Discorder CITR-FM (Radio station : Vancouver, B.C.) 1995-11-01

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TWERDOCLEB ° Chalk Fiery $io.9i CD
BEAUTY PEAR . Self-Titled  $io.96 cd
SQUIRTGUN o Stlj-Tllki $9,45 LP/cass $12.93 CD
KING KONG o  Me Hungry $9.87 LP $n,92 CD
TWO FOOT FLAME . SelfTitled $9.87 lp $14.92 cd
PAIN TEENS - Beast of Dreams $9.87 LP $14.92 CD
STEREOLAB  « Refried Electroplasm $14.92 2LP/CD
MOUNTAIN GOATS • Hine Black Powers $9,87 cdep
NEWBOMBTURKS • PissiriOulthPohon $l2.932LP$9.87»ss$l4.92CD
PIZZICAT05° The Sound ofMusk $II.M2LP$IM6ciss$l(J9CD
; of New Zealand and home grown
Matador magic!
Friday, November 17th
Saturday, November 18th
lm Lowry Room
NT  <
CDs   &  VINYL
i      ^^%
PH. (604) 689-7734 FX. (604) 689-7781
3    UfggM>m VaMCO$_f_;
_i_ikvAe*LWi6scr £ Pale Sawyer
Lerczg Vdcfi
The Rattled Roosters will, all things proceeding as they should,
be arriving in Los Angeles just as this magazine hits the streets. The
band played a farewell gig at the Hungry Eye with the Tonics on
October 28, and afterwards headed due south. Apparently it's a
"relocation" for an indefinite length of time-they will be using L.A.
as a base more than anything as they maintain a hectic road tour.
Look for a new Rattled Roosters CD on BangOn/Cargo in about a
month or so...Speedbuggy have been busily recording and establishing their record label, Chesters Funtime Record Collection.
They band is currently recording material for another CD and for a
split 7-inch with Space Kid, a band who have just relocated to
Vancouver from Toronto after being featured in Impact
magazine...Space Kid share drummer Tony Koelwyn with recent
Shindiggers Kaneva, a Vancouver band whose sound lies somewhere between Stereolab and cub. Kaneva plan to release their
first 7-inch on Chesters sometime soon...In the not-too-distant-future, you might start hearing about a local band called Limblifter.
With just one gig under their belt, this quote quirky pop unquote
band has been signed by Mercury/Polydor. Word has it that
Limblifter contains members of another local major label band with
an entirely different sound...Imperial Tobacco Co. execs were none
too amused when San Francisco's Pansy Division decided to
customize an Export A Plugged sign before their recent show at
the Starfish Room with Cub and Meow. When the company
9wMA: A.C.S-nFPyMASTe*MlrtDS
learned that the band had altered the sign to read 'Export Anus ments sent by Americans to various pop-music mailing lists on the
Butt Plugged' they fined the funboythree $50 and threatened to Internet, this could be a big break into the US for Steven Drake
kick them off the tour they were about to embark on with Cub and and co. Gob have almost finished their first tour of Canada and
Pluto. A further gesture of Canadian geniality awaited the band parts of the northern United States...Rose Chronicles ore in the
in Thunder Bay, ON, where the management of a bar called Crock studio recording their second full-lengther for
n Rolls refused to let the openly queer combo take the stage, cub Nettwerk...Wandering Lucy will soon be back Olympia, record-
and Pluto promptly cancelled the show in protest...BREAKUPS! ing material for a full-length release at Dub Narcotic Studios...Fast
BREAKUPSI BREAKUPS! While not exactly local, Winnipeg outfit becoming the scapegoat of our generation, CiTR-type Nardwuar
Banned From Atlantis has called it quits, as have Torontonians was forcibly - and inexplicably - removed from yet another gig,
Suckerpunch. While we ore at it, this writer was incredibly sad- this one being the Def Leppard show at the Commodore Ballroom
dened to learn that Chicago band the Coctails have just played on October 22. Now how will he ever complete his all-metal
their last shows...You may have already heard that Sloan-ahem special?...Y'all recall that Pluto have been signed to Virgin
- broke up in July. Obviously they define this sort of activity differ- Records? Apparently, the House that Branson built is not quite so
ently than the rest of us. Since then they have released a 7-inch on fond of other labels releasing Virgin stuff, and has prevented a
Murderecords and have performed twice, once with Juliana Hatfield vinyl release of Cool Way to Feel on Munster Records, a Spanish
in Windsor, ON, and just this past month at a surprise perform- label...Speaking of Spain, los Smugglers are storming the Ibe-
ance at the Halifax Pop Explosion.. Japan's Teengenerate are rian Peninsula this month like Franco never could, with a two week
breaking up too, and what better way to celebrate than play the tour...Keep an eye out for a slew of new local releases from the
Hungry Eye?!?! Yep, with Bum ,early in November...A big blah likes of The Velveteens (LP), Hazel Motes 20th (LP entitled Century
blah blah to Bill Baker of Mint Records. By the time you read Monologue), the Papillomas (LP entitled Corolla), ten days late (
this, he will have pledged his troth to Rose Melberg of the Port- 7"), DDT (LP on Shake the Record Label), The Sweaters (LP entitled
land, Oregon band the Softies knock-down-ginger are re- Let Me Out on Nefer records), Sally Cant Dance (LP), DOA and
cording a new EP, a follow up to Snowman's Land on Zulu the Showbiz Giants (both on Virgin Records), and Ford Pier (LP).
Records.. .The Rheostatics were scheduled to play the Railway
Club for a three-night stand last month, but cancelled at the last >^>. sp - ■*** /
minute. Seems they were offered the chance, obviously too good ' U^Hif?    fCj&VC^WS^
to refuse, to perform at a National Art Gallery exhibition commemorating the Group of Seven...the Odds' CD Good Weird
Feeling is soon to be released in the United States. Based on com- Welcome to Vancouver Special for the rainy month of November.
mmmm I hope you all had a good Hallowe'en.
f'W-^&^T\    lf yoore •00,cin9 for a 3<iay Bender, try some JP5, Lotusland's
' newest supergroup. This rock'n'roll unit includes the likes of ex-
p Death Sentencer Syd Savage on guitar and former bassist for Slow/
^Ogre (a Hallowe'en bond if there ever was one)/Tonkhog Stephen
■^gjjJHamm on the thick strings. Transplanted Winnipegian Gerri-Jenn
?PiSS BV AT TWAT V6«?y MoMeis/T?
tHePQ^ijs Foi tet> As D<?nald>
4     NOVEMBER 1995 Wilson (of the Cane Toads, Spank Machine, Black Eye Buddha,
and the Muscle Bitches) fronts this extravaganza with a piercing
voice that has your tympanic membrane's name on it, and rounding out the quartet is drummer Kevin Keating. Their six song tape
rocks hard, but they can go even harder live, as evidenced by the
searing show at DTS on 10/08. Gerri was a guitar-slinging
"Angelslug" in Western gear, leaving a trail of lust and longing in
the minds of everyone in the room who actually had one. Maybe
this will be the gang that blasts onto the big scene and reclaims the
international punk trophy and places it back in Vancouver where it
From the other side of the tracks come Space Kid and Gil, pop
bands roaming territory recently charted by the likes of Weezer,
Pluto, and every band from Ontario. Space Kid glean inspiration
from '70's TV show reruns, producing hits like "Stevie" (as in Austin, the overpriced man) and "A Million Potsies" ("Don't need drugs/
It's a natural high"). But who actually reigns supreme over this
stellar cast of has-been celebs? The hookatron "Molly Ringwald"
explains all - those of you who saw Pretty in Pink (don't be shy
now) will know that we're talking about a once-ubiquitous '80s
actor, and not about an irritating skin disease as the name seems
to imply. "Molly Ringwald said/I wish John Hughes was dead/
Her hair is red": these lines prove that when Space Kid analyze
any sociocultural phenomenon, they go deep. Along similar lines,
Gil throw a little bit of Bum flavouring into their sleek pop-rock
soup. The big hit on the four-song Me Malletl is "Little Sista", whose
falsetto chorus convinced me that incest is not so bad after all.
Radio-friendly stuff, now in the hands of the most unfriendly radio
station in town.
I guess I'll lump Gleam and MK Naomi together in another
coup of pigeon-holing. Gleam come across as kind of like
Swervedriver on their 5-song strong Sparkolator EP. The best of the
bunch are the first two, "Take a Ride" and "Rise", the latter having
a God-like riff that hints at what could have happened if someone
like Handel played bass. It's a locally-produced Manchester travelogue, so those of you who could actually read through the entirety of articles on Blur vs. Oasis that we've been assaulted with
recently in the local papers should "Rise" up and take notice of
Gleam. Or MK Naomi for that matter, who also wish they were
Mancunian. The dreamy, echoey guitars are celestial and recall
that lamented '80s band The Chameleons, a group whose string-
driven atmospherics should have taken them much further than
they went. MK Naomi carry that torch once again, and a fine,
smooth-sounding torch it is.
Violet carries on in much the same way as Tiger Beat, of which
Violet was half. She also sings and writes songs for the Touch &
Gos, but as Violet she's much smokier and subdued. She knows
how to sing, and her accompaniment on guitar fleshes out the
body of the music. "I Don't Mind" will stick in yours mercilessly, but
it's in "(I Step on All the) Cracks" that you get to hear Violet sing "I
hate you/La la la la la la la la la la la" so sweetly it makes Melanie
("Brand New Ke/', 1971) sound like Jarboe (Swans). I kinda wonder if an 'n' has been removed from Violet for consumer palatablity.
I gotta mention Annie Goodwyne. At first her Pastel cassette
sounded too middle-of-the-road for my discerning taste, but she
eventually won me over with tales of jilted love and recipes for self-
pity. The music, produced by James Bowers, has a similar aesthetic to Tracey Thorn and post-Patsy-possessed k.d. long. Tom
Keenlyside, local session hack, wraps his soprano sax around
Annie's clearly^enunciated vocals. The lyrics are great, and they
do shitloads to pull you out of a love-soaked blue period. Example:
"Thought you'd be my salvation/But it became an exercise in frustration/I got no ammo for retaliation/I think this theme could use
some variation". Poor Annie! Find her in the personals under
"Women to Anyone".
You. like short songs? Short songs stuffed with more ideas than
most bands can muster in works three times as long? Then you
want Sturvis, a band about which I know nothing except their
drummer is Aran Bingham, also in the Empties and part of a team
called Happily Manitoba (more 'Peggers!) with Manifold's Daniel
Jones. The technical footnote here is that Aran never performs without his trademark pullover mask that features antler-like accretions
made of the same substance that stuffed animals have as their
meat. The singer sounds like he's just as weird, clever disguise or
not, and I present tunes like "Lucy" and "Society, Man" as evidence of the overall quirkiness. There's a total of six songs, none
of them duds, but they go by so fast that ICBC considers listening
to this tape while driving a legitimate claim for whiplash. Vancouver should be seething with bands like this, if only 'cause we're so
great, but, alas, it's not.
Let's ice this cake with some Bloody Worm, a new local
grind outfit that kick down with some great theatre if nothing else.
Live, the Lebanese-born singer starts off in sheik's robes, only to
quickly doff these so as to better demonstrated his heavy-metal
Chicken Dance (I hope he's patented this, or whatever you do
when you come up with a new dance). Blistering metal streams
from the rest of the band, and there's nothing like seeing the guitarist's right hand become plasma when some BNPM (Billion Notes
Per Minute - apologies to Gord Badanic) playing is called for. The
singer uses this headbanger palette to apply whatever vocal strokes
are called for, from a Napalm Death-like roar to a sort of hard
rock crooning not unlike Rob Halford of the Priest. Co Fuck Yourself's four songs make pit stops at all the metal cliche pullouts, and
paves a new superhighway in doing so. Check 'em out next time
they play live and you'll get a helluva show. *"** w
Saturday, November 4: SNFU & Sublime at the
Town Pump (2pm)
Saturday, Novemeber 11: d.b.s. at the New York
Saturday,  November   18: The  Smugglers,
Superfriendz, ZumapanoAiigueeky & The Tonebursts at
St. James Community Square   OOP_>' -Sofr__.
Cme *wl $*t 'mW.
