke, VA
Wow Cool
48 Shattuck Square #149
Berkeley, CA
Riot Grrrl Press
1573 N. Milwaukee Ave., #473,
Chicago, IL
(Send stamps or money to receive these catalogs.)
ilection of zines:
Thrill! #15
(4.5X3.5; 24 pgs)
More indie rock and zine
•eviews from those ador-
ble ex-Crayon boys, with
ime help from their new
bandmate Gory. These boys
like everything! (Note: lhat is
not an invitation to send them
crap!) Or at least they know exactly where it's all at. This zine
acts like a directory for who's
ho and whafs what in the indie
world. Send a dollar to Sean at
722 llthE., Seattle, WA 98102.
Shaman's Feather Pen*
(8.5X5.5; 12 pgs)
This is a very interesting zine done by a woman who teaches English in
South Korea. She writes wilh passion and dedication, criticizing the
system she is part of and offering a lot of constructive suggestions for an
educational revolution, such as the importance of unlearning gender
roles. Send $1 to: Lori ECC Dobong, 3F Jung Ang Building 202-2 MIA
3 Dong, Dobong-Gu, Seoul, Korea 132-103.
Angst #7
(8.5 XII; 32 pgs)
This local mag contains editorials, rants, letters to the editor, quotes
from Jello Biafra, and a group discussion on whether or not punk is
dead. My favourite part is a centerfold graphic lhat stales that "a
government powerful enough to give you everything is powerful enough
to take it all away." Send $2 to: 4770 FoiHawn Dr., Burnaby, BC,
V5C 3R6.
Spirals Upward *2 / Libel # 75
(4.5 X 5.5; 44 pgs)
This split starts out wilh the newest installation of Spiral Upwards, a
personal favourite of mine. Basil explores the word revolution and
relates it to his personal goals. He focuses on his personal struggle to
deconstruct ideas of sexism lhat he perpetuates. Basil alternates his
beautifully humble prose wilh more self-critical pieces which focus on
personal politics, such as the idea lhat people must unlearn behaviour. If John Brodshaw ever got a hold of Basil he'd proclaim him one
of the few well rounded individuals who has managed to retain a
healthy inner child.
The Rip side of this split is a zine done by Basil's friend Jenn. Libel
contains both personal and political writings, induding an interesting
piece on how men can stop violence against women. Send
one dollar to: 4040 Olive Ave, Sarasota, FL,
USA 34231.
Reclaiming My Namo # I
(8.5X5.5; 14 pgs)
Reclaiming My Name is an insightful debut from a welcome newcomer to the
Vancouver zine community. Dealing wilh
ile sexuality on a very personal ond
times mass media level, this zine explores the idea lhat biology isn't destiny and
chronicles one girl's personal revolution. The
layout is beautiful, and the author includes
photographs and portraits of herself. Send a
■lamp to: P.O. Box 33-345 E. Broadway, Vancouver, BC, V5T 1W5.
" Writing For Beginning
(4.5 X 5.5; 72 pgs)
ie summer reading? This zine is thick enough to keep you
going ror a while. Put together by Ingrid and Zanna, Iwo well known
zine writers from Vancouver, Writing For Beginning is on account of
a friendship between two girls who are very focused on the idea of
building strong connections. The introduction explains lhat "this is not
love story, it is a growth story,* and to this end WFB documents its
authors' struggle to deconstruct the idea lhat love equals happiness,
examining such issues as hef-love dependency and the potential for
self-sufficient girl love (as opposed lo girl love as a substitute until
Prince Charming comes along). Send a dollar to: 425 W 1 3lh Ave.,
Vancouver BC,V5Y1W4.
Snivel #1
(7X8; 28 pgs)
This zine is written by someone who really wants to be heard - so
much so lhat a whole page is dedicated to sniveling and whining
about a lack of reviews from local papers (especially this one). Snivel
contains some personal rants, lots of cut outs, and an interview wilh
the band Pull. It also contains numerous reviews of zines which I have
never written about, so by reading Snivel you can access a whole
new world of zines! (address not available)
You Ride a Horse Rather Less Well Than Another Horse
Would #4
(7 X 8.5; 40 pgs)
If you want to know the opinions of two boys from Burnaby on the
latest movies, books and records, this slice of pop/indie culture is for
you. Also Contains some neat comics and a humorous spoof on Teen
magazine's cute boy pin-ups. Send two dollars to: P.O. Box 44090,
6518 E. Hastings, Burnaby, BC, V5B 4Y2.
Psychotic Kitten #7
(8.5 X 5.5; 44 pgs)
Featuring an extensive interview with Mystery Machine and lots of
music reviews, this zine from Surrey is very focused on the local music
scene. Some heartfelt poetry adds a bit of variety, and there's also a
very unpatriotic contribution from Jason Schreurs. Send two bucks to:
257-7495 140th St., Surrey, BC, V3W 6G5.
Rally 6 *2
(5.5X8.5; 16 pgs)
After what seems like a million years
(but turns out to be onfy one college
year), ihe new issue of Rally 6 is finally out. In it, Hollie writes about being kicked out of her messed up family,
as well os voicing her dislike for certain
sexist aspects of the local music scene. If
you send along a little extra cash, Hollie
might send you her amazing personal zine
entitled This is the Book of Truth. I am a sucker
for emotion and all things angry. Send o dollar to this luff cookie: P.O. Box 1457 Benlall
Centre, Vancouver, BC, V6C 2P7.
Songs of a Dead Boy
(4X7 ,16 pgs)
How do I explain something lhat I don't even understand? This zine,
written by an American boy named Avalon, is similar to Canada's
own Roaring Fork Digest in lhat it perplexes the reader and makes
one (re)consider the value of continuity, wilh lots of little clauses which
may or may not be connected. I have the same appreciation for
Avalon's writing as I do for French radio: I can't understand what the
meaning is, but god is it ever beautiful. (No address)
The Ninth Wave MS
(7X8; 52 pgs)
Touting itself as a "journal of nocturnal culture", this zine from Toronto
is the first I've seen to have Goth kids as ifs target audience. As such,
it is a kind of educational experience for me - a leap into another
culture. The authors seem to know exactly what is happening in their
music scene, and this issue includes interviews wilh the Cranes, Peter
Murphy, and a very interesting band called Marilyn Manson. There's
even a Goth Kid CutOut doll! Send $5 to: 80-689 Queen Street
West, Toronto, ON, M6J 1E6.
■ Digital 8-Track Studio I
•$50 per song
•Multi-Song Discounts
•No Bullshit
•All musical styles
Some guy named Ernie
from San Francisco
Home: (604) 253-2007
Studio: (604) 540-1960
Fax: (604) 540-1970
Town Pump
July 19, 1995
Many a power-pop band have
referred to Alex Chilton as a
demi-god. As ihe primary element
of the Boxtops in the 60's and
Big Star in the 70's, this
one of the most revered yet
least well known
songwriters/performers of his era. Well,
he's trudged along in
the last few years, re
in fact, there were only one or
maybe two songs lhat I would
classify as 'rock' or 'pop' and ihis
is quite notable considering his
influence on the Replacements,
Teenage Fandub, the Posies, etc.
) pretenses in-
since then, only referring to the past on the
recent Big Star 'reunion'
shows in the last two
Chilton and his rhythm
section band appeared at
the Town Pump for a show
lhat I can best describe as
'enjoyable.' I knew full and
well that he prefers to concentrate on his recent works,
and this is admirable I suppose - who'd want to be remembered for something
ihey did 20 years ago and
for nothing else? Chilton and
co. played a mix of Memphis
style R&B, soul, jazz standards
and others (such as "Volt
this show. It was just Chilton, his
bassist and drummer playing
songs in the way that they play
for an hour and a half, and I think
they could have gone on for
longer without inflicting boredom
upon the audience. I'd still go
to see one of those Big Star 're-
hows in a second, but
s just pleasant enough
Brian Weiser
Town Pump
Friday, July 14
This was the first time I had
ever seen a complete Real
MecKenzies show. Suffice
it to say lhat their punk
rock fury from the highlands of Vancouver was
enoughto make me want
a) change my diet to a
strict blend of Haggis
and scotch
b) wear a kilt (sans underwear)
c) read nothing but
Robbie Burns' poetry
d) say "If it's not The
Real McKenzies, it's
Brian McWieser
Commodore Ballroom
Friday, July 7
Like iheir compadres from ihe
Apple, the
of the wank'n'roll  that was
Clawhammer. And then Mud-
You can't accuse these guys
of eating too much humble pie,
'cuz ihey sure could have a lot
more. Sauntering casually on to
the   stage,   Mark
standards shone bright, with The
Dicks' "Hate the Police".
So, with a shrug of his complacent shoulders (and some microphone antics from bassist Matt
Lukin), Mudhoney bid the crowd
adieu. As for me, I'm stuffed. I
couldn't eat another bite.
Bryce Dunn
"Beat Your Heart Out" and "Wild
Weekend"? 'Cuz they stand the
lest of time, plain and simple. I'm
just glad I get to see them and
witness history in the making.
I'd blown off seeing
Clawhammer the previous night
in Seattle (I was there for the Red
Aunts anyway, who rocked mightily, I should add), so I clenched
my teelh and endured 45 minutes
crew effortlessly tossed out hit
after hit. Standouts were "Judge-
ment, Rage, Retribution and
Thyme," with its killer slide guitar riff, "Who Ya' Drivin' Now",
and "Into the Drink" (from Every
Good Boy... - ya know, their 'go-
rage album'). And as always, the
band's penchant for old punk
prepared: I've got my
■ backpack stocked with
thirst quenching beverages and yummy sandwiches;
I've got suntan lotion, and fresh-
mint gum, a jacket, a pair of sandals AND a pair of army boots.
I'm materially and emotionally
Arriving at Thunderbird Stadium, I head over to the Second
HEAT!       *a.
PEAT!     JJ^
113 weeks     ^—:;_   5
of non-etop
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Stage and find out that Doo Rag
is playing first! Doo Rag is two
guys who look like they just finished cleaning out the hay loft.
Thermos Mailing has impressive
sideburns and plays a Budwieser
tin buckets, and a
"FREAKOUT your family. Pretend
it's real." And in addition to concert T-shirts, I notice a lot of clothing wilh company logos subtly
changed into drug names. Apparently, people find it
wire basket. Occasionally he
talks into a phone hooked up to
a huge megaphone which is
perched above them on a swivel
chair. Bob Log plays an old, beat-
up slid guitar and sings into a
vacuum cleaner hose. He works
his slide so fast and mean, he
tends to snap strings regularly.
When he does. Thermos entertains the crowd on the Hot
Keyz - one of those keyboards
that you strap on like a guitar, a relic from the eighties
that you can still find at bet-
amusing just to see
the word "McHash."
Except for a few quick forays
down to the main slage, I spend
most of ihe rest of the day by the
Second Stage. I want to see the
Poster Children and Yo La Tengo
and I do. Both bands make me
After Yo La Tengo, I rush
is having trouble with his amplifier. It's one of those tiny, battery
powered deals, and he's running
out of juice. Bob stops playing
and asks the crowd if anyone has
batteries. His amp needs six AA's
and he only has two. How 90's
slacker rock can you getl To be
playing at Lollapalooza and not
bring enough batteries with
you... Bob pleads wilh the audience; if Doo Rag gets batteries, they will play for us. Finally
Bob gets lucky, ond someone
donates a pair. This guy got
through security with a portable tape player, and I guess
he's made enough bootleg
tapes for the day. Then a
woman steps forward with
another pair of batteries. She
got through security with a
camera, and can handle not
being able to use her Rash. Besides, she already got a picture
with herself and Terry David
Just when Doo Rag are about
to start, one of their uniformed
sales reps comes by and says that
he has located a real amp and a
power outlet, so Doo Rag packs
up and we all march off to the
new location. As soon as we get
ter garage
Doo Rag is on the low
end of Lofi. It's mostly the
Hoover hose lhat does thi
I  liv
<  feel  like
you're listening to them on
a scratchy Edison record,
with extra doses of pops
and skips. And to make
matters more extreme, it
sounds like the record player is
playing on the back of a rattling
pick-up truck being driven
through some farmer's corn field.
Bul the sound is appropriate for
the music. Crazy, jerky hillbilly,
deep, deep, deep delta blues
kinda stuff played in an original,
messed-up way. It
to see Pavement, and am shocked
to see lhat the boys have actually learned how to play their instruments. Steve Malkmus hasn't
quite figured out how to tune his
guitar yet, but the bond sounds
good. I am al-
"%k most di$aP-
,M pointed. It used
WZLi   lo be r
ng  to  know
print dresses for hippies, an
art tent so the kids can get some
Kulture, and a Temporary Tattoo
booth which has a sign reading:
thing in "the middle of
Lollapalooza. I join the crowd of
ten or so who have gathered
around them, and see lhat Bob
to there, Doo Rag quickly sets up
and starts playing like crazy, and
we're all stompin' our feet in
some echoey back corner of the
stadium where the acoustics are
Doo Rag perfect. Yep, this is as
good as Lollapalooza gets.
If the day ended at this point,
I'd be happy, but I've got to hold
out 'till Sonic Youth gets here. So
wilh Doo Rag resonating in my
brain, I park myself on the grass
far from the Main Stage and recover, trying to ignore Cypress
Hill and Hole. The condoms that
were given out eaHier have all
been blown into balloons and are
floating above me, and if it
weren't for Courtney Love's
rantings, things would be very relaxing. There's nothing to do but
wait and watch people get
chased down by security as they
Iry to hop over the fence and into
the stadium.
But when Sonic Youth begin,
I'm in full form. I wade into the
mosh pit and get dose with the
crowd, who by this time is smelling real bad. But no matter, because Sonic Youth are really
pumping out great sheets of
sound. They are unbelievable.
Maybe even as good as Doo
Jonathan Oppenheim VIC CHESNUTT
Is Tho Actor Happy?
(Texas Hotel Records)
Some of you may already knoW
Vic Chesnutt'S story - how he got
into a drinking-driving accident
at the age of 1 8, which resulted
in him being wheelchair bound
for life; how he spent his next
.years depressed and still drunk,
playing in local Athens, Georgia
bars; and how, like some sort of
deranged angel, Michael Stipe
offered to record Chesnutt's album, Litt/e and convinced Texas
Hotel Records to release it. Since
then, if kinda seems like things
have improved for Vic Chesnutt.
Along wilh his personal back-up
band, the aptly tided Hopefully
Sober People, he recorded
(again with Stipe and Texas Hotel) a follow up to Little called
West of Rome. And now with
the release of his third full-
length release, entitled Is the
Actor Happy?, we wonder if he
really is.
It appears that this time 'round
Chesnutt is accompanied by The
Scared Skiffle Group, consisting
of Tina on bass, Jimmy on drums,
and Alex on thumb piano and
guitar. The album starts off wilh
an exlremefy radio-friendly 'hit'
song, "Gravity of the Situation," which will still probably
never make it on to anything
other than college radio, but
Chesnutt's recorded material
no longer centres on ihe tiny-fi,
minimalist, haphazard style of
acoustic guitar-oriented songs
that was present on his earliest
recordings. The songs are lush-
sounding and very produced,
which is not always a good thing.
With Chesnutt, however, having more of a full sound behind
his voice might make his songs
more listenable to some of you
Chesnutt's lyrics are just os introspective and strange as ever
before, with lines like "Some
sexual turned into some biblical/
and then became a game of just
trivial pursuit/ I used to gnaw on
every word/ bul now I don't
know what's the use" ("Wrong
Piano"). Deeply personal and
completely abstract at the same
time, Chesnutt sings about loneliness, loss, and hope on "Sad
Peter Pan": "I'm just pushing the
paint around/On advice from
your lying moulh/You touched me
and ihen you ran/And left some
sad Peter Pan/ All alone and
awkward/ But a transformation I
swear it will occur." He's still got
a sense of humour, though, singing about how he's a "...reluctant rebel/ I just want to be Aaron
Neville/ Wilh a crown on my
head/And my denim shirt all
soaked with sweat." Give it a listen; you deserve it.
miko hoffman
They're Magically Delicious
(Top Drawer)
Glengarry's good time rockers
whoop it up on their debut platter, and the result is top notch.
Lotsa crunchy melodies, sugar-
encrusted harmonies, (check out
"The Great Big Brainwave") and
no artificial colours or preservatives. Just some downhome high-
fibre rockin' from the boys who
know which side the grass grows
the greenest and when to keep
bashin' away even when the
cows do come home.
Bryce Dunn
THE 6ths
Wasps' Nest
I like to think lhat I avoid "gushing" too much when I write a review - when done too often, it
only minimizes the effectiveness
of raving about those CD's which
are actually worthy of the praise.
However, I think I've found a deserving candidate for some gushing in the 6lhs.
' Easily the best thing I've
heard this year, the 6lhs' Wasps'
Nest is as good as it is hard to
say five times fast. Steven Merritt
of the Magnetic Fields wrote all
of these songs, and on all but one
he recruited friends of his to sing.
Friends like Mac of Superchunk,
Georgia of Yo la Tengo, Mark
Robinson of Unrest/Air Miami,
Mary of Helium, Dean of Luna,
Barbara Manning of the SF Seals,
Lou Barlow of Sebadoh, etc, elc.
And perhaps the best thing, even
for fans of those bands, is that
the songs sound absolutely nothing like how you'd expect to hear
them. Comparisons to Gershwin
songs would only be out of place
because this has little to do with
jazz or show tunes - yet there's
something about these 1 5 songs
that made me think of the "great"
songwriters of the century. OK,
maybe now I'm gushing too
much, but there's such a simplicity combined with timelessly written lyrics lhat are so memorable,
you remember every aspect of ihe
songs after only a few c
tens. And you can keep going
back to be thrilled again with the
chiming sounds best described as
musically dazzling. This is pop
music with far more than a twist -
and that's no exaggeration.
Brian Wieser
You've heard it a million limes
- Gene sound like The Smiths.
Well maybe they do, but how
many three chord punk rock rip-
offs are there nowadays? I
mean, if you're going to pay
homage to anyone, who better
than the Smiths?
Admittedly, the cover of Olympian does feature a moody,
androgynous figure like those lhat
grace The Smiths' albums, and
song titles such as "Truth, Rest
Your Head" and "London, Can
You Wait" are pretty Smilhs-like,
but Gene have such style and sincerity that you've got to love 'em.
Vocalist Martin Rossiter works
well as a Morrissey Misery Monger, but is much more forthcoming while still maintaining the
same wonderful "well, is he or
isn't he?" quality. Guitarist Steve
Mason rocks harder than johnny
Marr and makes songs like "Left-
Handed" ("It's hard to be left-
handed/But smile, you're not the
only one") pack more punch lhan
The Smiths. And I dare anyone
not to be moved by the delicacy
of the title track or "London, Can
You Wait." Whether they sound
like The Smiths or not is irrelevant;
that ihey have "something" is indisputable.
June Scudeler
You Must Ask This Heart
(Rounder Records)
The same old thing from a friendly
icon, You Must Ask the Heart is
replete wilh typical Richman characteristics, the album is alternately clever, beautiful, inane,
sad, and perceptive.