Tkanks to those swell folks at Cargo Records,
ViSCOUVZtt has a skitload FREE WOTY to jive away
this vnontk And guess what - you do^'t even have
to answer a dopey c^uestio* or scour tke w.ag for
anyone's severed weenie, lust cowce up to roou 233
of tke Student's \iW\ov*. Bw'ldin-*? at UBC (6138 SUB
Blvd) a^d ash real nice, and you ca* have your pick
of tke litter.-
Uule 62 - Love andPecline (w copies)
Feild Vay - Friction do copies)
Hard Fast & loud - Fix do copies)
Ckina Wkite - Addiction do copies)
Chuch- Hfclaville (5 copies)
eowshead chronicles
the contorts of my wallet cause we great concern sometimes, pieces of paper with phone numbers on them,
names I don't remember - usually no last name, greg
669-xx89. who the hell is that guy? dates and places
printed on the back of paper ripped off cigarette packages. lZxx main st. tues. % p.m??? nwar been there -
not going now or tuesday. it's a distorted road-map of
my life, my activities of the last week and all those i
may have missed, i have a filofax and use ft when i
think of it but often the information on the slips of paper wnv makes it to the right page, i'm lazy in that
sense - i rdy on my brain just a little too much, i have
been known to have a month's worth of checks from
various jobs in my wallet as i wander about wondering
why my bank account is dipping so low. the bank's just
around the comer but ifs not on my way anywhere,
and i never just pass by and drop in some money, in my
wallet there are three video rental cards - blockbuster
(which I don't use just because they're bastards), 24
hour video (which went the way of the dodo), and red
hot video, which i can't remember using for at least..oh
yeah...nevermind. a bill for M43.25 from commercial
electronics for fixing my t.v. a visa bill from topanga
cafe for *131.00...must have been a good burrHu. my social insurance card 717 S60183. when was the last time
i actually needed that card? bcaa card - those bastards use a slim jim for everything, carecard - haven't
paid for several months, maybe a year, my actra card
- n&/er really understood what it does for me. i get a lot
of mail from toronto, though, speeding ticket, almost
mowed over the cop as he ran out into the street to tell
me to pull over on king edward avenue, he came out of
the trees like an acid freak at a grateful dead show
after the drugs had worn off, and waved at my car as
if he needed a ride to the n2a.ntt 7-11. i wouldn't do
that for just over 30 grand a year, and my birth certificate, may 6,1964. i'm an old guy and i'll admit it. practically an antique in dog years,
s s^g°mm fancouver International Writers ft) Festival
There are any number of ways thai you can write aboul a writers'
festival. The least pretentious, and least satisfying, is simply to
give a list of events that you were able to sleaze your way into
wilh your press pass, rhyme off the writers that you heard read, and
soy whether or not, and how much, you enjoyed each one. This approach works very well if you're reviewing something like Music West,
because ihe musicians are in their element, and you're judging ihem
on the basis of what they're supposed lo be doing. This is not ihe case
with a writers' festival. Yeah, yeah, readings do have a performance
aspect to them, and there are individual writers who do justice to iheir
work in ihe reading, but it's obvious - often painfully so - lhat most
writers are not performers. Any writer will tell you that writing and
public reading are essentially different activities, and that, particularly for fiction writers, the real substance of the work is on the page.
A discussion of public readings thus threatens to dissolve into descriptions of what so-and-so looks like, or what such-and-such was wearing. In short, something about as relevant as a 'society column' in the
Voncouver Sun. So an imaginative, well-organised journalist would recognise ihe shortcomings of this approach. Such a journalist would have
known which writers she wanted to hear long in advance, would have
read their work, would have gol interviews with the most interesting
writers, and thereby used the festival as a resource for a series of articles lasting the next 10 issues or so. Clearly I am neither imaginative,
nor well-organised. The only option left to the unimaginative and disorganised columnist, ihen, is pretentious pseudo-anthropological rant.
This is the attitude I brought wilh me when I covered the Vancouver
International Writers (and Readers) Festival. And, in this regard, a
few pebbles did get lodged in the bottom of my tiny brain. I dismissed
the want of apostrophes around either 'Writers' or 'Readers' in the
Festival logo, deciding that it says more about my gramm-anol ticks
(left me by a despotic English teacher) than the festival itself. I'm sure
many of the world's best organisational minds find the possessive
case baffling; why should the people at the Writers Festival be any
different? Olher nuggets abraded me for the duration, ihough, like
unrealised metaphors for something.
All festivals have a tribal quality - inevitable when you assemble a
mob of people who have the same fixations. The Writers Fest tribe is
distinct from those of the Fringe or Lollapalooza, ihough. Absent are
the obvious symptoms: the piercings, tattooings, and brandings of
alternative culture. It is a curiously bu(toned-down tribalism, ihe type
lhat sees boring people pay a year's salary for healing journey weekends to Haida Gwoi. The breathtaking number of middle-aged ladies
(I imagine ihem all to be from the outlying suburbs for some reason),
sitting wilh such placid attentiveness, made each reading more like a
High Anglican Mass than a tribal gathering.
Worshipful audience members aside, the readings I took in generally lacked that irritating confessional quality thai I secretly hoped to
be subjected to. Only the appropriately named Jim Grimsley, whose
North Carolina accent gave his reading the air of a fundamentalist
sermon, exuded lhat straight-faced emotional intensity that makes cynics
squirm. This was difficult to ovoid, given the subject matter of his
novel Dream Boy, 'a tale of gay adolescent love.' Equally earnest and
angst-ridden was Newfoundland's Bemice Morgan, reading excerpts
from her novels Random Passage and Waiting for Time. This stuff,
especially the material in the second book which is sel during the cod-
fishing moratorium, irritated me beyond belief, but for personal reasons. Coming from Newfoundland myself, I have little patience for the
introspective 'God aren't we miserable/don't you feel sorry for us'
approach to fiction, regardless of how lyrically it's written. Ken
McGoogan's novel Calypso Warrior, on the other hand, was less
irritating than oulrighl painful, both for its 'content' (the Albertan treated
us, wilh appropriate theatricality, to a fight scene between two anglos
and a gang of francophones in a Montreal boozecan) ond its 'style'
(as my escort for the event noted, "Il reads like an instruction manual").
After the reading lhat featured McGoogan, along with five other writers, I eavesdropped on a spirited discussion between a couple of my-
oged people about who was more tedious to listen to, McGoogan or
Philip Margolin. Personally my vote stays wilh McGoogan. My lack of
interest in Margolin (the best selling author of After Dark, ond a criminal lawyer in Porllond) had more to do wilh my loalhing for 'crime
novels,' though I wasn't exactly enraptured by the lawyering seminar
he delivered before reading. This sort of genre-specific boredom also
characterised my response to Rosemary Sullivan's biographical work
Shadowmoker: The Life of Gwendolyn MacEwen. But of ihe five authors I mention here, the only one I'd actively discourage anyone from
picking up is McGoogan; the olher four just put me off because they
seemed to take themselves loo seriously. The rest of ihe readers I heard
operated, or at least tried to operate, according to Louis de Bernieres'
credo, 'keep it funny; it sells more books.'
Selling more books was the recurring motif of the readings I attended. On opening night, de Bernieres read a hilarious short story
called 'Labels,' which has been published in Britain as a chap-book.
I asked the Englishman if it was available in Canada and, grinning
broadly, he responded, "No. I had this published in a limited edition
wilh the intention of making a great deal of money wilh it." At first I
wanted to attribute this frank acquisitiveness to Margaret Thatcher,
and too many years of Tory rule in Britain. But as the festival unfolded
I heard several readers remind the audience, a little sheepishly, lhat
copies of their latest books were on sale at the on-site bookstore. For
iheir part, shrewd festival organisers always assured audience members lhat copies of a given reader's book could be purchased and
signed at the venue. Bul the most impressive gestures were made by
Canadian writers. Al one late afternoon reading I was charmed out
of my baleful lethargy by the story-telling verve of Ontario's Jean Little,
writer of chil-
Christ sake. But my smile
turned wry at the end of 'Jenny
and the Hanukkah Queen,' when, clapping her hands delightedly. Little added, as if
in denouement, "I ihink I'm going to make a fortune
with this story." There's more than a bit of irony in Little's
avarice; ihe idea of any writer making a fortune in Canada,
where 1 % of ihe population voluntarily buys and reads the work of its
writers per year, is pretty much the stuff of a children's story. The most
crass gesture I witnessed took place as I lurked outside Performance
Works before The World on Stage—which sported by far ihe most
impressive and varied assortment of writers I've ever seen in one venue.
I was pretending to read over my notes from the previous show, trying
to look appropriately journalistic, when a certain Alberta-based writer
emerged from within and stood a few feet away from me. I thought
about talking to him for a second, but ihen dismissed the idea because
I couldn't think of anything good to say about his work. I returned to my
notes, looking up in time to see him accosting people as they walked
towards the box office, trying to scalp his comps. Remembering lhat
Discorder is a tabloid, I took out my pen and started to scribble.
Unfortunately, contrary to the demands of tabloid journalism, I
was more impressed than pissed off by the writers I saw. For all his
cheerful insistence that he was in it for ihe bucks and not the suffering,
Louis de Bernieres was one of the festival highlights for me. I heard
him read on two evenings and was initially struck by his stage presence - he seems to enjoy reading more than any writer I've seen in
years, and when he wasn't smiling in anticipation of one of the funny
bits, he'd be hushing the laughter or demanding that a chortling audience member be removed: "She's obviously had too much to drink."
After enjoying the humour of 'Labels,' I was able to sample his more
serious prose, an excerpt from Captain Corelli's Mandolin. Having
heard both sides of his fiction, I was overwhelmed by the subversive
power of his words, by iheir ability to be os disarmingly engaging as
ihey are poetically moving.
The ability to appear unpretentious, to provide a framework of wit
for iheir writing, even if it wasn't necessarily funny (even if it wos a
tactic to sell more books), marked most of ihe writers I saw from abroad.
The Australian Peter Carey, reading from The Unusual Life of Tristan
Smith, was the only reader who made me wish he would read more,
a feat accomplished as much by his making fun of the ten minute rule
as by the beauty of his writing. Like Corey, most of the other non-
Canadians I heard either chose to read humorous bits of their work,
or proved extremely entertaining in prefacing it. Tlie former can be
said of Gerhard Kopf (I'll let you guess where he's from), who read
from Papa's Suitcase, an odd novel about a bookseller who believes
- among other things - lhat the bookseller's responsibility is to protect
the book from the undeserving buyer. The skills of the raconteur were
especially evident in Britain's Joanna Trollope, reading from The Best
of Friends, but her writing didn't live up to her great wit in framing her
work and in interacting with the audience. Interestingly, Trollope shared
the stage wilh Toronto's Barbara Gowdy, whose writing was as assured and evocative as her stage presence was tentative.
I heard three writers wilh the label 'USA' attached to their names,
and all three were striking in their own way. Dany Laferriere, who
seemingly also lives in Quebec ond Haiti, was the only black writer to
attend the festival this year, the only writer I saw who read in French,
and, consequently, the only one who made me feel inadequate.
Laferriere's decision to read in French mystified many in the room, not
least ihe two-thirds or so of the audience who couldn't understand a
word he was saying. But even those who could follow his introduction, and the poems that followed, thought il strange lhat Laferriere
would not read in English - so much for lhat myth of bi-lingualism. The
most outrageously entertaining writer at the festival this year was also
a yank. Cynthia Heimel is a Brooklyner living in LA ond she embodies
all of the stereotypes of loud promiscuity lhat we hold about Americans. Heimel will never win the Pulitzer, but she's an awful lot of fun,
as a few of her book titles would suggest: If You Leave Me Can I
Come Too?, Get Your Tongue out of My Mouth, I'm Kissing You Good-
Bye, and If You Can't Live Without Me, Why Aren't You Dead Yet?
'Nuff said. I hod a chance to listen to Richard Ford, author of Independence Day, in conversation wilh Alison Gordon, but unfortunately,
contrary to what I expected. Ford did not read at this event. Consequently all I can say is lhat Ford is said to be a great writer, ond he
seems like a swell guy too, ihough I'm glad I didn't have to pay the ten
bucks to find that out. I do regret not having heard Karen Connelly,
Alberta's wunderkind, in action. Connelly, the impetuous over-achiever
who won the 1993 Governor General's award when she was twenty-
four, didn't show up at the reading she was slotted to participate in on
19 October. Apparently she's not a slacker, ihough: her plane didn't
actually land in Vancouver until ihe 20th.
Though I missed Karen Connelly, it's clear she's not the only talented writer in ihis country, and three Canadian writers made me
want to go out and ask the publisher to send me review copies—I
can't afford to buy them, can I? This sentiment is long overdue in the
i case of Audrey Thomas; she has written thirteen novels and the only
[ thing I've read is her name. I heard her read from her latest novel,
Coming Down From Wa, on two evenings, and both readings highlighted Thomas' keen eye for detail and steady hand wilh comic
pacing. The book places a young Canadian man in contemporary
Ghana, on a quest for his personal origins. It's an interesting premise,
and Thomas' descriptive scenes are vividly drawn. But I couldn't
help but find it a little predictable lhat a book about a Canadian in
Africa feels compelled to mention crowded buses, yams, and hockey.
I was most taken by two of the younger Canadian writers at the
festival, neither of whom is 'young' at all. Wayson Choy's The Jade
Peony, the story of a boy growing up in Vancouver/Chinatown during the Second World War, intrigued me not only because it's so
close to home, but because of Choy's success in capturing the humour in the family's individual voices. The writer who most aroused
my interest, though, was Barbara Gowdy. Gowdy's Mr. Sandman is
a novel that renders a family 'from the perspective of everybody.'
This rendering, at least the first ten pages or so, is by turns familiar
and eccentric, lyrical and taut with wit and humour - the father, for
instance, lives by the axiom 'Truth is a version,' as does the mother,
ihough she always misreads it as 'Truth is aversion.'
Two impressions remain wilh me as I look back on my anthropological expedition into the Vancouver International Writers (and Readers) Festival. The first is lhat, true to the aesthetic of its Granville
Island venue, the festival is driven by market principles as much as
artistic ones. The second is that, though we might not wish to see
ihem reduced to a commodity, the goods at the centre of it all, the
words, are largely worth buying. They are certainly worth reading.
by Jim Quilty
6     NOVEMBER 1995 ^^ \ starts like this: I run, screaming, through the streets of this
C M   town. This, the third largest movie-making city on the North
g American continent (not relevant now, but somehow, weirdly,
connective to the premise of this article), bemoaning my quasi-permanent unemployed status - largely a result of my grotesaue
overqualification for the shitwork, menial, mindless dough-toy tasks I
seek to provide me wilh a small amount of sustenance & distraction -
and storing down the only prospect of its termination: namely, an
application form for employment at a large, multi-store caffeine institution whose palaces of stimulant dot this city like so pimples on the ass
of the world. The application form requires me to come up with wordy,
witty, brilliant descriptions of my favourite coffee-drinking experiences
ana why I would just love to work for ihem. Give me a break, for
seven bucks an hour all you need to know is lhat I have a pulse.
Clearly, some sort of respite from all this pressure was needed, a
haven, a refuge...a Film Festival!
The Fourteenth Annual Vancouver International Film Festival to be
precise, two weeks of high drama, bawdy comedy, pretentious Euro-
twaddle, and what quickly became four of the most innocuously annoying trailers ever committed to celluloid. (Oh sure, they were funny
the first time round, bul by the second week of the festival I was waking up in the middle of night, my sheets soaked wilh perspiration and
my brain seared by visions of corpulent ex-Communists coated in molasses, babbling on about bottoms ond chocolates and the inherent
threat to democracy posed by the prospect of Tom Hanks winning yet
another Oscar...) Regrettably, I was only able to see a handful of films
during the first week of the festival, bul I endeavoured to compensate
for my negligence by seeing as many movies as my tush could handle
for the remainder of the festival. I would have liked to review all of
them, but the editor of this rag only gave me this one (not even) measly page to work with. So, for what it's worth, here goes...
Ballot Measure 9
(USA, Dir: Heather MacDonald)
Given my admitted to desire to escape reality at this year's film festival, it seems somewhat ironic that the film's which made the greatest
impression on me were the documentaries. The best of the bunch lhat
I saw was Heather MacDonald's Ballot Measure 9, an intelligent,
inspiring and frequently disheartening look at the two sides involved
in Oregon's 1992 "culture war", a battle instigated by the Oregon
Citizen's Alliance wilh iheir ballot initiative to deny gays and lesbians
protection from discrimination and to have the 'gay lifestyle' recognized by law as "abnormal, wrong, unnatural andperverse." Eschewing overdubs or any sort of imposed narrative structure, MacDonald
lets the two sides tell their own stories, and the result is a portrait of
intelligent, articulate and courageous opponents of the initiative on
one side, and of bigoted, irrational, and frequently absurd supporters
on ihe other. (The sight of fervent right-wing Christians in bad leisure
suits spouting paranoid fantasies about queers getting iheir jollies by
chucking shit at each olher would be downright hilarious if it weren't
for the very real violence these denizens of ignorance inspire, if not
actively encourage.) There are always more than two sides to any
one issue, however, and it is MacDonald's recognition of the complexity of her subject, as evidenced by her concentration on individual experiences and personal accounts, lhat gives the film its resonance. It is to the director's credit lhat she is always able to keep the
people at the centre of her film, as opposed to the highly contentious
Who's Counting? Marilyn Waring on Sex, Ues and Global
(Canada, dir: Terre Nash)
A close second on my Best Of list, ex-Vancouverite Terre Nash's latest
effort is less a documentary per se than a vehicle for bringing former
Kiwi MP and self-taught global economist Marilyn Waring's message
to a larger audience. Some may berate Nash for the film's lack of
critical context, but if one accepts the validity of activist cinema - a
genre to which ihis film undeniably belongs - than one can't but praise
the director for this intelligent and incredibly inspiring work. Waring's
theory of economics can be loosely defined as radical pragmatism,
based as it is on the reality of everyday life - something her (mostly)
male counterparts have little conception of. In an ideal world this film
would be required viewing in any university economics class (well, in
a really ideal world this film would be unnecessary); as it is, you
might be lucky to see it on the Knowledge Network someday.
(Japan, dir: Oki Hiroyuki)
The beauty of having a pass, especially a free press pass, is
that you are under absolutely no obligation to slick around
at a shitty movie. Unless of course you're sitting
in the middle of the row with five or six
^^. people on either side of you and, be-
^^^^W  ing the polite North Van boy lhat you
W^S*      are, you lack the gumption to a make
W   w     all those people sit up in their seats to let
"^      you pass. Never again will I attend a movie
w^^^^      lhat was "commissioned...to mark the open-
y^^^^'     ing of the new Museum of Art." Mind-numbing
Gl^        crap.
f^J      Suite 16
(Belgium, dir: Dominique Deruddere)
A sordid tale about a grumpy young hustler who's bad temper forces him to toke refuge in a residential suite occupied by a
kinky invalid. Chock full of gratuitous sex, coke snorting, viol s,
and really bad manners. Suite 16 definitely has NO REDEEMING
SOCIAL VALUE, which is always a plus in my books. Unfortunately, it
also has NO REDEEMING ARTISTIC VALUE, and unless watching a
movie about a guy in a wheelchair watching a guy wilh really bad
manners poke every hooker on the Cote d'Azur is your idea of fun,
avoid it at all costs.
Parallel Sons
(USA, dir: John G. Young)
Made for a scant, $80,000 this assured debut from American director John D. Young just goes to show what you can do with a halfway
decent script and a couple of talented actors. Bored and restless in
upstate New York, twenty year old Seth (Gabriel Mick) is obsessed
wilh black culture and the idea of escaping to the big city. Into his life
comes Knowledge (Laurence Mason), an escaped con and the first
real live black person Seth has ever seen. A dubious storyline to be
sure, but Young handles his own script well, and both of his lead
actors are excellent. There are some huge holes in the plot, and Young's
characterizations do have their limits, but the film's emotional complexity is a rare commodity.
(Japan, dir: Ishi Takashi)
The only one of ihe three Japanese yakuza gangster playing at ihe
festival lhat I managed to see, Gonin didn't exactly endear me to ihe
genre. Ultra-stylish and ultra-violent, the film is often confusing and
ultimately unsatisfying, lacking as it does any emotional grounding.
Sure, I knew who the goods guys were, but Takashi never gave me
any reason to care.
The Addiction
(USA, dir: Abel Ferraro)
The criminally under-appreciated Lili Taylor gives a sublime turn as an
angst-ridden NYU student who gets bitten by a vampire, leaving her
wim an insatiable thirst for blood and existential philosophy. Dark
and moody, Abel Ferrara's meditation on the nature of addiction and
the meaning of life may be a bit too slow-paced and pretentious for
some, but fans of Sarlre, Dostoyevsky, and film noir won't be disappointed.
Sadistic City
(Japan, dir: Hiroki Ryuichi)
According to the festival guide, Sadistic City is supposed to be a
"very grown-up movie about sex, sexual fantasy, non-conformity and
self-delusion." Last Tango in Paris was also supposed to be a "very
grown-up movie about sex, sexual fantasy, non-conformity and self-
delusion", and I found thai film just as tedious as this one. I suppose
it's because I'm not very grown-up yet, but I just don't find the mid-life
crises of unattractive, middle-aged men (who are invariably bastards)
to be all thai interesting.
Art for Teachers of Children
(USA, dir: Jennifer Montgomery)
Reminiscent of bad 70s porn sons, for the most part, the sex, this
quasi-documentary proves that just because the FBI once came banging at your door demanding to know about the affair you had wilh an
alleged child pornographer when you were 14, you aren't necessarily qualified to make a movie about it. Director Jennifer Montgomery
demonstrates not a whiff of aptitude for film-making and seems to be
completely unaware of even the most basic narrative conventions. To
top it off, she doesn't even have an opinion to express.
(USA, dir: Quentin Lee)
I'll give Quentin Lee credit for being a savvy player. Realizing the
unliklihood of getting any one of his four mediocre student shorts onto
ihe festival circuit, he stuck them all together and slapped on a harassed, pseudo-biographical framework to hold it all together. Presto!
Instant feature. Well, you can dress ihem up all you want, but mediocre student films still play like mediocre student films, which means
lhat the kindest praise you can bestow upon ihem is to say that the
director has potential. Quentin Lee has potential. He paid attention in
his film history class and can ape almost any genre. And his mom
even likes him enough to show up at the end of his movie to say a few
kind words. And that's lhat.
Sister My Sister
(Great Britain, dir: Nancy Meckler)
Deliciousry wicked and at times intensely claustrophobic, this finery
crafted tale of incest ond murder features excellent performances from
all of its leads, and particularly Julie Walters as the overbearing Madame Danzard. Opening wilh a shot of the homicidal aftermath, the
film spends the next 80 minutes convincing the audience lhat the murderers were completely justified in commiling their crimes. Fun for the
whole family.
Total Eclipse
(USA, dir: Agnieszka Holland)
As much as I wanted to like this movie, being an admirer of both male
waif du jour Leonardo DiCaprio and French Symbolist enfant terrible
Arthur Rimbaud (for very different reasons, as you might well imagine), I knew deep in my heart lhat I would hate it. And I did - sort of.
Holland's film has many problems, not least of which is ihe fact that
precocious Hollywood brats, even those as talented as Leonardo, do
not have the capacity to convey poetic genius. Especially French poetic genius, given lhat the only shared trait of the American and the
French temperaments is a predilection for flirting with global destruction. Strutting about Paris in designer rags, puffing awkwardly on his
ever-present pipe, DiCaprio comes off as a wise ass young punk with
the confidence lhat comes from an awareness of his status as an ob
ject of desire. He never seems particularly poetic, ihough, nor particularly French - especially since ne has ihe only American accent in the
whole movie.
The film's biggest problem, however, is Christopher Hampton's
melodramatic script, combined wilh Holland's uninspired and overly
sentimental direction. One would be hard-pressed to find any evidence lhat either Hampton or Holland has ever actually read the work
of their subjects, wilh ihe exception of an occasional line of poetry
tossed in os dialogue, for Christ's sake. This failure to acknowledge,
let alone understand, ihe poets' artistic philosophies, particularly
Rimbaud's, undermines ihe entire film, as it denies ihe two men any
real motivation for their otherwise inexplicably cruel and callous behaviour. Holland and Hampton also fail to develop the poets' relationship at all, ond, wilh ihe exception of the scene of their first kiss, the
two men never seem to the least bit in love.
For all its faults (I could go on at even greater length), Total Eclipse
does feature fine, if flawed, performances form its two leads (Naked-
David Thewlis is especially good as the pathetically weak-willed
Verlaine). The less you know about the subject matter, however, the
more likely you will enjoy the film.
Oscar's New York Book Outlet
3036 West Broadway
fjp^) / days si vrnk
?       E^o^ogl. see hayden live
• OCt. 28 / gastown music hall (Vancouver)
- oct. 30 / Java (victoria)
- oct. 31 / ubc (conversation lounge)
I'm New
also available by mail for $12 @ sonic unyon records
p.o. box 57347 jackson station hamilton, on., I8p 4x2
questions' phone 905/632-1905 or fax 905/632-8879
i   e /thing! I< tg fi
sonic unyon
from Toronto
Nov 12th
doors 8:00 p.m
Tix: g7-adv
track and zulu
$9 • door This could have been an interview with a Next Big Thing from a
major iabei facing down accusations of a sellout
amidst questions about her music.
Instead it mas an interview with
Jennifer Trunin, her bassist Mike County and
drummer Chris Foley, all three of wtiorn
were probably among the most intelligent,
interesting and affable people you could
hope to meet. They play! They sing! They
talk about 111
DiSCORDER: What brings you back to
Vancouver so soon? You just played the
Starfish Room about three or so months
Jennifer: Thai was one of the last dates of our
original tour when we were headlining, and now
we're out on the road opening for Buffalo Tom.
So we just go anywhere they go - here they are,
Do you enjoy the touring life?
Jennifer: I like it more now 'cause I know what to
expect. At the beginning, it was very confusing.
There were a million interviews all the time,
constantly, for aboul four or five weeks. It was a
kind of attention I'd never experienced before.
It must have been quite a shock to come
from working so hard all the time on
your own to get your songs out there,
and then this big exposure.
Jennifer: It's been a very competitive year in
music, as I'm sure every year is. There are a lot of
talented people out there. I feel like we're in a
good place where people are just beginning to
hear about us, but it's not too over the top. I
wouldn't want to be in the syndrome mat a lot of
bands seem lo be in, in the lost year or so, wilh
one song lhat gets really huge, ond then nothing.
Have you always wanted to work as
Chris: I've always wanted to. It sounds really
corny, but I've always wanted to play drums.
Mike: There's more to it than that for Chris Foley,
ihough. He also thought lhat he could be a
postman as well.
Chris: That's right. For a while I thought the only
way I was going to make it work was to have the
day job, and I thought, 'You know what? I could
be a mailman.' Bul instead I ended up making
flutes, which is equally as weird.
Do you play the flute?
Chris: Not at all. Not a note.
That's probably quite a good thing,
because otherwise you might form an
emotional attachment to the instrument
you're making.