Highlights include a rock-a-
billy version of Tom Waits' "Heart
of Saturday Night," a great comment on libido called "Vampire
Girls," and the compelling "To
Hide a Little Thought." Lowlights
are also rife, such as the simplistic "City vs. Country," the mundane tide track, and an acappella
number entitled "Walter Johnson"
which pays dubious honour to a
turn ofthe century baseball great.
s c -*^ y,
on   tour  with
sonic unyon
August 24 - Kelowna - Side Effects
August 25 - Victoria
August 26    Vancouver    Starfish Room
/esterday rolled by ..
auto body crusher
wmw gytpp
DIRTY THREE  •   Dirty   Three  $14.92 CD
BUTTERGLORY . Downed  $13.81 CD
YONA-KIT - Yona-Kit $10.96 LP $13.81 cd
DEAD C ° The White House  $9.87 lp $14.92 cd
UNREST  • BPM   91-94 $9.87 LP/cass $14.92 CD
TATTLE TALE ° Sew True $14.92 cd
ALICE DONUT • Purg Acid Park, $9.87 LP/cass $12.93 CD
DUOTRON ■ We  Modeii   We  Now'.  $9.87 LP
LIZ PHAIR • Juvenilia.... (Due August 8th, Price TBA)
LABRADFORD* A Stbble Reference $9.87LP$I4.?2CD
Thursday, August 3rd at the Edison
Friday, August 4th at the Malcolm Lowry
Saturday, August 12th at the Malcolm Lowry
Tuesday, August 22nd at the Malcolm Lowry
'"    Il   687-6355   •   FAXi   687-04881 Drop City  Chiaroscuro
The follow-up to A Revolution . this is more fuzzed out than the last, features a fine
cover of the Spacemen 3 classic "Losing Touch "If you saw the live show, this is
what you got   I
Godstar  Coastal 2Lpset hac42
Nic Dalton (former Lemonheads bass player & Half A Cow Records honcho) and
friends deliver their second album Features the usual guests including various
Smudge members etc   LP set only, the CD will be available from Taang later in the
Hunters & Collectors Demon Flower sald/c220
This has the angst and noise of trie early Conny Plank produced stuff and the
songwritmg/pop sensibilities of Human Frailty period Like his Australian peers Pa'
Kelly and Ed Kuepper, Mark Seymour is a storyteller/songwriter If you ever had a
spot for these guys, return, you wont be disappointed
Llamasaurus Polrynose
SALD 213
lainting on one of the Meat Puppets
ce on the late great Okra alongside
Schramms and Ass Ponys
The Nectarine No 9 Niagara Falls sald214
"A complete hussy, coated in a becoming arrogance - the most ridiculously under-
recognized pop organism" The brilliance of Davey Henderson (of the FireEngines/
Win) and crew is not to be missed Kelman won the Booker, Irvine Welsh
bastard I suppose . Just don't ignore this one
The Nectarine No 9 Saint Jack sald 223
The new album .Look for the band on tour in the fall, possibly with Edwyn Collins,
probably the best excuse for excessive drinking you'll get for a while    We also have
tine The Nectanne No 9 T-shirts, impress your fnends, impress us... No finer way to
meet Scots in exile than sporting said T $15 post paid
Pluto Failure/It's Only Love  7inch SAL216
on Mint. Sorta got it made one would have to say.
Punchbuggy All Nite Christian Rollerskate sald/c22i
Look out for trie band on the West Coast from the end of August to Sept 8. should be
a handful of shows going on
From the land of roadhockey and beavertails. thafs Ottawa, comes 4 guys, a couple
of skateboards, hockey sticks and more pep than Herbie The Love Bug! Power Pop
that makes you hang on for dear life, the same way you do when the roller coaster
Nobody ever said it was
The Vacant Lot
SAUD/C 222
check out the Trick
itled    They've been doing it for years, power-punk-pop that is,
rein to receive consistently great press from the likes of Option/
oss over to Flipside & Maximum Rock 'n' Roll crowd
n, although the first to feature the new line-up, this time around
sd by the guy who did the last That Petrol Emotion album .. Also
iby's on Go-Kart to see what the other guys are up to, ifs a killer
That's right open the cheque book, sit back, grab a
coffee... We have mail-order... Write for a free catalogue,
aside from the obvious Shake stuff we have loads of stuff
from the likes of Carrot Top, Deja-Disc, Drag City,
Flydaddy, Get-Hip, Hot, Postcard, Revolver, Scat, Slow
River, Thrill Jockey, Touch & Go...
598 VICTORIA C.P. 36587
Of course Richman, even when
recording horrible material, is so
good notured and guileless lhat
you can't really hold it against
him. That's why all his records,
including this one, are worth listening to.
(Southern Records)
Despite the promise of this album's first song, "Nothing is Most
Honorable Than You*, my interest in it soon faded as none of
the songs seemed as captivating
as the opening track. The rest of
the album, to be blunt, bored
me to tears. The country-tinged
songs are generally somber,
disjointed, and meandering,
and the album as a whole is
difficult to listen to. Although I
made the effort to get through
it several times, it never showed
Coffee,Jazx & Poetry
(Bongo Beat)
Described in the notes as Beatnik Lite™, one wonders if one
should be drinking decaf while
listening to ifiis coffee house album. Drinking coffee should be
duly considered if you're going
to sit back with this one, as it offers the atmosphere of a dimly lit,
smoke filled room. The musical
backdrop to Ralph's poetry is of
ten repetitive, but at times can
sound reminiscent of Vince
Guaraldi or some of Dave
Brubeck's more atmospheric
work. Referring to the notes on
the back once again, Mr. Alfonso
writes "spoken word, jazz, garage rock, & Deep Lounge™." I
think it would be accurate enough
to describe this as Garage
Gordon Gelean
Tho Dirty Throe
(Touch and Go)
I hate to use one of my evil Grandfather's sayings, but "Man, he
could play that fiddle" certainly
applies to The Dirty Three's electric violinist, Warren Ellis. There's
not enough superlatives to describe how masterful The Dirty
Three's first release on Touch and
Go is. They can do wonders wilh
a trio of guitar, drums and violin.
You'd have to be pretty mean not
to be moved by them.
That said, explaining The
Dirty Three is no easy feat. For
instance, on "Kim's Dirt," a lazy,
shuffling beat is laid down and
Warren Ellis's plaintive violin sobs
over it. The Dirty Three have so
much emotion in their music, it's
almost scary. They manage to do
a variety of styles from almost
country to damn near noise and
do it with amazing style. The
songs tend to be on the quieter
side, but can build to pretty intense levels, as well. At least I
know Grandfather would probably hate it.
June Scudeler
WOW! I'm not sure where Green
Magnet School come from, but
boy do they rock! Some tracks
on llluminatus sound Nirvana-
esque, while others have a Tea
Party [ahem!] feel to them. Either
way, GMS delivers infectious,
pleasing anthems. If only all
schools were as appealing as this
Peter Stevens
(Earth To Records)
I can think of some records to
compare with Sone's self-tilled
thirteen song debut, but homing
in on similarities would be distracting and a disservice to this
fresh sound. Derivativeness is not
Sone is not an album of nonstop party rock, but rather a mix
of sloppy pop songs and old-
school synlh musings. Songs may
vary in length, density, and
chantability, but there is a distinct
Soneness to them all. Many summery, anlhemic moments of sublime basement-studio art-rock are
yours for the taking. (Earth To
Records: P.O. Box 42162, Portland, OR 97242)
Ritual Eternal
Wilh the release of this second
studio album, Def FX offer yet
more proof that they are the most
creative, innovative, mind-bending, and possibly the best band
in Australia at the moment.
I was a little disappointed
with this album ot first, having expected another platter of their
speedmetal music of old and finding instead a more ambient take
on their original style, but after a
few spins I became completely
enamored of it.
Singer Fiano Home, probably
the most charismatic performer
you are ever likely to see, has
penned some incredibly powerful and thoughtful lyrics to match
Sean Lowry's programming,
which now includes nature-noises
and many Indian influences. The
evolution of the band directly reflects Fiona's developing spirituality - she is a member of a
Wiccan coven, and has become
interested in the vast tapestry of
spiritual approaches usually
lumped together under the
moniker Hinduism. She is one of
the original proponents of the
'Krishnacore' written about in
Spin this month.
Fiona's strongest lyrics can be
heard on "Kill the Real Girls," an
outstanding song lhat has been
part of the bands live set for two
years. Other highlights include
"Ritual Eternal", in which Fiona
meditates on the unbearable lightness of death, and "Story Never
Told," in which she meditates on
the nature of life. All the tracks
are challenging and confrontational, yet somehow calming as
well. I would even go so for as to
say lhat the perfect combination
of music and lyric makes many
of their songs beautiful - in their
ability to suit any mood and in
what they are trying to impart.
Ritual Eternal is an album with
the potential appeal to the ambient enthusiast, the techno-head,
the grunge baby, or the riot grrrl.
This is not to suggest lhat Def FX
are trying to please all of the
people all of the time, but merely
that they have produced an all-
encompassing body of work. So
do yourself a favour... (available
c/o Mindsurfers, P.O. Box 228,
Cammeray, N.R.W, 2062, Australia  or e-mail  deffx@geko.
Sophie Hamley
The Tyranny Off tho Boat
This compilation of keyboard-
based industrial music from Germany is consistent in its selection
of tracks, flowing nicely from one
to the next. I'm not familiar with
most of the bands featured, and
I've been missing out. The two
pieces by Suicide Commando
are similar in style to Mental Destruction, while Delay is reminiscent of Depeche Mode. Olher
bands featured on this album
bring to my mind Front 242, The
Klinik, and Blockhouse.
The only track lhat I really
don't care for is the Front Line Assembly remix of Project Pifchfork's
"Renasence," but j would have
no hesitation recommending this
Gordon Gelean
The Tyranny of Inaction,
Revised Edition VI. 1
So this is the new release from the
new Sisters on the block. Except
lhat, still smarting from the Sisters
of Mercy comparisons, they have
decided to slavishly emulate Trent
Reznor instead. Pretty lame. Oh
well, if you would like 64 minutes
of choruses to sing along to maybe
you should check this out. Get
someone else to buy it, then tape
it. Then, tape over your copy with
something belter, like those video
game soundtracks Alien Sex Fiend
ore doing now (which suck, but
not quite so bad as ihis).
Mark Baker 13 ENGINES
The latest offering from Ontario's
1 3 Engines opens with a brilliant
first single, "Beneath My Hand",
setting a high standard for the rest
of the CD to measure up to. There
are a few really great tunes which
manage to do so, especially
"Reptile Boy" and "Tailpipe
Blues", both of which feature
Lewis Melville on banjo (which I
happen to be a sucker for) and
pedal steel, respectively. 1 3 Engines continue to pound out
straightforward, groove oriented,
riffy rock tunes. I'm not normally
a fan of ihis lype of stuff but these
guys do it pretty well.
Fred derF
Psychic Hearts
I'm trying to figure out why this
mildly diverting CD was made. Il
sounds just like (big surprise here)
Sonic Youth, so what's the point?
Maybe Thurston felt left out because Lee Renaldo is doing the
solo thing now and Kim has Free
Kitten. He's got to keep up.
"Ono Soul," a wonderful paean
to the "Queen of Noise", is inspired,
and the rest of Psychic Hearts is
pleasant enough, but Moore never
takes risks. Maybe he should get
some pointers from Chris Connelly
(ex-Ministry), who releases poetic
records wilh wide variances of styles
on ihem - much to the chagrin of
irate Ministry fans. Now, he's doing somelhing right.
June Scudeler
Pell Mell is a Portland bred, San
Francisco based instrumental
band that has been recording
since 1983, primarily with SST
records (Sonic Youth,
Negativland, Husker Du). With
their twangy guitars, rhythmic
keyboards, artistic ambitions and
instrumental adherence, Pell Mell
is the band people are talking
about when they refer to SST as
a "diverse" label. Unfortunately,
most of Pell Mell's SST work is
marred by ambition. While providing snippets of brilliance, the
band's SST albums show a commitment to Utopian jazz philosophies like musicianship (I), interplay, and ambience. Accordingly, they tend to strike the
unobsessed ear as being meandering and tiresome.
Such is not the case with Interstate, which is both flowing
and concise. There is enough adherence to standard song structure to keep the album focused,
yet the record is unique enough
to provide moments of surprise
and suspense. Moreover, Interstate realizes a coherent theme,
one of movement. Songs like
"Nothing Lies Still Long," "Saucer," "Blacktop," "Butterfly Effect," "Drift," and "Floating
Gate," are all aptly titled. They,
along with the album's title, perfectly reflect the pleasing ambience of motion created by this
instrumental album.
Scars From Falling Down
Not having heard earlier Steel
Pole Balh Tub albums, I can't say
if this, their first major label release, is better or worse. I can
say that it's good - really tight,
edgy, unpretentious rock made
by competent, practiced musi-
Unforlunalely, Scars From
Falling Down is not my thing. Although I can appreciate the
songwriting and playing talent, I
don't enjoy the songs. The album
is so pathologically stark that it
kept losing my attention, and it
took me a very long time to be
able to listen to ihis ihe whole way
through. Maybe someone with a
longer attention span than myself
It's Fun To Pretend
(Chester's Funtime Record
I was not at all impressed by
Speedbuggy while listening to
this CD. Every trio has trouble trying to have a full sound, and I
suppose lhat Speedbuggy is no
different, but I found their songs
to be monotonous and uninspiring. In fact, my favourite part of
this disc is the guest appearance
from Nardwuar, in which he repeats the word "speedbuggy"
over and over again.
A quick look ihrough Vancouver's music zines shows lhat if noth-
ing else, Speedbuggy are a
hardworking band trying, like everyone else, to get some attention.
Peter Stevens
Waydown EP
Happy Days LP
Catherine Wheel's muscularly
catchy single "Waydown" appears to be all over MuchMusic
and pop radio - so much the better for the band, who are largely
ignored in their native UK. Too
bad the track is one of the most
empty, dull rock wanks on their
new album, Happy Days.
The Waydown EP couples this
leadoff single with one other
throwaway original and three
cover tunes. Scott Walker's "30th
Century Man" becomes a seething cauldron of urgent guitars
barely    controlled    by   Rob
parison, the band's version of
Husker Du's "Don't Want To
Know if You're Lonely" is tepid
and limp.
Like the band's previous two
albums, Happy Days is too long,
and those sensitive to cheese will
no doubt wince at some of the
indulgent guitar work. However,
the chugging anlhemic approach
actually works on tracks like
"Empty Head" and "My Exhibition," mirroring the angsly, isolated lyrics.
"Eat My Dust You Insensitive
Fuck", on the olher hand, finds
the apparently lovelorn and
angslful Dickinson moaning into
a sprawling epic complete with
Hammond organ, howling div
torted harmonica, and wah wah
galore. Reminiscent of "Fripp"
from the Chrome album, this is
gorgeous stuff.
Other standout tracks include
"Judy's Staring at the Sun," featuring Tanya Donelfy on backing
vocals, and "Fizzy Love", a quirky,
bluesy gem that showcases
Dickinson's high-flying falsetto.
The remainder of the disc is forgettable: hard but dispassionate,
loud but wilh a forced sort of liveliness. A tolerable effort.
Bernie Charlton
/ Should Coco
One of those British "bands of the
moment," Supergrass carry it off
in pretty good form, with a sound
reminiscent of the Buzzcocks and
very similarly to Blur's "Sunday
Supergrass opened for Blur's
triumphal reception at London's
Alexander Palace and, of course,
all ihose pesky British journalists
talked about them biting at Blur's
heels. They don't seem to have
as cynical an edge as Blur, but
the trio takes bits and pieces of
twentieth century British music
and are not scared to add cheesy
organ and goofy background
vocals. The oldest of the trio is
24, so they've got energy to
spare and they want to cause as
much ruckus as possible and
have tons of fun while doing it.
With all the unfortunate hype over
anything that moves in the British
music press, let's hope Supergrass's bubble doesn't get burst
June Scudeler
Grand Prix
Teenage Fanclub keep working
towards some sort of pop rock
perfection with each succeeding
album, refining what you heard
last time until a finely granular,
sugary sweet sound is produced.
Just as Bandwagonesque polished off the abrasiveness of A
Catholic Education, Grand Prix
further smoothes what was already a pretty well buffed sound
wilh Thirteen. Maybe it's not such
a good thing: too much sweetness leads to decay of the teeth,
and it may very well lead to the
decay of this band.
Teenage Fanclub probably
peaked wilh Thirteen and I think if I
had lo I'd recommend any one TFC
to ihe first time listener, I'd still recommend that release. The band still
plays their own brand of postBig
Star music with lyrics lhat have certainly progressed since ine five word
hit, "What You Do to Me" (and lilies loo: when was the last time you
saw "Verisimilitude" on a CD
jacket?). But really, since Grand Prix
is just more of the same, there's no
disappointment if you're a fan of ihe
genre. Maybe for lhat reason alone,
you might check this one out.
Brian Wieser
AVAILABLE     NOW     FROM     ANABA ebad&
august   •
aiKnist'95 INDIE
1    1    huevos rancheros
dig inl                                                    aint 1
1 i
the stupes
share it
lance  rock 1
1    1   squeeky
thre    1
1   7   various artist-   skookum chief powered lit rawk         nardwuar 1
1    2
broken girl
1    2 gaze
1   3   penny wisa
about tine                                    epitaph 1
best hung carrot...
lance   rock 1
1    3 wandering lucy
yearly fab ♦ effect 1   1
1   4   the real ackanzias
tha real ackenzies                               if a 1
1    4
nerdy girl
nerdy girl 10"
no   life
1    4 true love forever
reverb gir   1
1   5   tha crab*
jackpot                                                      k1
eric's trip
stereo mountain
sappy 1
1    5 zio
cancer   racke
6   yo la tango
alectr-o-pura                             aatador 1
tha tonics
ups & downs
xapruder 1
1    6 lashback
big   duap 1
1   7   fugazi
red nedicine                              dischord 1
1    7
venus cures all
independent 1
1    7 jabber
follow your voice 1
1   8   aecca noraal
first lp on cd                                         k 1
1    8
international  airport
10*   smalls   likel
1     8  kirn linekin
tired of being a man 1
9   quicksand
10   »lcko
1    9 9«
onoaatopoeia/subpoena 1
laugh while you can...                  eapty 1
1 10
silver girll
1  10 celectial magenta
wonder   why 1
11    perfuae tree
a lifetiaa away                                   zulu 1
1 M
b'e hi / c heer leader
endearing 1
1  11   queazy
reach for the sky 1
12   tha stand <jt
they're aagically delicious  top drawer 1
papas fritas
passion play
ainty fresh 1
1 12  kreviss
expose 1
13   slant t
inzoabia                                   dischord 1
boris the sprinkler
green bay route
bulge 1
1 13 eric estrada & tha velour nation
choking at god's side 1
14   aodarnettas
get it straight                                   zulu 1
1 14
on a rocket
honey chain 1
1 14 universal lounge act
superca    1
15   various artists
free to fighU                        candy-ass 1
1 1S
tooth & naill
1  1 5  squelch
i   like   you 1
16   tha hi-fives
welcoaa to ay aind                lookoutl 1
hold ya breath
navigator 1
1 16 broca's area
between the lines
progressiva science...                   wrong 1
1 17
ties to saver
lorea ipsua 1
J  17  the dunderheads
lost     boy 1
18   bua
aaka it or break it                impossible 1
true blue
j  1 8 von clutz
lap    of   luxury 1
19   bugskull
phantasies and senseitions    road cone 1
legendary jim ruiz
group Minneapolis
ainty   fresh 1
1 19 Lisa kucharski
walking   along   the   edg    1
20   various artists
full  dynamic   ranga     cfuv/guacaaola 1
curse of tha horseflesh old joe dark
roto   flexj
1 20 chris houston
cloustoaby    ba    1
21    mu
an i driving you crazy?       touch & go 1
1 21
haters of couch
1 21  auphonix
radio   exorcis    1
22   pointed sticks
part of the noise                              zulu 1
1 22
blender head
spare change
tooth & naill
I 22 lick the pole
lick   the   pole 1
23   spirit of tha wast
two-headed                                             waa 1
1 23
Charley horse
back down
hellnote 1
1 23  pifco 88
she   say    1
24   unwound
the future of what          kill rock stars 1
ay pretty finger
a season of light
1 24 thee upper crust
slobs from planet nin   1
25   screeching weasel
kill the ausicians                   lookoutl 1
elevator to hell
the who
sappy 1
1 25 tattle tale
a   girl's   toolbox 1
26   bracket
4 wheel vibe                              Caroline 1
aerseysippi collactif band good by joseph...