Chris: That's true. Actually, they say lhat you're a
belter instrument maker if you don't play the
instrument that you make because then you don't
have those kinds of attachments, you just make a
good instrument.
Mike: That's what the people who can't play say.
Jennifer, I read in your bio that you
played the guitar from a very early age,
and you said earlier that you really love
the bass. Is there any other instrument
that has a big appeal for you?
Jennifer: Drums. I love the drums and I love the
bass. That's one of the reasons that I like to play
wilh them. And I can play piano. I can play the
flule a little bit, but not really.
Mike: I think you've mentioned mandolin and
Jennifer: That wasn't me. Mandolin I don't mind,
but I'm not a big fan of the harmonica. Who
hated mandolin? [To Chris] Was it you?
Chris: Not in a rock format. I don't like mandolin
Jennifer: But harmonica, I don't know what it is
about harmonica that just - I'm not saying lhat...
There have been times in my life when I've appreciated it and I'm sure it'll come back and I'll
appreciate it again, but right now -
when someone breaks out their
harmonica I get a lilt
Mike: But Buffalo Tom u
a harmonica and it does-
Jennifer: It doesn't
bother me if you
it every once in a
while, but there ar
some people who
walk out with c
brace on their
neck and ihey
have this
harmonica if
there all the
like, part of
the show. I
don't like it
enough to hear
it all ihe time.     |
It's just like the   1
tambourine -
you want to
bring it in every
once in a while, OK, but
too much tambourine, it's not good.
Mike: That's really a bad blow and an affront to
Tracy of the Partridge Family.
Jennifer: Maybe that's why I never liked ihe
Partridge Family - too much tambourine.
Have you been playing with Mike and
Chris for a -while.
Mike: You could say it has been a while.
Jennifer: Yeah - it's been over a year.
Did you meet them before or after
recording the album?
Jennifer: I was just finishing up the album when I
met Chris. We played together wilh various bass
players for four or five months, ond then we met
up with Mike last October.
It must have been a relief to find a bass
player at last.
Jennifer: Yes, it was a huge relief to meet these
guys. So far it's been working OK. We have ot
moments, but it's still OK. Right?
Chris: No commentl
Mike: I'd like to exercise my Fifth Amendment
He's taking the Mark
amendment privilege.
Mike: That dickhead.
So what did you think of the O J.
Jennifer: We actually have a funny story about
lhat, because we were in the van, listening -
Mike: Do an imitation of the O.J. verdict coming
through the radio.
Jennifer:  We were in the van listening, listening,
listening, listening, driving -
Mike: In Kansas.
Jennifer:  We were driving in between where ihe
station was coming in [does good imitation of
static obscuring the 'not' part of the verdict] and
we were like, *Yes! He's guilty! Yesl Yes!* And
the next one came out and il was not guilty, and
we were like, "Uh-oh." And then they repeated it,
and it was not guilty, and we were pretty much
speechless. I was really rip-shit. I'm really angry
about it, personally.
Mike: The thing lhat pisses me off is not so much
the fact lhat he got off - there are good lawyers
who are too good at their jobs who get people
off or get ihem lenient sentences all the time. But
what really pisses me off is that people want to
put this guy up on a pedestal, and really, even if
he didn't do it, he's still a wife-beater. He put her
in the hospital before, and he's still going to do it
to olher women. What does lhat say about how
we as a society feel about lhat issue? If people
want to say he's not guilty, that's one thing, but
don't put him up there as being some noble
person who has been put through ihis terrible ordeal.
He deserves it just because he's a wifebeatef.
Jennifer: Unfortunately, or fortunately, because of
the way the jury system works, because of the
Mark Fuhrman thing and sloppy work by the
police, there was a reasonable doubt. The jury
wasn't 100% sure and I guess they just had to do
what they did. Fine, OK, the guy's not guilty, but
now we should not be giving him the time of day.
And everyone's still - they want him to come on
television, he's going to make a million dollars
from some book. It's disgusting.
Mike: Even if he didn't do it, even if there was overwhelming evidence lhat he didn't do it, he is still a
known wife-beater. That's all he'll ever be to me.
Getting back to music, the first thing that
stands out on your record is your voice.
It's deeper than a lot of female singers'
voices. It sounds so strong, yet it can
also be very quiet and emotional. It's
very versatile. When you were growing
up, did you sing along to any particular
band? Was it singing along to the Police
that made your voice like that, or was it
just there?
Jennifer: I love the Police, actually. It was more
that when I was younger I thought my voice was
really ugly and weird-sounding. I stopped singing
going to stop, and jusl
forget it. It lasted about three or four months and
then I was like, 'Oh fuck it, so what if it's ugly.' It
working out OK. Some people
really like my voice and some people really hate it.
Do you have a set format for writing songs
or do you write them as you feel them?
ifer: I used to write music in o very different
way. I was trying to lake a classical form, which
has lo do with ihemes and different types of repetition. But then I kind of got into writing pop songs
just 'cause I never had, so ihere was - and ihere
will still be on ihe next record - songs lhat I made
myself do verse/chorus/verse/chorus/bridge - ihen
you can do what you want on the out. It's good to
have rules. I find il more fun lhan just doing
whatever comes to me. But that's just a very basic
form. One of ihe reasons why pop music has thai
form to it is lhat ihere's something pleasing and
very natural about it. Certain types of repetition,
how a verse should move in one direction - there's
a reason. It's not an arbitrary form.
One of the interesting things about your
songs is that, even though these are
important events, they're also about... I
hesitate to use the phrase 'the glorification
of the everyday', but in a way...
Jennifer:  Yes! It is the glorification of the
everyday. Exactly. Anybody could have any of
the feelings and experiences that happen on thai
record. They belong to anybody paying attention
to how they feel, as opposed to writing songs
about trying to kill yourself or doing heroin,
because only certain people do that. But self-
destruction, trying to be self-destructive, that's a
universal thing, a universal drive. And how
people deal with the universe's continuous pull
towards chaos is kind of how we define ourselves
as people. Some people give in lo lhat, and are
dismayed and depressed and kill themselves, and
some people go, 'Well, that's just the way it is.
Everything's trying to pull me away into craziness,
but I want to have meaning in my life, so I'm
going to bring meaning into my life.' Some
people just do heroin or whatever kind of drug,
and ihey say they're going to kill themselves, or
they do kill themselves, then people start
focusing on lhat in and of itself, c
leading up to s<
doing lhat. f A FREE SHOW!
Friday, November 10th
12:30 PM
Conversation Pit
at the UBC SUB
Direct from
Weeping Tile will be
■       -AC    ^
performing songs
from their brand
new album, Cold
• ••
Now on tour with the Skydiggers
© ere's a new dog coming to town
*Hoven Nardwuar: Who a
Craig: My name is Cr
iig Baldwii
And who are you, please?
Craig: If you don't give a station ID every eleven
minutes, they'll tune out. It's very important, because
every time people lune into the radio, they're only
listening for eleven minutes.
They only listen to the Playboy channel.
Mark: My name's Mark Hosier, I'm from Negativland
and I don't do ihe Playboy channel.
I know, it's - some other guy. So you guys
are in town today - what's the deal? You
have a movie you've brought to town, Sonic
Outlaws.  Explain a bit about it.
Craig: It's a documentary about people who take
bits and pieces of the found sounds in our culture
and recontexlualize ihem. They put them together
inlo new art pieces lhal make a critical comment
about the original work.
It's not a story about Negativland, is it?
Craig: Well, yeah, sure -
'Cause I felt a bit gypped: I put the Sonic
Outlaws videotape in and I was hoping
there'd be a lot about Negativland, but
there isn't...
Craig: If you don't give the station ID every eleven
minutes, your listeners will tune out, ihey won't know
whot they're listening to!
Please tell me about the movie, about Sonic
Outlaws - it is not the Negativland story.
Have you dealt with any disgruntled
Negativland fans?
Craig: Well that's their problem. I'm not into the
rock'n'roll fan scene. The movie's about ideas
having to do with a lot of different groups of
people - artists, visual artists, video artists - as
fanzine kind of thing.
But it's not the Negativland story, there's
not even pictures of Greg Ginn. Mark - you,
of Negativland - no pictures of Greg Ginn
in the whole moviel
Mark: I don't think lhat was what was interesting to
Croig about this. That's more of the dirty, industry,
indie-rock, soap-opera stuff, which is in the book we
put out. If you want to know the whole entire story,
you get the Negativland book, Fair Use.
I didn't read the book.
Mark: They're different. Craig has his own agenda
with ihe movie.
I didn't read the book. I'm sorry, Craig, I
didn't read the book.
Craig: He's the one who put out the book. My thing
is really more of an art history, or a critical - it's not
a rock'n'roll's gossip -
I thought it was a version of the book, so I
was lazy. I didn't read the book, even
though I really wanted to read the book.
I'm sorry, Mark. I was really hoping it
would be, like, a summary of the book,
but it's got a lot of other stuff in there.
Craig: Well, yeah, and the book has a lol of stuff
that's not in the movie.
Mark: The book is 280 pages long.
No Greg Ginn. Who is Greg Ginn, for the
people out there who have no idea who
Greg Ginn is?
Mark: I don't want to talk about that. Greg Ginn is
just some kind of, you know, schizophrenic -
What exactly happened in the end of the
story? What happened with the
Negativland case, what happened in the
Craig: It's not over yet.
Mark: No, it has never quite ended. The end of
the story is that after three years of he
/2   NOVEMBER 1995
NA/^WtoM -x^e -M/VMN'
sland Records and U2
and all those people, they all agreed that we
could put our record back out again - except for
Casey Kasem. The U2-Negativland single was
the outtakes of Top 40 DJ Casey Kasem having
a bad day at work. Casey won't agree to let it
come out again, and he's threatened to sue Island Records if they return it back to us. That's
kind of where it's left. But we at least won what
you call a Pyrrhic victory - is that the expression? And after three and a half years of hammering on all these people, we finally got ihem
to agree to something.
What did they agree to?
Mark: They agreed thai, in principle, we could put
the record back out again if Casey agreed to drop
his threats to take legal action against Island Records
for returning our record to us, which ihey now own.
How much money were the legal fees?
Don't you owe something like $90,000
worth of legal fees?
Mark: You see, you didn't read the book, you didn't
prepare for this.
I know I didn't read the book, 'cause I was
hoping to -
Mark: What a jerk! What a jerk! You're just one of
Craig Baldwin, you see the problem - Mark
knows all the answers, he's the
Negativland guy, he's the guy featured in
fore. How much were they holding you up for?
Mark: Well, they claimed we owed ihem $90,000,
but when the owner of SST also sued us - after we
were sued by Island Records, we got sued again
for putting out o magazine trying to tell the story of
the first lawsuit. We got sued a second time for
doing lhat. He claimed we owed him 90 grand,
but when we actually got down to figuring it out
and settling out of court wilh him, il turned out he
could only prove lhat we owed him $45,000. That's
American dollars.
Well, did you happen to, Craig Baldwin,
the director, author, writer, use a Fisher
Price camera in the film?
Craig: Yes I did.
Those are really rare, aren't they?
Craig: Well, not as rare as a lot of people ihink.
They're not sold in stores anymore, but a lot of people have ihem. They're like 8-track tapes.
They record on cassettes, like regular audio cassettes.
Craig: They do, yeah. I think you get five minutes
per cassette, actually. They move very fast- the tape
moves very fast.
Was that Pixlevision? What is Pixlevision?
Craig: It's called Pixlevision. Fisher Price makes
them, yeah.
So where did you meet Mark? 'Cause I have
a suspicion here, Craig, that Negativland was
event, I think ihey
iterested in getting thei
story out. I approached them like any olher documentary maker would - it's not a big deal when
wants an interview, you know, I just call
your movie. I didn't know these answers,
I didn't read the book, but you didn't really answer that in your film, did you?
Craig: Right, I didn't want to give ihem the details.
My film is a survey, it's overarching. It has to do
with a lot of activity over many, many decades, if
not centuries. I didn't want to focus on and make a
big deal out of trivia, you know. Greg Ginn, what
his sign is, or how much money it is, you know - I
mean, that's Negativland's problem.
I guess I wanted the dirt. Your new stuff is
on Seeland, right?
Mark: Yeah, owned by -
Is SST completely out of the picture?
Mark: SST? No, they're always in the picture.
No, I mean, -with your stuff.
Mark: They still own a bunch of our stuff. We just
got a royally statement, and, in fact, they say we
owe Ihem $666. Isn't that nice?
wary of you. Did they know you before?
Craig: I doubt it. We're both from the Bay Area. I
knew their music, but, I mean, there's a lol of peo-
So you approached Negativland and
Negativland, being the paranoid Playboy
channel people that they are - 'cause I
noticed that at the end of the movie there's
kind of a dis towards you.
Mark: Wow - a dis?
Craig: I didn't know that.
'If there's one good thing that comes out
of this movie, there'll be a sound byte' -
you know. That sounded like Negativland
saying, 'Oh, this movie's a big -waste of
time.' What sort of apprehension did
Negativland have when you approached
them? I'm curious, Craig - what sort of apprehension did they have?
Craig: You should ask them lhat question. But in
Ihem up.
But a lot of times we know hype is happening and you don't want to deal
with people - why did you want to deal
with Craig?