loaf 1
1 26 kid champion
luainite    1
27   superchunk
incidental ausic 91-95                 aerge 1
see the pictures
rock 1
j 27 joy buzzer
ain   1
28   various artists
barraaundi sampler              logic/bag 1
the cherries
aorninglory 1
1 28 prof zio
turned over a death ston   1
29   excuse 17
...friends are dangerous  kill rock stars 1
wonderful world of
joey blastoff
sympathy tor 1
1 29  bead trophies
epidermal    hiatu    1
orbvs terrarva                             island 1
jlgwaw   lab. 1
1 30 deprograaaers
freeduab 1
coffee, jazz & poetry      bongo    beat 1
1 31
Oswald five-o
blue tv
1 31   disturbed company
bootleg   aoonshine 1
32   swingin' utters
streets of san fran...   new red archives 1
1 32
cheralee dillon
little yellow lemon
rainforest 1
1 32 john korsrud's hard rubber orchestra                              iguan    1
33   crash 13
hitchhiker's guide...glengarry rigbtwide 1
1 33
mild and hazy           lunaaoth/hardwood 1
1 33 aore socks
blends  with  pen   1
34   stereolab
pengl                                               too pure 1
fly in the ointment
1 34 lux Indigo
she s not on the aenu 1
35   thrush harait
the great pacific ocean             aurder 1
1 35
cream    cloud |
1 35 coyote
out of the shadow   1
1   distant drums
work that body
liabo   1
2 dj aisjah & dj tin
3 leftfiald
leftism lp
hard    hands
4 freaky chakra
5 hardfloor
multiphasic invoculator   astralwerks
respect lp                              harthouse
6 raain feat b-CLaaa
unknown call
7 claude young
djax    up    beats
8 various artists
9 mike dearborn
carl cox - ta-c.t.
djax   up   beats
|       10 not breathing
event horizon ep
visible   j
um turn /^97X WORLD BEAT TOP 10
1 roustabout
2 viva las vegas
3 jailhouse rock
_■ |j^0f \
4 clam bake
5 gi blues
6 king   Creole
lfi£ 7
•~~~y*^ 1
7 it happened at the world's fair
,~v_^.?™ 1
8 flawing star
9 blue   hawaii
10 kissing cousins
1 1   leston paul
carnival '95 hits
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africa fete 3
3  los niches
salsa de hit!
4 chaka deaus & pliers
mafia & SLuxy
5 los corraleros de aajagual
arriba la fiesta
6 bob aarley
natural mystic
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clasicos   da   la
provencia   philips 1
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rumba calzada
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«m ji.3 n- uum, oi • hr S4t u,  mm,
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get action1
1 2 forbidden dimension
soaebody down there...
3 the kaisers
beat     session     #1     7
"     bedrock
welcome to ay aind
the many moods of ...
6 sugar shack
shotgun for two
7 swingin' utters
streets of san fran... new red archives 1
8 various artists
shreds volume 2
shredder 1
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ausic machine 5"
10 the stand gt
the crackle fan 7*
mint |
1 aarc anthony                            te conozco bien
sony  discos
1   **-_•*■«*.-»•
chii          diggl   |
1   2 rey ruiz                                      estaaos solos
sony tropical
2    soul asylum
• uperfriend     1
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3   Chris isaak
elec tiolu     1
1  4 pochi y su cocoband              estoy enaaorado deti
4   fury in Die slaughterhouse
babes in toyland
13          engine    j
1   5 Cesar flores                                 salvase
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treble     charge    1
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sony   discos
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r_       6
• uperchun     1
1   7 el nene y bus traviesos salseros    oye rumbero
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ol'dirty bastard
salinonblasie    1
8 international sonora show   joselito                      fonovisa  tropical
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•land               g    1
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9   beggars
hardship       pos
110 papo ross & orquesta paabiche   ai camioncito
cross current
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Cherine wheel
bruce rncculloc    j
*<v ^    The   September   issue   is   approaching   fast.
1 Book     your     ad     space     by     August     17th
IMOPI Al of but Is mumd by fc at
Matt broadcasting stuns art for Incestuous
mriMt-sutic. This show presents the most
mmt new male tram aroind IS< world. Ears
open. Hosted by Paul Stetnf-lten and Cam
and Peter Williams alternate ai hosts.
SOOl CHURCH Ji00-5i00 PM AJternatin**
Sundays with Brant Argo. Vancouver's only
program devoted anUrary ts Airican-Cana-
ifan and AfricarvAmerican Gospel music. Your
host. Una Yah.
Dedioiated _ tha gay, lesbian, blaaoial, and
BEET All JAU 9100-11
a one-hour radio show which features a wide
range of music from India. This frdudes classical music, both Hhdustani and Camatic,
popular music from Indian movies from the
1830's to the 1980s, Semi-classical music
such at Qhazalt and Bhajant, and alto
Quawwallt, Folk Songs, ate. Hosled by J.
Dhar, A. Patel and V. Ranjan.
I2I0OIM   Jo*, hott Dav» Emory and ost
eal research guaranteed to make you think
twice. Bring your bpt deck and two C-90s.
Orlgtoally broadcast on KFJC (Lot Allot, California).
4AM Drop ytr gear and stay up late. Naked
radio tor nake people.   Get bent Love Dave.
IliOOAM You* favourite brown-stere, James
and Peter, offer a savoury bland of Ihe familiv
and usoc In a blend sf aural delights! Tun* In
and enjoy each weekly brown plats special.
liOO PM Wilh ysur hosts the Gourd of
ignorance and Don Ihe Wanderer. What will
we play today? Rog will put H away.
CiTR's industrial/noise/ambient show,
- wimpy British psp, Beastie Boys, hdie guitar
swing, and techno thrown in for good measure.
Hit your olfactory nerve centre with
june_scude lerSmindlink.be.ca.
I endeavour to feature daad air, verbal
S REPORT   5iO0-5i3OPM
For more inleresbng dinner guests jo in Princess
Andrea and her team: Jedi Knight Neil, Learma
Skywaker, and Gran Moff Ian USA We bring
you the Force of the newt, dark side and all,
WHS the BBC World Service Newt • 5-
WRDWAICHERS 5t30-M0PM Join Colin
Panira tor al Ihe weekend sports thloek from
(he high altitudes and thin air of Point Grey.
Vancouver's longest running prim time jazz
program. Hotted by tha ever-suave Gavin
Waker.Feati.es at II.
August 7l Tonight with ths complete
■Smokin' it Ihe Half-Note." The great guitarist
Wat Montgomery with tit Wynlon Kelly Trio. Pat
Metherry calk this The absolute greatest Jazz-
guitar efcum ever made."
August 1«i 'Roy and Du,' a 11954
collaboration between two of the most influential
hi mpeters in Jazz recorded when Dizzy Gillespie
and elder-statesman Rsy little Jazz* Eldridge
were at their peak. Great back-up by Oscar
Pet_ton, Ray Brown, elal.
August 28i Pianist Bertie Hancock's first
saxophonist Dexter Gordon and tnimpet tentabon
Freddie Hubbard.
«i00ANk Tha ultimate contrast Screwing
you over with nostalgia, then bringing you
back to what you might call reality. We do
CiTR 1.Q1.9 £m
It encourages insomnia and may prove to be
hazardous to your health. Listener discretion It
advised. The nuslc, news and 2:00 WWOD
hosted by Pierre may not be suitable for eSe entire
ll.OOAM Thafs right, bub! Punk-pop, surf-
slop, and lots more trash for yer can. Tune to
to me, Bryce D., for all the crud that's got
cbss every Tuesday morning. Yowza!
Women in music and grrrls in nusic; two hours of
Info and rawk. Ya don't need a penis to be a
nuslcal Genius!  Trish, Julie and Barbara.
THE UNHEARD MUSIC 7i00-9i00PM Meat the
unherd where the unheard and the hordes of
hardly herd are heard, courtesy of host and
demo director Dale Sawyer. Herd up!