Mark: Craig was the perfect person to make this
movie because Craig makes movies by stealing
olher people's footage. His whole aesthetic is -
You had seen his work before?
Mark: Yes. His whole aesthetic is like ours, and Craig
chooses to work the way we do, which is lhat we're
totally outside of, like, the corporate/culture/indus-
Iry/moinstream thing. So, here we are at the festivol - I've got my little nice Gap bag ihey gave me.
Craig, when you approached Negativland,
did you have to show them your work, or
did they already know it?
Craig: I did submit a tape that I had made earlier -
Tribulation 99.
Mark: I had seen his work and I was vouching for
him as being OK -
Did anybody else approach you? Did you
give the brush-off to other people?
Mark: No, we don't have people - no, we were -
'Cause you're known to manipulate the
media, like that TV axe-murder hoax that
you Negativlanders blamed on yourself.
Well, you laugh, but I didn't know about
that axe-murder thing, so your movie did
tell me that. I'd heard about it, but with
the movie, it's like - you guys faked this
axe murder thing or whatever, and you
got on TV and stuff. And you fooled them.
Mark: We really did murder all those people,
all four of the people in the family, we did axe
Did anybody else approach you to try to
do the story?
Mark: Some olher people had shot some footage
about it, but, no, we - you golta realise, the whole
U2 lawsuit, the whole thing that happened, it was
both totally real - we lost all of our back catalogue,
we lost all the money -
I'm not doubting that.
Mark: But, at the same time, it was this incredible -
But no pictures of Greg Ginn in the moviel
Mark: Stop interrupting or I'll kill you!!!! We needed
to deal wilh - we were dealing wilh the reality of
ihe things we were losing, but it was also a giant
conceptual art project. We were desperate, we had
i to get our work-
So what was going to happen to you? You
woke up one morning, what was going to
happen? It was going to be the end - you
were going to lose your catalogue, your record label was suing you, U2 was going
out after you...
Mark: Well, not exactly. But, no, I can't answer
that, that's too complicated. I can't give you a
sound-byte answer. We put out a whole book
about what happened.
I know, but I want sound-byte answers
from Negativland. I wanted that in the
movie Sonic Outlaws, but Sonic Outlaws
explored a lot more. What I'm curious
about is the actual film that you use, Craig.
In the movie, you guys got to interview
U2, who are ihe basis for all the settlements, for Mondo magazine. Mark of
Negativland - you interviewed that Adam
Clayton guy, right?
Mark: No, it's The Edge.
Craig: He did do an interview with The Edge by
way of Mondo 2000.
Hoping to convince him of the
Negativland cause?
Mark: No, not hoping to convince him. He didn't
know who we were. He was basically tricked into
this interview. He had no idea that we were
Craig: Well, it was revealed who you were.
Mark: It was revealed, and in the course of the interview he turned out to be seemingly sympathetic
enough with whal we were going through, so lhat
at the end I asked him if he wanted to lend us money
to help us get our record label started.
And he said he'd never been asked
that before.
Mark: Yeah, he said it was the runniest interview -
ihe most surreal interview he'd ever had in his life.
But you -were taping this interview. Does
he know he's in the movie? What is the
legality of using that? 'Cause you've done
a lot of illegal things in your movie, Craig.
Craig: For sure. As far as that goes, lhat was an
interview lhat he gave. He took the initiative on that
But did he give permission to be used in
a movie that people would be charged
admission for? Could you get in trouble
for that?
Craig: Well, uh -
Mark: He didn't get permission to use the clip from
The Simpsons. There's all kinds of things...
You did say thanks to Matt Groening at
the end.
Craig: Yes, I did. I acknowledged him. That's what
I believe this whole collage art can be.
I'm just curious, though - when you do an
interview with somebody, when you do
an interview with The Edge or whoever
the hell he was, and then after -
Mark: If you'd read the book you might ask about
ihe interview we had with the FBI agents who were
investigating Negativland because Casey Kasem
was getting death threats over -
Are FBI guys scary? Do they have, like,
weird accents? So, are you serious? The
FBI guys did investigate you? That's no joke
- you don't mess with Oswald and stuff
like that.
Mark: You mean Agent Oswald from the FBI? No,
that's true, you don't. The FBI agent who was calling and talking to everyone in Negativland, his
name was Dave Evans, which is the real name of
The Edge-just one of those nice little moments lhat
happened in the story. See, we were trying to get
our record back, and, as I mentioned earlier, Casey
Kasem was the holdout in the whole thing. So some
fan of Negativland's got a hold of Casey's home
phone number and colled him up and made death
threats against him if he wouldn't return
Negativland's records back to them. So Casey
called ihe FBI and the FBI was calling everyone in
Negativland and, you know, showing up on our
doorstep to talk to us.
Were they MIBs? Men in Black?
Mark: No, this was a woman. This was a WIB.
That's an allusion, too - that's an alien allusion, eh? I'm going to ask that in a second. But they showed up at your door -
did you easily slosh them off?
Mark: Well, no, we just - I told them what happened and they were so interested in il that the
agent I talked to actually wanted to hear the
record. I gave her a cassette copy of the record,
which she didn't realise I wasn't allowed to do
legally, but I just did anyway.
So those are the illegal things that
Negativland have done?
Mark: A lot of these aren't illegal per se... If someone wanted to go after it and contest it in court,
they could, but it's not automatically illegal thatCraig
used the footage, or that we - you should look ot
our book.
If you're lazy, it's illegal. If you're not lazy,
it could be legal. It depends how lazy you
are... I'm just curious, though - from a
movie, big label, big budget standpoint -
how much of what you did in the movie
wouldn't make it past Hollywood? What
wasn't legal that you did in your movie? You
know, that footage of news clips and stuff.
Craig: All of lhat's illegal. There must be half of the
footage in there lhat I don't have the clearance for.
Don'tyou see? I didn't pay, I didn't ask permission. I
just took it, I stole it. It's not made like a conventional
compilation documentary where you have film researchers who go and get the clearances from the
lawyers who represent the people who own the copyright. What I did is, I just took it because I wanted to
make something lhat wasn't a compilation documentary, but in fact was a collage, just bits and pieces
thrown together -
Mark: This is called form follows content, Nardwuar.
Craig: Right. So none of it would make it.
How could you get sued, then?
Craig: I could get sued by someone who would see
some material that I didn't get the clearance for
and I was using it in my own picture, and -
Ahhh, so if somebody comes to the film
and checks it out and gets mad. Have you
ever thought of just inviting them, to see
what would happen?
town. He stays at the Chateau Granville
'cause he wants to be down with the
street crew - unlike the Negativland contingent here. Craig Baldwin, of Sonic
Outlaws, you talked about getting
caught - how does Weird Al get away
with it, or people like that?
Craig: Good question.
Mark: He gets permission. It all looks kind of
naughty, but no, he has permission. He parodied
Nirvana, and he asked ihem. He goes to Nirvana's management and lawyers and he says, 'I want
to do ihis.' This is why Negativland now has gone
back to the way we used to do it before SST. We
put out all of our own work on our own label because, one, we've learned so much about how
screwed up the music industry is that I don't want to
deal with them anyway. I think they're all pigs. But
the other reason is that even if we wanted to work
thai way, we're a total legal nightmare, a total liability, and I don't want to worry - it's like Craig.
Craig doesn't want to worry when he makes his
film about whether he can or cannot use this. He
just wants to follow his creative instincts.
Craig Baldwin, director of Sonic Outlaws,
station ID every eleven minutes, and Mark
of Negativland - where did things start going wrong? When did people start suing
each other? Not for your movie, but you're
saying Weird Al gets clearance - when did
stuff start, when did the suing start?
Craig: That's what my movie tries to talk about, the
history of this kind of thing. So I don't know - there's
no date on it. It could be the '20s or '30s.
Mark: I have an answer to ihis question. Actually,
one of ihe celebrated cases in the music world -'
because, of course, Craig deals with all kinds of
different aspects of people doing this -
It wasn't the Ghostbustmrs thing, was it?
Mark: No, ihe case lhat was really the one, lhat
really put it across, was lhat De La Soul was sued
by Flo and Eddie of the Turtles for using a sample
from an old record of theirs. It was settled out of
court, [but] it established a precedent. It scared the
hell out of everyone in ihe music industry, it stopped
everyone from sampling, and it clamped down on
lhat whole creative aspect in hip-hop of reusing
people's stuff. The guy who worked as the attorney
was the same lawyer Greg Ginn hired to sue us, of
all things.
Craig: Yeah, but you see, lhat's just the music busi-
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ness. Jack Benny was sued in the 1950s with his TV
show. You know, Mad magazine -
Mort Sahl.
Craig: Mort Sahl, I'm sure, Milton Berle... So the
idea of owning intellectual properly goes back to
the start of the century.
It's weird, though, how some people get
away with it. Like, the very people who
sued you - U2 - got to use weird bad
illegal stuff for ZOO TV from that EBN
Craig: That's EBM, Emergency Bowel Movement, I
believe that's what they're called.
You know what I'm referring to, OK.
Mark: No, what's more interesting, and what Craig's
film brings up, is lhat while we were being sued by
iheir record company, U2 was touring and using
footage thatwas coming in live off satellites and off
network TV in their multi-media production. Home
Shopping Network and all thatwas being pumped
Craig: Why would I do lhat? That would just be
putting myself in danger. In fact, I'm endangering
myself even to admit it right now. I don't really want
to do lhat.
Mark: Ask him how much the movie cost.
"Jump", by Van Halen, was made for 300
bucks - an incredible video. So who cares
-what the money cost. Things can be done
Mark: Don't believe everything you read. Where'd
you read that, Rolling Stone magazine?
Yeah, 300 bucks for the "Jump" video.
Craig: I'd believe lhat.
Maybe they owned all the cameras and
Mark: Was that the Sammy Hagar Van Halen?
No, it -was the original, it was the David
Lee Roth one. And David Lee Roth doesn't
stay in the Hotel Vancouver when he's in
inlo the mix of what they were showing in iheir stadiums. They didn't get permission for it, they just
did it. And this was part of some of the great ironies that came up in this whole story, and part of
why - the reason why media jumped all over the
story is just 'cause of all - there was just incredible
ironies and contradictions between people's
public behaviour and personal legal actions and
all that stuff.
Who were the EBN guys?
Craig: Mark doesn't know them -1 was ihe connection with them. They're former art students out of
the Rhode Island School of Design. They live in Providence, Rhode Island right now.
The guy has a weird face. I mean, I've got
zits and stuff, but the guy has a weird-
looking face.
Craig: In any event, they're very creative people. I
admire iheir work and they're a good subject for
doing the same kind of thing lhat Negativland -
What do they do? Do they make videos
for people?
Craig: Well, actually, they've come out on their own.
They're on TVT Records and they've just come out
with a CD lhat has a computer complement so you
can see visual stuff, you can punch in -
They do a lot of found images and they
put that all together.
Craig: It's all found from broadcast.
And U2 actually bought some of this footage to use?
Craig: Yeah. 'We Will Rock You*, actually, was
the name of ihe video piece lhat they opened their
Zoo TV tour with.
OK, let's say Negativland were sonic outlaws - you guys were getting persecuted
for what you were doing. Who's out there
that hasn't got persecuted yet that deserves
to go down? Like U2, they deserve to go
down, 'cause that EBN Network they
hired, that was just totally illegal. What
the EBN Network does is illegal, isn't it?
Craig: I don't know, I'm not a lawyer.
Mark: Most of what they know, most of what ihey
do, because of the level they're functioning at in
interviews -
You get picked on 'cause you're a little guy.
Mark: You don't let me finish the question. I don't
have to finish the answer to your questions, but you
could let me answer the questions if you want.
OK Mark Hoss-ler, not related to Gerald
Coss-ler, ley. Go ahead, yes.
Mark: Oh, now there's, oh boy - Anyway, so, what
was I saying? No, they've said that there's a lot of
footage - ihey used to make stuff where ihey used
much more risky things and ihey don'l anymore
because, the level they're functioning at, they are
too worried about the legal things, so they don't
use a lot of the footage. If you're using President
Bush - you don't have to get permission to use public figures, it's not that big of a deal. Like, if you
were to follow what Negativland's done since the
U2 thing, we're much more low-profile now. Our
work's a lot harder to find 'cause we run it ourselves and we're not such great business people
and all. The work we've put out since the U2 thing
has far worse potentially infringing material on it
than the U2 thing. Way worse. But because we're
small, and we're not making any money, there's
no presence that we have out there in record stores.
We're just ignored, because most of what you're
talking about is just- if someone thinks someone's
making money off of them and they see dollar signs
or a lawyer sees dollar signs, then lhat's when
they step in.
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Who's behind the Barbie Liberation Front?
Craig: Well, it's a national movement, of course,
but actually it was kind of centred in San Diego
about two years ago by people who were attending the school there. UCLA, actually.
Are you worried you might get subpoenaed to try to identify who the people
were? Because they could get in big trouble. Like, you know who the Unabomber
is, don't you?
Craig: Yeah. I am the Unabomber, by the way.
But no, no one's going to subpoena me to do that,
that's absurd.