RITMO LATINO 9.00-10.00PM Get on
board Vancouver's only tropical fiesta e-press
with your loco hosts Wendi, Rolando, and
Mateo at Ihey shake il and wiggle it to the
latest in Salsa, Merengue, Cumbia and other
fiery fiesta favourites. Latin music so hot It'll
give you a tan! --RADIO SABROSA!!
Alternating Tuesdays. Live readings and the
latest In techno bizzarre with host Lupus
Maybe, kinda sorta, but not necessarily?
YACHT CLUB    11.30-1.15 Drop anchor with
our new all rap formal Ifs tuperkalifragalickln'
MOTORDADDY 3.00-5.00PM 'I don't
know why I do what I do, I do what I do cuz I'm
Evel Knievel and I don't question ib"
sometimes why7h.it? tell us! please...
10.00PM-12.00 AM Let DJ's Jindwa and
Biidwa immerse you to radioactive Bhungra!
"Chakkh de phutay*. Listen to all our favorite
Punjabi tunes - remixes and originals. Biraaaah!
to your homes and in your heads. Anna and Deb
insinuate Iheir way into your life to entertain,
provoke, preach, rant, seduce, and He to you.
"It's only I Oam, are they talking about tei
CANADIAN LUNCH 11.30-1.00PM Toques,
plaids, backbacon, beer, igloos and beavers.
STEVE A MIKE 1.00-2iOCPM   Crashing the
boys' cki) to Ihe pit  Hard and fast, heavy and
slow.   Listen to It, baby.
Soukout, Samba, Salsa. Yet! Even Soca. Enjoy
this Tropical Daiquiri with El Doctor del Ritmo.
OUT FOR KICKS S.0O-7.3OPM No Bkkanttod-.
nothing politically cornel We don't gat paid is
you're damn right we have ton with IL Hotted by
Chris B.
Roots of Rock 'n' Roll - If you don't get tots
Rock 'n' Roll Heaven don't blame me!
9.00-11.00PM   Local muzak from 9.   Live
Alternating with TFIL    11.00-1AM
Straight from the mean streets, Ethan Meyer,
Dylan Rymer, and mumatter Kaptato Nero
straddle and matssage your eardrums wilh
non-stop horror. Inject and learn something!
• Alternating Mtk RTY 11.00-1 AM
Chris Pariah explores Ihe Metanoid states and
psycho-sonic scapes of The Infinite
Livingroom, that Nth dimensional space
between perplexed consciousness and
profound absurdity.
Greg here. Join me to the love den for a cocktail.
We'll hear retro stuff, groovy jazz, and thicker stuff
too. See you here... and bring some ice. XOXX
TRESIS    10.00-11.00AM   Tune to for loud,
aggressive rock at Wei as discussions, interviews
i hformatjon relating to people whs tm with
physical A mental challenges.
12.00PM Relax, dont do it... Whenyou wanna
UTILE TWIN STARS 2.00-3x30 PM Strap on
your vtoyl Go Go boott for an tolsrgalactic ride to
the stars. Hello Kitty!
PRESENTS... 3.30-4.00PM Have a
good brunch!
S.30PM Do you want us to make you a
Saber Tooth Tiger? Half an hour of unbeatable
newt coverage plus our weekly wrap up.
Underground sound system-style
mastermii radio.
FOR THE RECORD 8.30-6.45PM Excerpts from Davt Emory's Radia Frtt
America Series.
original live mixed dance prsgram in
Vancouver. Hosted by DJ Noah, tha main
focut of the thow It techno, but also
includes tome trance, acid, tribal, etc...
Guest DJ't, interviews, rttrotpectivet,
giveawayt, and more are part of the flavor
of homebatt.
LIMP SINK 12:00AM-2:42AM Hotted by the
G42 players. DJ Norm brings you the krunk.
Doctor K takt about more krunk. Brought to
you by copacetic man turfing the Information
super doodiddleyooper highway. Contact:
Now In It tOthyearon Ihe air,The Edge on Folk
features music you won't hear anywhere else,
studio guests, new releases, Brirish comedy
sketches, fok music calendar, ticket giveaways,
etc, plus War/at Cup Report at 11:30 AM. B-
8 AM: African/World roots. 9-12 noon: Celtic
music and feature performances.
D 12.00-3.
only true metal -how; local demo tapes, imports
and other rarities. Gerald Ratfehead and Metal
Ron do the damage.
THE SHOW G.00-8.00PM Strictly Hip
Hop - Strictly Undergound - Strictly
Vtoyl With your hosts Mr. Checka, Flip Out
1 J Swing on Ihe 1 A 2's.
Killing ugly radio with one easy step.
Alternating Saturdays.
third time's
the charm
HH(fe«( akolt
lot* Oeu
R*di« Trtt
tMplc«l dAf^fcfW
Sofcl ChhrcM
Mary Tyler
xx o 1 as
Ttninln* Hy\lnx
Ovtf For (Cf*-:
kip kop k-ttir
and sometimes
Lola's Back
In Town
wolf ii file door/
*tl*$ OfcttA
liwif Sink
rave new
After Hours
Alternating  Saturdays.
SOMnHING    IiOO-'iOOAM *You can tell
by Ihe way I use my walk. I'm a woman's man
...no time to talk."
JULY 28th,
CiTR and the
are presenting a
support of the
jailed political
JAMAL. Mumia
Abu-Jamal is a
former Black
Panter Party
on death row-
convicted , of
killing a Philadelphia police
officer. TUNE
tor    more in
formation. Call
us at CiTR if
you want to
get involved in
other political
WHOM       &      HOW
Art a
Ian McKinnon
rry Hertacheg
Otis   Aahby
Current Af f a
Andrea Spence
Engineer Richard Anderson
Entertainment Kevin O ■ Toole
Librarian Clarence Chu
Mobile Sound Andy Bonfield
Music Megan Mallett
President Brian Wieser
Production Aaron Robertson
Programming Miko Hoffman
Promotions Selena Harrington
Secretary Chandra Lesoeister
Sports Dave   Ryan
Station Manager Linda Scholten
Student Engineer Fsrn Webb
Traffic Mark Singh
Vice   President Ryan  Ogg
Volunteer Coordinator John Ruekin
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DJLINE 604/822-2487
MUSIC DEP'T. 604/822-8733
NEWS   LIKE 604/822-5334
FAX      LINE      604/822-9364
29 ii$^m$z AUGUST
TUE   IS The Grift at the Railway Ctu!
Theafr*...Powder Finger, Cushe and Eno
WID 16 Unity ond Press*
Love Dog, Dick Jane Spot <
>.. .Homo Homer ot
 febox   w/dj   Mick   Shea   at
iitzkriig ot the Twilight Zone   tribal industrial,
*n ot the St. Regis Basement Lounge (funk, jazz,
t the Towi
WED 2 Ned's Atomic Dustbin, Sponge, letters to Cleo and Fig Dish al
the Commodore...Clumsy lovers ot the Railway Club...Guy Smiley,
Forktongue and Blisterine ot the Hungry Eye...Alias Ron Kovana ot the
W.I.S.E. Hall...The Topp Twins ot the V.E.C.C....Brickhouse at the
Gastown Music Hall...Trauf and Solly Can't Donee ot the Town Pump...
THU 3 Clumsy Lovers at the Railway Club...The Mother Hips ot the
Starfish Room...Sour landslide, There's No Mono and Joe's Funeral a
the Hungry Eye...Little River Bond ond Crusoe of th.
Commodore...Naughty by Nature ond Rottin RorKals at |h<
Vogue...Warren Zevon ol the Town Pump...Sondra Locb
.1 ot
the   Go:
i  Mu-
<ung!, Terror ot liny I
at the New York Theatre (ALL-AGES)...The Reef Krayolo, Smog, Peter
Jefferies at the Starfish Room...Terror of Tiny Town at Club
Paradise...Waiting for God, Christ Anolog ond SPM at the Hungry
Eye...Tom Jones ot the Q.E. Theatre...Flatlond Six ond the Jelly Roll
Blues Bond ot the Roilwoy Club.. Expose Yourself with Wig, Supercob,
Kelsey Fry, Kotie MacColl and more ot the Vogue Theatre...Zip Code
Rapists ot the Molcolm Lowry Room...The Immagronts and The Croze
at the Gastown Musk Holl...Tlddlow's Lunch Box and Mother Mode
This ot the Town Pump...Urban Sprawl (a collection of experimental,
industrial and promotional films about the modern city) ot the Edison
Electric.Vbclav Havel's Unveiling plus spoken word ond music at
Anything Goes Bookstore &Cofe{1677 E. 12th),..
SAT 5 Rock Against Prisons w/Submission Hold, Spanking Betty, Ten
Days Lol* ond more al Crab Park (North foot of Main St.;lpm • ALL-
AGES) ...Circle Jerks ot the New York Theotre (ALL-AGES)...Flollond
Six and the Jelly Roll Blues Bond at the Railway C(ub...Moe Tucker ond
Viva Saturn at the Starfish Room...Beauticians ond Mysterions ot the
Malcolm Lowry Room...Brand New Unit. Gob and Severe at the Town
Pump...Silly Rabbit, the Daisy Chain and Superfly 2000 at the Hungry
Eye...The Deadcats ond 008 at the Gastown Music Hall...Chris Houston & Evil Twang ot the Cordova Cafe..Jan Colemon Quartet with 2
Tenors at Raffels...Powell Street Festivol ot Oppenheimer
Pork.. Jomoko's 33rd Independence Celebration at Eogle sHoll. ..Velvet
Eorth, info (604) 878-8291 ...Alien Notion inlo (206) 726-
3868,..Vaclav Hovel's Unveiling plus spoken word and music ot Anything Goes Bookstore & Cafe (1677 E. 12th)...
SUN 6 Barenaked Ladies, The Odds and Ashley Moclsaac ot Vonier
Pork...The Catherine Wheel, Wax ond Gwen Mors at the Town
Pump...Powell Street Festival ot Oppenheimer Pork...Mcintosh-Mitchell
Duo ot the Glass S)ipper...Homophobia and Youth workshop at The
Gathering Place (609 Helmeken - 'til August 6)...
MON 7 Belter Than Ezro ot the Commodore...Zeke, Oppressed Logic,
Sofa Glue and Bad Acid Trip ot the Java Jump (ALL AGES)...
TUE 8 Circus in Flomes and the Mudiorks at the Railway Club...Domn
the Diva, DSK and Flonge ol Greg's Ploce.. Joe's Funeral with Zolty
Crocker ot the Gastown Music Hon...Dust Rodio, Love Apple, Imp of
Perverseand the Woody James Bond ot the Town Pump...
WED 9 The Tea Party ond Econoiine Crush ot the Commodore...Circus
in Flomes ond the Mudlarks ot the Railway Club.. -Je* Low and the Bod
Pennies at W.I.S.E. Hall...Brickhouse at the GostoWn Musk Hall...Body
Shop Benefit: Quiwer, Millions of Braziliions, Zso Zsa ond Tortured
Tango at the Town Pump...Men's Fest - Taking Responsibility! at the
Station St. Arts Centre ('til Aug. 13)...
THU 10 BNU, Gob, ond Pipebomb of the Romper Room (ALL-
AGES)...The Tea Porty and Econoiine Crush ot the Commodore (ALL-
AGES)...There's No Mono at the Roilwoy Club..,Kristiono Sheffield at
the Malcolm lowry Room...Sole Condy wifh Joe's Funeroi ot the
Gastown Music Hall...Mudwimmin with guests at the Town
Pump...Taking Pictures CD release porty at Raffels...
FRI 11 The Paperboys at the Railway Club...Noah's Great Rainbow
ot the Starfish Room...Knock Down Ginger ol the Molcolm Lowry
Room...Yellow Belly w/guests ot the Gastown Music Hall...Art
Bergmann, Suckerpunch ond Joe's Funeroi ot the Town Pump...The Tea
Party and Econoiine Crush ot the Commodore...John Doheny Quintet
tribute to Lester Young ot Raffels...
SAT 12 The Paperboys at the Railway Club...Salvador Dream and
S.O.L. at the Starfish Room...The Mariachi Concert '95 at the Queen
Elizabeth Theotre...Irving Claw Trio at the Malcolm Lowry
Room...Atlantis Bus w/guests at the Town Pump...Kate Hammet-Voughan
Quortef at Raffles...Lost In Space info (604) 444-8030...Forum Theotre performance on Homophobia ond Youth ot the Gathering Ploce
(609 Helmeken-4pm)...
(1 lam)...Toxic Norcotic, Disaliefiance, Starved & Delirious at the Java
jump (ALL-AGES)...Screening of Dance Masks and Portrait of an Artist
as a Young Womon 1914-19 at Edison Electric...
MON 14 Morjorie Cordwell ond Feor of Drinking ot the Railway
Club...Die Krupps ond The Young Gods ot Graceland...Psycorruptkn,
Guppy, Triskellkn ond Major Good Vibe ot the Town Pump...
FRI IS Strain, Seismic, Puncture and Block Room ot (he New York
Theatre (ALL-AGES)...Ray Condo and his Western Bop at the Railway
Club...Planet Earth Festivol ot the Commodore with The Paperboys, Middlesex, Cosy Bones, Tiddlow's Lunchbox, Mother Made This ond tno
Hemp ShoW...Tne Phorcyde, The Nonce ond The Roscolz at Richaids
on Richards...Vinaigrettes and Cris Smith at the Malcolm lowry
Room...Jazzberry Ram with Green Apple Quickstep at the Town
Pump..John Howard and Mark Anthony at Graceland...Tinmen unplugged with the Hollowheods ot RaffeU...
SAT 19 Roy Condo ond his Western Bop ot the Railway Club...Gas
Huffer, The Hellbillys, Popawheelie ond Punchdrunk ot the Jovo Jump
(AIL-AGES)...Byron lee & the Dragonoires ond Soul Survivors of the
Commodore...Vancouver Wild Blockberry Festivol with Craig jacks'oV
Active Post at Jericho Beach Youth Hostel...Colorific* ot the Mokolm
lowry Room...Daytona, Sing Sing Dead Man ond Ape Hanger at ihe
Town Pump...Kane Taylor Explosion at Raffels...
SUN 20 Aberthau Music Festivol ot West Point Grey Community Centre...
MON 21 Green Acher* at the Roilwoy Club...Gypsyiand, Boxcutter,
Sugor Candy Mountain and Wish at the Town Pump...
TUE 22 The Immigrants at the Railway Club...Refrigerator and Brian
Ruryk of the Malcolm Lowry Room...Publk House, Motherson, The Last
Thrtfl ond Breathe Under Water at the Town Pump...
WID 23 The Immigrants at the Railway Club...Doy-Glo Abortions w/
guests at the Town Pump...
THU 24 Speckled Jim and Auburn at fhe Railway Club...Coco Love
Acorn at the Malcolm Lowry Room...Lick the Pole w/guests of the Town
Pump...Dan Graham Trio ot Raffels...
-.t the New YorkTheatre...Deep Julia and Chris
y Club...Bughouse Five at the Molcolm Lowry
Room...Pure, Queasy ond Daisy Chain ot ifie Town Pump...Coco Love
of Raffels...Phil Keagy ot the Glad Tidings Church...
AGES)...7 Seconds, Sicko, Knapsack and The Brainsick ot ihe Java Jump
(ALL-AGESJ...Deep Julio ond the Chris Field Bond at the Railway
Club...Mudlarks and Terry Morrison at the Malcolm Lowry Room...King
Apparatus w/guests at the Town Pump...Celtic Works at Raffels...
MON 28 Grrrls wifh Guitars featuring Jessica Rayne, Emma Carter,
Frayed Knots, Koty MacColl and Terry Morrison at the Railway
Club...Radiant Profile, Jude Inc. and Cackleberry Pie at the Town Pump...
TUE 29 Murray Bool, Rattle and Dash at the Railway Club...Primusand
Mike Wolf at fhe Coliseum...Cothode Ray, Pipe Bomb and Soul Condy
ot the Town Pump...
WED 30 Noah's Great Rainbow at the Railway Club...The Warped
Tour featuring L7, Quicksand, Orange, 9mm ond more at the Pacific
Coliseum...Frankie Lee at the Yale ...Sex With With Nixon of the Town
THU 31 Nooh's Great Rainbow at the Roilwoy Club...Reverend Horton
Heat and Hogfish at the Commodore...Soul Crib at the Malcolm lowry
Room. Joan Osborne with guests at the Town Pump.. .The Peter McDonald
Bond at Raffels...
T at Mars...Alternative Jazz at Cafe Deux Soleils...Rewind w/dj Noah
af Gracelond...dj Jules ot the Odyssey...Tbe Greasy Spoon w/Slick
& dj Spun-K at fhe Hungry Eye
The Abyss 315 E. Broadway (side entram*)
Alms Stmt Cafc 2505 Alma {at Broadway)
Aw* Club 3 W. 8tb (Mount Pleasant)
Arts HotlitK
Bassix 217 W Hastings (at Cambie)
Backstage Lounge t?85 Johnston (Granritle Island)
CaTe Deux Soltys 20% Commercial (the Drive)
Cafe Vieux Montreal 317 K Broadway (Mount Pleasant)
Caprice Theatre 9(**5 Granville (Cn-jivill* Mall)
Celebrities 1022 Davie (West End;
Clab NRG 3699Powell (Gastown)
CN Imax Theatre 999 Canada Place (downtown)
Commodore Ballroom 870 GranvlMe (Granville MaH)
Commodore Lane* 838 Granville (Granville MalD
Cordova Cafe 307 Cordova (Gastown)
Crosstown TrafTu*  .'If, VV Muslin-**-! (downtown) ;:
Denman Place Cinema 1030 Denman (West End)
District Coffee 1035 Mainland (Yaletown)
DV8 515 Davie SL
Firehall Arts Centre 80 E Cordova (at Main)
Food Not Bombs Vancouver
Frederic Wood Theatre (UBC)
Gastown Theatre 36 Powell Street (Gastown)
Gastown Musk Hall 6 Powell SL (Gastown)
Glass Slipper 2714 Prince Edward (Mount Pleasant)
Graceland 1250 Richards (downtown)
Greg's Place 45844 Yale Rd. (Chilliwack)
Hastings Community Centre 2096 E Hastings (East Van)
Hemp B.C. 324 W Hastings (downtown)
Hollywood Theatre 3123 W Broadway (Kitsilano)
Hot Jazz Society 2120 Main (ML Pleasant)
MON: Zoo Boogc
(jazz, funk, reggc
(ambient). ..80'sD<
> w/djs Spun-K and Czech at the Starfish Room
hip hop)...Blue Room w/dj Isis at Automotive
e Night w/djBrion St. Clair at Groceland
TUIS:   Passion  w/djs  Lace  &  Dickey   Doo  ot  Richard's   On
Richards Aqua w/djs Isis ond Markem at Benny's Bagels Yaletown
(ambient)...Disco Night of fhe Commodore-.KIassix Night w/dj David
Hawkes at Luv Yr Hair..,New Wave/Retro 80s Night w/dj Atomic at
the Twilight Zone...