You didn't do that movie with Barbies, did
you, that Karen Carpenter story with
Craig: No, I didn't do that. Thatwas done by Todd
Mark: There's a feature by that guy.
Craig: Playing at this festival by the way.
Please update the listeners what you're
mumbling about, Craig Baldwin, director
of Sonic Outlaws.
Craig: Todd Haynes and myself, I guess you could
say we're from the same generation. We're younger
directors, relatively speaking, and he also went to
school at the Rhode Island School - no, Brown University, which is also in Providence, Rhode Island -
where these same people EBM come from, by the
Mark: That's what it is, it's Brown University, it's
Emergency Bowel Movements.
The Ivy League.
Craig: Yeah, well, don't put him down. He's just -
he's very well educated and he made a film when
he was in college called Superstar: the Karen Carpenter Story. It's a serious essay film, like my film is,
about anorexia. The way he staged it is not, of
course, to get Karen Carpenter to act in it, because
she was dead, but to stage it through the use of
Barbie dolls. But it wasn't Mattel who busted Todd
Haynes. It was Herb Alport of A&M Records, because he used the music in ihe movie. It's a fine film
In 1995 Herb Alport probably wouldn't
have minded, because he allowed that tribute Carpenter album to come out. He probably would've allowed it right now, eh ?
Craig: He's making money off that, though. He
wasn't getting any money from the Todd Haynes
film. But anyway, the point is, to answer your original question, Todd Haynes has gone on in ihe world
of motion pictures. He has now made a feature film
which is playing here, as part of the same festival.
I don't know if he was here or not, but it was called
Safe. My film also is playing, so lhat's what we
hove in common right now.
What other sonic outlaws besides
Negativland are out there?
Mark: I don't know all this stuff, I'm too busy working -
What other sonic outlaws, Craig Baldwin,
did you consider using for the film? Like
people who were cut out of the film and
ended up on the editing room floor...
Craig: Well, Brian Springer, he's the first person
who comes to my mind. He's a guy who takes satellite dish Feeds and then he cuts ihem and re-edits
them and organises them into a sort of self-critique
of ihe mainstream media, because feeds are the
kinds of things that aren't re-broadcast. Feeds are
when they're waiting to go live. Anybody with a
dish can intercept that, so that's a perfect example
of an outlaw type of activity - downloading this
material before it's actually suitable, quote unquote,
for broadcast. It is available to anyone wilh a dish.
Mark: He just realised he could do it and he did it.
Craig: It's on the threshold of what's really accept
able in terms of working wilh audio and video. And
so he did it. The technology's there, anybody can
get a dish for themselves for $2000 or whatever, put it on his roof, and then make it clear
that these politicians, people who claim to be
people of, whatever, intelligence or distinction,
are, in fact, just bores.
What exactly was Tribulation 99: Alien
Anomalies Under Americd? It was your
first movie...
Craig: Thatwas a film lhat I had made earlier which
was about the Men In Black, as you were just talking about. The CIA, the hollow earth, lhat's to do
wilh conspiratorial theory -
Like survivalists, such as Dick Dale?
Craig: Dick Dale and the -
Yeah, he's a survivalist. He lives on his
ranch, he lives off the land. You know
- those people who are afraid the
world's going to end so they stockpile
a lot of food.
Craig: It is sort of a parody of those people, of
that kind of very Southwestern-type mentality. I'm
from California, so, you know, that's a big part
of the culture there, especially in the southern
part of California. And in the desert there's a lot
of people •
Is that, like, Bill Lynn and William Cooper?
Did you profile any of those people?
Craig: See, all of those right-wing maniacs, they
produce a kind of a literature lhat I used as a sort of
a -1 researched when I wrote my script, because I
was interested in the intensity and the extremity of
Iheir vision.
Mark: We gotta go, Craig. Kevin Costner is in the
next room and he's waiting, he's gotta do a big
Well, just quickly, before we go -
Mark: You know, they premiered Waterworld her
at the Vancouver Film Festival.
If people want more info on Negativland,
where can they write?
Mark: Negativland, 1920 Monument Boulevard,
MF-1, Concord, California, 94520. You can write
to Negativland and find out whot we're up to. We're
working on all ihis new stuff, we're taking on one
of the world's largest soft-drink manufacturers in an
upcoming release, and our next stuff is all about
sex, dirt and germs.
And Craig, if people want to know more
about Sonic Outlaws and other movies
you've done, where can they write?
Craig: 992 Valencia Street, San Francisco,
California, 94110.
I like that place you went to, you know in
San Francisco, with that kind of fair. I love
that place where you filmed the movie.
That giant rock where that outdoor swimming pool once stood...
Craig: Right, right - Seal Rock, it's colled. The
Cliff House.
And it caught on fire, man, that's wild.
Thafs scary, thafs really Munsterishl
Craig: Thank you very much.
Doot Doola Doot Do...
Mark & Craig: Doot Doo!
*To get obtain a copy of
Negativland's neat The Letter U
and the Numeral 2 release write:
Colin Wales/interfear recordings/
PO box 1324/Muscatine,IA/
*For a copy of the Negativland fanzine, NegatrAan, write: 6 Coolidge
Rd/Nahant, MA/01908/USA
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November 16
November 23
This isn't really an interview.
It's more like a biography,
the documentation of one
woman's existence. She isn't
an entertainer, she is a motivator, an inspiration, an
Sometimes there is more to a musician
than music. Sometimes there are ideals,
intentions and messages which are communicated through the music. Meegan
Maultsaid is a political activist. And by politics I don't mean those abstract notions professors sit around tables discussing. I mean
the issues and concerns which pertain to
the conditions of everyday life, issues and
concerns which affect us all. Meegan lives
with these conditions, especially within the
sometimes conveniently apathetic music
scene, but she doesn't sit back and accept
them in silence. Instead, she works to raise
awareness and promote change.
If you hove been to a benefit show in Vancouver
in ihe past two years, you have probably been to at
least one event organized by Meegan. Her projects
have included Iwo Grrrlopalooza shows, two Rock
For Choice shows, and the Rock For Choice Vancouver compilation tape. Rock For Choice I, which took
place in January '94, raised over $1500 for Every
Woman's Health Center from ticket sales alone. That
doesn't include the compilation, featuring bands such
as Cub, Sparkmarker, The Vinaigrettes and Kreviss
and distributed by Cargo Records, which is still bringing in money for the centre.
Grrrlopalooza I, a mostly girl showcase held in
September '94, included acoustic acts, Meegan's
own rockin' bond Tickle Trunk, spoken word, and
information booths.
This year, Meegan promoted another Rock For
Choice event at the New York Theatre, wilh 54-40
headlining and representatives from Every Woman's Health Centre speaking between bands. The
show raised over $4000 for the health centre, and
Meegan promises to do Rock For Choice annually
to ensure that the centre gets money from the Vancouver scene every year.
In late August, the Under The Volcano Festival
hosted Grrrlopalooza II, an all-girl extravaganza
headlined by San Francisco's Mudwimmin. The integration of the two events seems perfectly logical,
as both combine music wilh grassroots politics. "I
feel like music is a good form of communication,'
says Meegan. "I think that a huge percentage of
people who listen to music and come to shows is
young people - people who need to get activated,
need to be educated. I feel like ihe Vancouver scene
is apathetic in a lot of ways, as in there aren't enough
shows, or even shows lhat have enough educational
Meegan sees education as a key way of changing things and believes that awareness of issues is
vital. "I'm a feminist, so most of the stuff lhat I do is
very oriented toward women's rights and energy.
The Rock For Choice thing is very close to my heart.
I'm very, very pro-choice, and pretty anti-religion.
And so, those two things in conjunction make my
opinion lhat much stronger.
"A lot of it is about being a feminist. Being super, super pro-woman. I mean, lhat's my thing. I
believe in a lot of issues. And when I worked at the
Under The Volcano Festival this year, I was the one
who organized the political tobies. I was in contact
with lots of groups, like Bear Watch, Amnesty International, ond Earth First!. I think all those groups
ore amazing. But ihe issue thot is closest to my heart
is the pro-choice, pro-women issue. That just stems
from being a woman, and being queer, and seeing
the socialization of men, and how, in society, women
are oppressed. The new 90s schtick is that that's
not true, that there are enough women in the business world, that there are enough men in power
who are now conscious and aware that there'need
to be women's rights. But it is still within their itinerary, still within their idea of our voices. I mean, if
we scream this loud, it's okay, 'cause that's within
their idea of onger. But if we rage, and get up on
stage and go FUCK YOU!, like men do, suddenly
we're a dyke, or a bitch. You know as well as I do,
I mean your stuff [spoken word] is full of anger, and
it's about being a woman, and fighting back. Some
people think it is amazing, and they connect with
what you are doing. Young women feel drawn to
lhat, they see something that empowers them. That's
what I'm after. To be a musician, who's up there,
who has an agenda."
Another way lhat Meegan reaches people is
through her own involvement as a singer, first in
Tickle Trunk ond now in her new project, Puncture.
She feels lhat Puncture is very political, for two reasons: "Number one, the lyrics. For example, the
song "Snap Your Neck or Starve", now lhat's overlfy
political. It's about homophobia, it's about religion and
what ties into riat kind of thinking, tie whole prolife
thing, ihe onfrwomen thing, he homophobia thing -
lhat's all lied together. The main lyric of ihe song ihot I
feel connected to is "Hate is not a family value."
The second way in which politics are manifested
in Puncture's music is less obvious. Meegan believes
lhat even when the lyrics are more personal and
document individual sorrow, they are still political
as ihey relate back to the oppressive society we
live in. "It's because of the way we are socialized,"
Meegan explains. "Because of the oppression.
That's why we feel backed into a corner, and lhat's
why we write a song that's about anger. It might
not be saying, 'Fuck you, I won't do what you tell
me', it might be saying, 'I don't feel like there is any
exit from your line of thinking or the lines you have
created. And to deviate from lhat is to call more
oppression to yourself."
Outside of lyrical content. Puncture's newly released CD includes names and addresses of political organizations lhat it sees as worthy and in need
of young people's energy. "I'm trying to say to people lhat if you think lhat the system sucks, and you
think it's bullshit, and you think there is too much
oppression, ihen do something. Don't just flap your
gums about it, Iry to get involved. Look at different
groups and see how wilh even a little bit of time, you
can change the system. Maybe you "can't change
ihe whole evil, but you can change a portion".
Meegan believes in the strength of preaching to the converted, but she also challenges
herself and her audience by taking shows where
her ideas and politics may not be so welcome.
A perfect example of this took place this summer, when Puncture opened for the Day Glo
Abortions. Meegan explains: "Some guy asked
me, 'Why are you postering for the Dayglos? I
know who you are, and you're a feminist.' And
I said to him, 'Cause if we don't take it (the show),
some other little punk rock band will, and they
have no politics.' The people in the audience
and the Day Glos themselves will never know
that there is dichotomy, that there is someone
doing something else. So when I get a show and
I get up there, I write GIRL down my arm and I
go, 'Yeah, you came here to see the Day Glos,
well, you're gonna sit through me first. And
you're gonna get your fuckin' ass kicked, 'cause
we're as heavy and better than they are.' You
confront the system, you don't shy away from it.
And don't say, 'I won't open for them because
they aren't political', or 'They have an anti-
woman song.' Good, they have an anti-woman
song, then I'll get up and do o pro-woman song.
That's why I want to be active in the scene - to
show that there is dichotomy. Sure there are
bands that are like that, but maybe opening for
them is someone with tot""-* different politics."
When considering the prospect of gaining in
popularity and making it BIG, Meegan hopes lhat,
should Puncture take off, she will be able lo hold on
to her integrity and her ideals. Generally, it seems
to be the case that the people wilh the most power
seem to say the least, choosing instead to focus
their energy on self-destructive behavior without any
conscious effort to use iheir power wisely. "I'd love
to become a bigger band. [But] if I was in Courtney
Love's position, and I wos selling millions of records,
I would fucking DO something. I would do something with lhat power. I would talk to young people, stay after shows and talk to teenagers. I would
try to activate people."
Meegan claims to be obsessed wilh music, and
ihough some of it is purely for the metal guitar, she
has special favourites, musicians she respects as
well as enjoys. "Pearl Jam -1 have been chastised
since the first day I liked them. But there are things
that people don't know lhat they do. They give tons
of money to women's organizations, to rape relief
in Seattle, to Home Alive, an organization started
by the women from Seven Year Bitch to make sure
women get home safely from clubs.
"Kurt Cobain wos a political person. He was
pro-women and pro-queer, and I think he called it
like he saw it. He would see ihese guys at his shows,
and he was like, These are ihe kind of redneck
fucks who used to beat me up.' He confronted that.
In interviews he would say, 'These are the kind of
people who used to call me faggot for wearing nail
polish - fuck you.' And that is political.
"As far as local bands go, and this should be
printed, I LOVE Sparkmarker. A) for their music, I
love their music, and B) for the people they are, for
what I think they stand for." Meegan would also
like to mention her respect for Submission Hold,
Fracas, and her enjoyment of Spanking Betty, Another White Male and ten days late.
In the next year, Meegan plans on keeping busy
touring wilh Puncture, raising AIDS awareness with
Vancouver youth. She will also be doing another
Grrrlopalooza ihis summer, as well as another Rock
For Choice.
As our interview ends, I ask Meegan about
her two bold tattoos, one on her back and one
on her arm. The tattoos read "Survival" and
"Strength". "They are just reminders to me to
survive and sustain my energy for - to try and
make social change. To try and do something."
t? ®tggm>m > When I arrive at their studio in downtown Vancouver, Mark Spybey and cEvin Key (Kevin
Crompton) are working on some tracks for an upcoming release by Download, the project
they started earlier this year with Philth (Phil Western) and the late Dwayne Goettel. For those
of you who are unfamiliar with their work, Mark Spybey is a former member of England's
Zoviet France and is currently recording with both Download and his more or less solo project, Dead Voices On Air. cEvin Key, an occasional contributor to Dead Voices On Air, is best
known for his many years with seminal industrial band Skinny Puppy, who, amidst many
rumour and allegations (but distressingly little press coverage), broke up earlier this year.
I'm feeling pretty tired as I'm ushered into
the studio, so I sit on the ledge beside an
open window, where I can even see the
lovely landmark I live behind (the Biltmore
Hotel) and watch the sky darken. Mark has
a table covered with noise-producing toys
set up in the large main room, while Kevin
keeps his myriad of keyboards in a smaller
room where he mixes and adds to Mark's
music. The combination of Kevin's beats
and Mark's quiet noise and trumpet playing
are very soothing. When they finish, I ask
if they will play every evening at the same
time... Oh well, good try.
I have come to interview Mark and Kevin
about Download, but the first question I
ask is about the future of Skinny Puppy.
Following the departure of vocalist Kevin
Ogilvie (Ogre) in )une of this year, the band
broke up for good - not so much because
of Ogilvie's decampment than as a result of
what Kevin terms "over-manipulation by
greedy, corporation-minded people".
I mention that The Process, the latest and
last Skinny Puppy album (stated for release
in January), seemed to be in trouble early
on with its plethora of producers, which
included Roli Mosimann, Greg Reely,
Pigface's Martkin Atkins and long time SP
collaborator David Ogilvie. "Not producers," corrects Kevin, picking his words carefully, "but people who attempted to blend
everything as a chef would. In this case,
anyway, because we're alt three such individuals who work together, we need the
"gluer." Especially in the case of Ogre.
We've always been such a musical project,
and we collaborate with him on the vocat
and lyrical level, as well as on a stage
level. There was a 33 1/3 point of view in
Skinny Puppy and peace was there, musically, but with this album there were a lot
of people who felt that they knew what
Skinny Puppy should be - more than it
actually was and more than it actually
could be."
I suggest that Kevin had moved beyond
Skinny Puppy, but he counters that Skinny
Puppy had moved beyond him. "It's not
like we had to move past Skinny Puppy, it
wasn't something that was forced upon us.
But it became more difficult to be responsible and come through for everybody
else's idea of what Skinny Puppy is - I wasn't responsible for that." With Download,
Kevin finds that he is in touch with parts of
himself that he can only express musically,
as opposed to verbally. "I have problems
expressing himself deeper than the "know
what I'm saying?!' I think music gives me
that opportunity to connect with other people."
So was the problem that Skinny Puppy was
more of a formula than Download?
"Skinny Puppy, a lot of the time, was
Download, because; we did improvise the
frames of all of our songs and then work
with people on it. It's always been about
connecting the energy you get from someone else's' input in such a way that it's like
a language, in one sense. It was fo mutated under the same conditions as where I
see Download headed. This whole label
deal with American (Records) destroyed, or
attempted to destroy, all of the integrity we
felt we had achieved with our team - that
twelve year team being Dave Ogilvie, Ken
Marshall, Anthony Valcic and the band."
I tell Kevin that I was surprised when
Skinny Puppy signed to American Records,
a union he likens to a marriage "where you
think you love somebody and you think
you're committed and you have this dream
of    what
that   they're      '^H
going     to     be
because they  show
all the signs. Of course, ""^^^B
they have the budget to work
with you so you go for it, and then you discover after a couple of months it's just not..
I don't know. That's where the disasters
started taking place and it seemed like it
was Armageddonsvitte, not just in the
band, but all the natural disasters and
Despite alt the disasters that took place in
LA during the recording of The Process -
earthquakes, fires, floods, personal injuries
"and feelings, like us getting back together
and getting dropped from the label'V nothing cut quite so deep as the news of
Dwayne Goettel's death by heroin overdose
in August of this year. "I'm going to miss
him everyday from that point, and even before,
"causeI knew
he was disappearing, slowly but
surety. I tried my best to
assist him and help him but, in
this case, it's proper to go on in the most
positive of things... I totally respect
Dwayne, [but] I can't die along side [hirr
the sense of not continuing on in his spir
Kevin's collaboration with Mark Spybey on
Download is not the most immediately
obvious of unions. But the merging of
Mark's low tech approach with Kevin's
reams of keyboards was not as difficult as
night suspect. "The first few times we
worked together we used my gear," Mark
recalls. "Probably the first time we recorded Download here we used my gear, so
Kevin can work on my level as well. More
important than gear or technical skills is
feeling you can play with one another. It's
not a feeling that is particularly frequent
between musicians - I think you have to
really go and search people out and test
them out to find people who are going to
be compatible with you."
Witt fans of Skinny Puppy and Dead Voices
On Air be shocked by Download? Mark
doesn't think so: "If you're into the kind of
music I'm into, then I honestly believe that
you're the type of person who wants to
take shocks and who wants to take risks
and wants to experience danger in music."
"Download is all about change, anyway,"
adds Kevin. "And this is what creativity is
all about," continues Mark, "continually
redefining what you're doing and continually struggling and striving for a new identity or a new sound."
At this point, our conversation turns to the
question of influences, and Mark gives
Kevin a crash course on Gavin Bryars,
whom he describes as "a more emotional
Philip Glass."
"My friend in England always drags out this
quote when we start talking like this!"
Mark exclaims. "It's by The Residents:
"Ignorance of your culture is not considered cool.' Our culture, if we consider [it to
be] this experimental music, takes in all the
branches of that. So a knowledge of the
sounds that Dadaists made or Futurists
made is entirety appropriate when you took
at the music of (Einsturzende) Neubaten.
It's all got those kinds of roots."
And what about the future of "industrial'
music? Hasn't the genre been superseded
by techno?
"There are a hundred "identi-kif industrial
bands out there that sound like each other
and are going for a certain type of pat
tern," agrees Mark. "We're now down to
third and fourth and fifth generation industrial bands, and this is why the whole
genre has become weak and diluted. If you
go back, it's stilt the originals that are the
most stimulating to me - the Throbbing
Gristles, the Neubautens. I'm sure disco
fans are having the same debate - "It was
all there, man, in the seventies, with
I ask Mark and Kevin what they think of
people who find electronic music alienating, and Mark is quick to reply. "I don't buy
this reactionist sort of stance. I think a lot
of people are off-beat if they think that liking bands who base themselves on some
of the worst music in the world, like sev
enties guitar bands, are cool. I was there
and I know how bad they were the fist
time. I don't know need to resurrect
Creedence fuckin' Clearwater Revival or
John Cougar Blackjack whatever! Even Pearl
jam put a lot of credence in that Bad
Company crap. Then there's the people,
and I certainly know a lot of them in
Vancouver, who think they're at the cutting
edge of the avant garde because they
stand on stage and play a guitar. Welt, I'm
sorry guys, you've disappeared so far up
your own backsides it's not funny."
Warming to the topic of musical Luddites.
the Download lads tell me about the
Psychic TV tribute album they contributed
a track to. Kevin says that when he tried to
explain Genesis P-Orridge to Ameiican
Records, the label asked if Genesis could
send in a demo! "Say, that's an interesting
name," drawls Mark, imitating an American
Records exec. "Where'd ya get it? Just play
the gee-tar."
"What band did you used to play in," ad^s
Kevin in a nasally voice. "Genesis? Was it
with Phil Collins?"
We continue to talk about Mr. P-Orridge for
a while, but before too long Kevin wanders
off and starts playing with his keyboards.
He hits upon an amazing metallic rhythm,
and Mark hurries to his table to join in. I
resume my perch by the window, assuming
that the interview has now come to an
end, and as I listen to the sounds being
created around me I feel honoured to be
hearing what I'm hearing. It's not everyday
one gets to see - and hear - the improvi-
sational process at work and in such fine
form. y> /-* » *V^
28 new tracks - a double CD package
Includes the first single "Bullet with Butterfly Wings"
The long awatited new Pumpkins CD is now specially priced
at your favourite music store. Experience the Ride!
<DS START @ 10:00
Electrafixion is Ian McCulloch and Will Sergeant,
formerly of ECHO & THE BUNNYMEN,
Shed Seven
with guests
with guests
November 19
s 8:30pm • show 9:30pm
Tane jSiberro
^-^ ' mitti guest ^^
Monday, November 20
The Glorious
St Andrews Wesley Church
Burrard & Nelson
doors 7pm • show 8pm
Tickets at all ™~_#ses&- outlets or charge by phone 280-4444
All tickets subject to agency service charge.
W l_____al Good things brewing
October 3, 1995
The start of October inevitably means ihree things:
1) there's an election somewhere in Canada; b)
turkey sales ore up across the country; and c) Shindig
continues to get better as it progresses past the first
round of competition (In olher words, this is where
it starts to get interesting.).
The first band to play this week was the guitar/
bass/drums trio 9 Days Wonder. There's was a spirited but not particularly memorable performance.
In a few words, buzzy rock songs with vocals that
could have been stronger.
Next were Pound. I quite liked the first ten or
fifteen minutes of their eclectic set of Zappo-meets-
Primus-in-an-elevator kind of music, but after a while
it seemed as though they were overdoing it. Lots of
creativity and even more great technique, but one
can only endure so much six-string bass, guitar finger-tapping and wah-wah pedals. Maybe it's best
to take this band by the ounce...
Sugarcandy Mountain were on third and also
got off to a promising start. Identifiably sixties in
nature, several of their songs had a Zombies-esque/
British Invasion sound, with loose and jazzy drumming, jangly guitars etc, etc. Somewhere in the
middle of iheir set they lost it though, and their songs
filtered into basic pop-rock tunes. Perhaps a wee
bit more original than the first two bands, but just
not as interesting to hear.
I guess you could say that Shindig is a little
like an election, except that the only constituency voting consists of the five judges. There
choice of candidate to endorse this week?
Sugarcandy Mountain
Brian Wieser
October 10, 1995
The quality of band and the variety of music played
ot Shindig is making the judges' job a hard one,
and this night was no exception. Three quite dispa-
rately influenced bands and a lot of good musicians
showed lhat local music is in good health.
Juniper Daily played a very nice set of pop-influenced songs which were well written and well
played in a rather subdued fashion. The band was
quite good, with the highlight probably being the
lead singer's lovely, clear voice (good back-up vocals too), which was put to fine use with the melodies in their songs.
The second band, Knockin' Dog, were the victors of the soiree, and this was most likely due to
their superior musical abilities and the fact that they
were damn fun to watch - they totally enjoyed playing (or they appeared to) and this made it a very
enjoyable set. Quite reminiscent of Zappa in their
freestyle explorations of sound, they paid worthy
tribute to his legacy. Despite this rather obvious influence, Knockin' Dog, along with Pound, have been
the most refreshingly original bonds of the competition thus far.
The Hooligans promised to "suck", but they
didn't, really. Low on originality but high on enthusiasm for their oi/ska/punk hybrid, they were loud,
they were rockin', and they were a lot of fun, although their volume seemed to drive a few patrons
to the nether regions of the Railway Club. Fairly
unremarkable, but no doubt they will find many
parties at which they can thrash their hearts out.
Angela Danes
October 17, 1995
There was quite an interesting selection of bands
on this night, if nothing else. A Few Roosters gave
us a tight, well-constructed set of songs ofthe bleeding sneakers variety made popular by those Bay
Area weepers the Counting Crows. AFR were good
musicians and they had obviously worked hard on
their songs, but if they don't stop venting such vast
amounts of spleen during their performances, they'll
rupture something. Lighten up, lads!
The absence of women in this competition was
made apparent when an exception took the stage to
sing for 1000 Stamps (who eventually won the night).
The lead singer had a great punk voice, and she
wrapped it around some interesting, diverse songs.
The band played a really good set, all in all, as the
different elements in their music came together well.
South of Main were enjoyable and competent,
but failed to make much of an impression. They
were all pretty good musicians, but iheir songs were
not distinctive enough to win it for them. However,
it was good to see a band actually looking like they
were having a bit of fun.
The preliminary rounds are now well post
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half-way, and the winners so far all have sufficiently diverse musical persuasions that the semifinals will be three nights of outstanding entertainment.
Sophie Hamley
October 24, 1995
Even though Bono-Fly won this night of competition, prior commitments mean that they will not be
oble to claim their place in the semi-finals. Instead,
the way is now paved for Pipe Dream to spice up
those proceedings in a few weeks' time.
Having said that, there was an interesting mix
of music tonight, as there has been just about every
night. Bono-Fly have a great, laid-back, mellow-
funky-lhang going. Tight musicianship, great singing (with the male and female voices complementing each other well), and a good beat behind it all
made for a totally enjoyable set, which pleased the
large number of their fans in attendance.