WED: Velvet w/djs T-Bone, Dickey Doo ond special guests ot The Underground - rear entrance (deep house)...Reggae Night at Graceland
w/di George Barrett...Fur at the Starfish Room (disco, dance, acid
jazz)...Ginger Snaps w/dj Mike & Soma at Mars...Mo' Funk w/ djs/
Soul Kid & Seren at Richard's On Rkhards...Punk Rock Wednesday w/
dj Twigboy ot the Twilight Zone..'.Suck w/dj Czech at Luvafair...Open
Mike w/host Joy McLaughlin of fhe Molcolm Lowry Room...
THUR: Sol w/dj Markem and guests atGrocelond (progressive, trance,
tribal, hard house)...The Bottle w/djs Clarence and David Love Jones at
the Piccadilly (acid jazz)...Cot House w/dj Mick Sbeo ot Celebrities...
Jericho Arts Centre 1600 Discovery (PL Grey)
La Quena 1111 Commercial Drive (the Drive)
The Lotus Club     455 Abbott St (Gastown)
Luv-A-Falr 1275 Seymour (downtown)
Lux Theatre 57 E Hastings (Gastown)
Malcolm Lowry Room 4125 E Hastings (N. Burnaby)
Mars 1320 Richards (downtown)
Maximum Blues Pub 1176 Granville (downtown)
New York Theatre 639 Commercial Dr. (the Drive)
Niagara Hotel Pub 435 W. Pender (downtown)
Odyssey Imports   534 Seymour (downtown)
Old American Pub  928 Main (downtown)
Orpheum Theatre  Smithe & Seymour (downtown)
Pacific Cinematheque 1131 Howe (downtown)
Paradise 27 Church (New West)
Paradise Cinema 919 Granville (Granville Mall)
Park Theatre 3440 Cambie (South Vancouver)
Picadilly Pub 630 W Pender (downtown)
Pit Pub basement, Student Union Building (UBC)
Pitt Gallery 317 W Hastings (downtown)
Plaza Theatre 881 Granville (Granville Mall)
Punk Listings
Raffels Lounge 1221 Granville (downtown)
The Rage 750 Pacific Blvd. South
Railway Club 579 Dunsmuir (downtown)
Richard's On Richards 1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16thAvenue)
Russian Hall 600 Campbell (Chinatown)
Scratch Records 317A Cambie (downtown)
Shaggy Horse Cabaret 818 Richards (downtown)
Candy Shop 4198 Main (at 26th)
Speedy O'lubbs (Bellingham)
Starfish Room 1055 Homer (downtown)
Starlight Cinema 935 Denman (West End)
StatioH Street Arts Centre 930 Station (downtown)
3B Tavern 1226 State (Bellingham)
Town Pump 66 Water Street (Gastown)
Track Records       552 Seymour (downtown)
Tree House Lounge 602 Dunsmuir SL (downtown)
Twilight Zone 7 Alexander (Gastown)
UBC CINEMA (located in the SUB)
UBC Grad Centre Gate 4 (UBC)
The Underground 1082 Granville (downtown)
Vancouver East Cultural Centre 1895 VenaMes
Vancouver Centre Cinema 650 W. Georgia (downtown)
Vancouver Utile Theatre 3102 Main (ML Pleasant)
Vancouver Press Club 2215 G• •**)•■ iile iS. GranvHk)
Varsity Theatre 4375 W 10th Avenue (Point Gw)
Video In 1965 Main (South Van)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theatre 1405 Anderson (Granville Is.)
W.US.E, Hall 1882Adanae (the Drive)
Yale Blues Pub 1380 Granville (downtown)
Zulu Records     1869 W, 4thAvenue(KksHano)
DATEBOOK" AT 822 9364 BY AUGUST 26th!!
254 1195
689 3180
683 5637
683 2201
687 0032
689 0926
872 6719
822 2678
684 MASK v
6851333 S
877 0066
688 2648
795 3334
255 2606
738 3211
688 5351
685 7777
685 3288
685 0143
230 MARS
688 8701
254 3545
669 6644
682 3291
665 3050
731 3456
525 0371
876 2747
682 3221
822 6273
685 7050
685 5585
687 6794
738 6311
687 6355
(206) 7341539
682 4171
689 0096
683 6695
254 9S78
669 4442'
876-4165 -
222 2235
872 8337
257 6205
685 6217
254 5858
Pop rock from a band that'll tint
your windows. "If these guys aren't
trie next big thing, I'll eat my shorts!
- Grouer, friend of the band.
$2.99 7"
Respect the Unexpected
Sex with Nixon
It's Fun to Pretend
The Technicians 1 st full length CD on
Voudou Electric Records is a collective
superfusion of rap, reggae, rock, & hip
hop. A spiritual journey through the magic
mirror and back. Features "Revolution",
"Limbo", and "Get the Lead Out!"
Not to be interpreted in literal terms,
the name Sex With Nixon emerged
while these four lads contemplated the
social, cultural, and physical context
that was occuring during the time of
their respective conceptii
$11.99 CD
The soundman at the club that i
Montreal said we sounded "Good." He got
one for free. Debut release on
Chester's Funtime Record Collection,
Vancouver's hep new indie!
$9.99 CD
Founder of Twice Entertainment
ications, Cyrius is dedicated to the
devlopment of Canadian intellectual property.
The CD reflects the diverse cultu
make up Canda's social s
$11.99  CD
For more information on
selling your music at
Sam's, ask for loni at our
56-8 Seymour St. locaton.
All types of
music accepted.
Noise Therapy
The debut 4 song demo from Donkey
Engine. Strange and moody melodies
roll along in the calm before storm.
$2.99   cass
Boxcutter has Vancouver's heavy i
audience by the balls. No other band
has so successfully combined intense
vocals and raging rhythms in such
a big, bad, boomy blend.
$4.99 cass
This eight song creation contains
catchy pop tunes that leave you
wanting more. Sweet harmonies,
crunchy guitars, powerful rhythm
section. A pop lover's dream.
$11.99 CD
...feeling the onslaught of mental
maladjustment?....having a slight c
social disorder? Call for the specialist
in the new and stimulationg
field of Noise Therapy.
CD released August 1 st MM'S A ROYAL FLUSH Of NEW TIMS AT ZULU!
• Not A
Pretty CM
Three cheers tor the
release of Ani
Difranco   new
album, her... drumroll,
please... seventh in six years! Adamantly independent and fiercely proud, this New York Righteous
Babe will help you find your way to folk-punk
heaven. Smart, sassy, and sexy a
Difranco proves she is NOT a pretty girl.
CD 16.98   Cass 10.98
• Penthouse
Perched in their NYC loft space, Luna2 on their
third and latest full-length Penthouse display why
they're the king birds of Broadway.
captivating listen — a combo of chic spacey gui
tars, warm rhythms, and soft-spoken charm. On
Penthouse. Luna2 refine this inviting mix to fe
ture guests Tom Verlaine (Television) and
Laetitia Sadier (Stereolab). and ultimately wc
you into their penthouse deluxe.
CD 16.98   Cass 10.98
(Available early August)
Six Finger
The unrelenting
soundtrack to the rest
of your summer from
four guys who, to be
quite frank; are a little out there. Think Devo.
Gang of Four. Steel Pole Bath Tub, and your
weird cousin rolled into one six-fingered creature
you just can't pin down. Severe exposure to this
recording is highly recommended indeed!
CD 16.98
• This Vacant Universe
Dreamy. Moody. Pulsating. Layered. Melodic...
Just a few terms evoked upon listening to songs on
the latest CD from this Vancouver-based quartet. A
definite "texturdl" adventure from a band just
beginning to hit its stride and receive the attention
it deserves.
CD 9.98
Abandoning the acousiic dclicateness of last year'
Big Red Letter Day, Boston's Buffalo Tom
ti to square one — their twin Marshall stack
crunch, and thus leave you Sleepy Eyed no
longer! Songs such as ""Summer'" and "
Points" ring with a pristine austere presence,
while "Clobber" is the alarm clanging in. Wake
up Sleepy Eyed.
CD 14.98
It's kinda punk, but it's
kinda not.... It's like,
like, a fourteen-song
collection of Canadian
punk rock cover versions done by today's contemporaries, such as Bum. Fastbacks, The
Smugglers, Young Fresh Fellows, etc....
Raise a finger to the flag!
CD 12.98   Vinyl 9.98
How low can you go? Previously, Butterglory
presided over the crumbling lifestyles and social
disillusion ot indie-rock fans everywhere. Now
they're back with a compilaUon of singles and a
simple statement/question: Downed. However,
Butterglory s sombre message is a sweet pop
surprise. You'll laugh, you'll cry, but you'll enjoy
yourself the whole time. Remember being down
CD 16.98
Healers, insofar as the
humble Zulu opinion is
concerned, fall within the "shouldn't have" category.
Luckily, thanks to the wonders of the modem world
— ie, recording technologies — great bands can
keep on rocking, even from beyond the "gn
L is a rerelease of older material that captures
*e ragged Th'Faith Healers at a
young age, but still rich with their fashion
of hypnotic lock-groove rock. A fine epitaph.
CD 16.98
These prices effective until Thursday August 31,1995.
our on me sn&is!
® Closed EP
Since being picked up
early in the eastern-
Canadian harvesting
of new talent. Jale
have had to mature
within the demanding
public eye — and have. On the Closed EP, Jale
reach a new benchmark in their song-writing and
composition skills, reflecting an increased sophistication and competency that transcends the "faddish" fascination surrounding geography.
CD 10.98   Cassette 7.98
ians       The Modernettes
• tscape Get It Straight
Fresh from touring Snowman's Land, catch Zulu
Recording Artists knock--down-ginger live
on these dates and at these places!
Saturday July 29th
Town Pump
opening for The Subhumans
Friday August 11th
Malcolm Lowry Room
Saturday August 19th
Gastown Music Hall


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