Three-piece band Pipe Dream played an intense set of moody, swirling music, making very
effective use of keyboards, bass and especially
the heavy drums. It was suggested to me that
their style was a bit too prog-rock, but it was
nice to see something different in the competition. A great, structured noise-fest.
Last up were Kaneva, who ployed kind of jangly,
pretty tunes. Their singer had a lovely voice, and
they seemed like good musicians, but their music
was not too different from a lot of the other bands
we've seen. It was pop, and it was enjoyable.
Angela Danes
23   [oS^oQ^ by Andrea £ ApJ>.er Pawn
I have good news and I have bad news this month. First, the
bod news: There were two addresses missing from last month's
reviews. I have no real excuse for myself, except to say that I lent
the zines to a friend thinking that I would have them back well
before the column's due date. I didn't, and I apologize. In on
attempt to redeem myself, here ore the addresses:  Pupil c/o Vol
Taylor, 120 State NE #1510, Olympia, WA, 98501, and Eightfold
Path c/o Daryl Vocat, Box 22172, Regina, SK, S4S 7H4.
These omissions were in no way due to a
lack of interest; in fact, both of
these zines rocked my world
and I highly recommend them.
Now for the good news...
Something wonderful happened
to me last month when I visited
Ihe DiSCORDER headquarters for
rhe first time: I discovered the
n Ihe Lin
ailbox. It's
•ally, but a
_   :abinet.
it I found a whole
not a mailbox a
small section of a
Nevertheless, ir
stack of free zines for reviewing - it
was like Christmas in July. Receiving
anything for free puts a smile on my
face, but acquiring new zines without
even having to pay postage made me
ecstatic. My greediness aside, the
mailbox is essential because through it
Andrea and I get introduced to new
zines we probably wouldn't buy or
trade for ourselves, and it's important lhat we don't limit our
reviews exclusively to our own preferences. So send us your zine,
whether it be political, artistic, personal, music oriented, or none of
these ot all. Keep in mind, however, that neither of us will consider
any zine containing racist, sexist, homophobic or otherwise
discriminatory material. It's unfortunate lhat we have received
some zines (especially music zines) expressing such oppressive
attitudes, but for the most part we've been sent thought provoking,
positive zines - so keep them coming.
Now, for those of you who haven't quite mastered the art of
ordering zines, Andrea has a few tips for you...  -Amber Dawn
In last month's column, Amber Down encouraged zine readers
to develop o relationship with the writers of the zines they read.
What better opportunity to initiate such a relationship than when
ordering a zine? Unfortunately not everyone uses this opportunity,
so dealing with mail orders can be one of the more tedious aspects
of having a zine. A couple of things to remember when ordering
zines: a) Never ever demand a zine. I've received letters that
simply said, "Please send your zine. Cash is enclosed." I think that
you can figure out on your own why I don't like letters like that- I'd
much prefer a note telling me why you ore ordering my zine and
where you saw my zine mentioned. As well, you could write me
bock after you've read my zine to tell me what you thought of it; b)
Don't forget to send stamps or money. Us zine kids are not the
richest people around, and unfortunately
nolfiing is free when ordering a zine. Alway
send well concealed money/stamps/or
International Reply Coupons (IRCs) - you'll
have o better chance of receiving what you
ordered thai way. And remember that zines
do sell out and sometimes the writer can't
afford to moke more copies.
So now that you know how to order o
zine lets get on with this months reading
Flour Power #6
(8.5x5.5; 58 pgs)
Those of you who complain about the lack
of good zines from Vancouver have
obviously overlooked Flour Power. Not without reason, though, for
at first glance this zine looks only mildly appealing: just a few
pictures, and the layouts and type are fainlly generic throughout.
But if you take the time to read FP #6, you'll realize that the literal
landslide of information provided in this zine leaves no room for
fancy graphics.
Flour Power creator Rejoice uses this issue of her zine to
display and respond to the mail that piled up while she was away
in Europe. These letters address an array of political issues, such
24 NOVEMBER 1995
as rope, racism, welfare, abortion, veganism, squatting, classism,
onarchy and communism. What really excited me about reading
these letters was learning about multinational concerns and
opinions. Rejoice corresponds with political activists all over the
world, as well as listing a variety of political and supportive
organizations and including a selection of international zine and
music reviews. She also includes drawings done by her daughter
Frieda and discusses parenting, leaving me touched and
awed that a single mom has time to produce o project as
great as FP #6. To quote Rejoice: "I feel doing anything to
make change is enough, no matter how little." If you
agree, send stamps and money to: Rejoice, P.O. Box
78068 RPO Grandview, 2606 Commerciol Drive,
Vancouver, BC, V5N 5W1 .
Coal For Eyes if 2
(5.5x6; 16 pgs)
Zines like this always hit me hard. The author writes
about the cycles of mental and sexual abuse thai she
has had to go through with her own family, packing a
real punch with her courageous story. What happer
when your family, the people who are supposed to
teach you trust, teoch you not to trust yourself and
your gut instincts? This zine disturbed me because
it reminded me mat child abuse occurs even in
the families which you least suspect, and to the
people that you are closest to. This is a powerful
and unsettling zine that shows a survivor
picking up the pieces and fighting back. Send a dollar to:
P.O. Box 249,1027 Davie St., Vancouver, BC, VIE 4L2.
Screams From Inside if 4
(8.5x10; 16 pgs)
Ordinarily, I wouldn't enjoy a zine like Screams From Inside. The
layout is bland and boring, and the content consists of nothing but
band interviews, reviews, ond letters to/personal ramblings from
the editor. I put my prejudices aside, however, and I was surprised
to find that I actually like this newsprint fanzine. And for ihe one
thing that I dread the most in a zine - the interviews.
Carissa has intelligent interviews with hardcore bands Falling
Forward, Universal Order of Armageddon and Threadbare,
discussing such topics as the boys club atmosphere that can be
found in the hardcore/punk scene. Even I have fallen victim to this
sexist mindset, looking down on femininity and losing respect for
girls who wear dresses at shows. But after reading this zine I
realize that I don't have to look like everyone else in boys club
gear, and now you con usually spot me at a show because I'm one
of the few girls wearing a dress. Send $1 US to: Carissa, P.O. Box
13044, Minneapolis, MN, 55414, USA.
This Is the Book of Truth
(6 x 5; 6 pgs)
It's so rare that mini zines get the recognition they deserve. They
may not be as much work as a full zine, but good things do come
in small packages. The Book of Truth questions the nature of truth
and why it can hurt, as well as looking at
white lies ond self-deception. Hollie
also includes bits of her own
personal truths and, as in her full-
size zine Rally 6, her humour and
sincerity ore evident. The truth
Hollie would love for you to write to
her at: 2024a East 1 st Ave, Vancouver, BC V5N IB5 (send stamp).
Mary Had a Mammogram if 8
(8.4x5.5; 20 pgs)
In this angry zine, Heather questions
her surroundings and the racism,
sexism and mindless norm attitudes
that she faces everyday. If I had been
as intelligent as Heather when I was
16 years old, well, who knows? I might have blown up my high
school a long time ago.
I've always been a fan of Heather Core Poetry, which is actually
really powerful spoken word that is written in the form of a first
person story. Included here is "Cupcake", the story of a girl who
drives her overweight sister to suicide after years of taunting and
verbal abuse. Heather also responds to a letter criticizing her for
admitting to being anorexic - unlike the writer, ihough, she is
learning to fix her mistakes. Send $1 US and an IRC for the thoughts
of a queer grrrl terrorist: P.O. Box 724, Lake Zurich, IL, 60047, USA.
Throwing Rocks #5
(5.5x6; 32 pgs)
I genuinely liked Throwing Rocks, a lengthy read in which Derek
tells personal stories about everything from silly tour antics to
falling victim to a pedophile at the age of 13. He also tells us why
he chose to drop out of high school and why he does not drink or
smoke. What impressed me the most was how
^^^^ Derek has come to recognize his
abusive control patterns in
his past relationships and
how he is working to
change them. This humility
is what I love about
:ople can admit to their
faults and their past mistakes.
Send $1 to Derek Hogue,
121 Lanark St., Winnipeg,
MB, R3N IK9.
Fry day Fanzine # I
(8.5 x 5.5; 22 pgs)
Normally I would overlook a
zine containing as many reviews
as Friday Fanzine, but I decided
to give it a try anyway.   For a
first issue, this zine has enough to
, including personal views on the
c labels, TV, and abortion. There are
i the Massachusetts Cannabis Reform
Coalition/NORML, and a letter from Rome about Italy's Fascist
party and economic problems. I must warn anyone who listens to
major label alternative music not to get this zine because you are
made fun of in it. But for anyone else, it only costs a dollar and a
stamp, so why not write? Fryday Fanzine, c/o D.P. 282 Bedford
St., #7, Abinyton, MA 00351 USA
Absolute if 2
(8.5 x 5.5; 20 pgs)
Absolute is a collaboration between zine veterans Inspector X
(S;7enf Subversion and Solid) and Marty [Frustrations). "None of us
have stayed the same," they claim, and if you've been following
these boys you will see that this statement is true. Absolute is a
mixture of Marty's feelings and personal stories and Inspector X's
poetry. I tend to prefer Marty's work as he writes about what is
going on inside his head and a past that seems to haunt him. It's
always interesting to be able to see people open up and grow.
The next issue of Absolute should be coming out soon, and
sources tell me lhat it's gonna be o split with Pony Up, Donkey
Down. Until that comes out, why not order Absolute and be the first
kid on your block to have a XCUTE YET TOUGHX patch? Send $1
to: Marly, 1214 Cypress Place, Port Moody, BC, V3H 3Y7.
YUM #12
(8x10; 16 pgs)
The ability to give oneself praise for a job well done is a rare
virtue, but the YUM girls openly express their love for their zine, as
well as their appreciation for other zines.
This zine is a must for movie fans, as Kara is quite the budding
film critic. There is also a story of the girls' adventure in Vancouver,
which shows that from a visitor's point of view this is on interesting
city. More than anything, ihough, I enjoyed the wacky YUM survey
results. They really made me laugh. So join ihe masses who have
already wrilten:ttiV1 6303 Beaver Cr., Kamloops, BC, V2C 4V2.
Golden Heart
(5.5x6; 20 pgs)
The debut effort of its creator Jennifer, Golden Heart is a beautiful
zine of poetry and empowerment. Dealing with issues such as
abusive relationships and fighting depression, Jennifer's poetry
really touched me and made me realize that poetry can be a way
of expressing the words you cannot speak.
Zines like these make me want to reach out to the author. I'm
definitely looking forward to more zines from Jennifer because,
contrary to popular belief, there are a lot of powerful zines coming
out of Vancouver. Send .$ 1 to: P.O. Box 249-1027 Davie St.,
Vancouver, BC, V6E 4L2. 7 inch
few months ago with a line from the SF Seals song "Back
Again", 'cause they are indeed back again. Not only does the
band have a new full-length on Matador Records, but they also
3 track on Volume 5 of Inside Dove's Garage, a split single
ed  b*
id unreleased tracks by
•>y Virginia label
Radiopaque Record;
side 'ee' on this volume, providing a live
acoustic version of the melodic and ultimately
optimistic song "Back Again", while side 'e'
Finds The Dam builders doing iheir take
on "Blockhead", a song originally recorded
by Devo.
Dave has also sent us Volume 4 in the
series, a split featuring Shonen Knife
(side 'd') playing an alternate version of
"The Little Tree (Vivaldi Groove)", and
former Dischord Records band
Shudder to Think (side 'dd') doing
"9 Fingers on You". Cover art and
design is by neato artiste Steve Raskin,
who is also responsible for the inge
nious record covers for various Sub
Pop and Simple Machines projects
(Remember the matchbook cover 7"
for Tsunami?). Even better, proceeds go to the Washington Free
Clinic. (By the way, do be sure to check out Give Me the Cure, a
compilation of 1 8 Washington DC bonds 'interpreting' Cure songs.
All proceeds go to the Whitman-Walker Clinic for AIDS Research.
(Send correspondence, Pez, and a stamp to Radiopaque Records,
P.O. Box 16241, Alexandria, VA, 22302)
Anyone who is a huge SeBADoh fan might be interested to
know that there is an internet list serve you can subscribe to:
Sebadoh-J. And that's not all I There's also an e-zine called Tasty
Threads and a fanzine called Escargot, the latest issue of which, we
are happy to report, includes a free 7". Escargot is edited by
Kathleen Billus, a Boston scenester and Lou Barlow's sweetheart.
The 'zine is full of (boring) internet information, "threads" token off
the internet containing show and album reviews, interviews wilh
Julie Cafritz (formerly of Pussy Galore, presently of Free Kitten) and
Franklin Bruno, and, most importantly, a 7" co-released by Sick and
Tired and Dark Beloved Cloud Records. Lou Barlow contributes
the first track, "Sorry", a sparse and melodic, Lou Barlow-esque
song (funny that, eh?), while Fellow Folk Implosion (one of BaHow's
side projects) member John Davis supplies the first track on side
B, another Lou Barlow-esque song, but with stranger, cuter vocals.
The treat on this record, however, is the last song, "Disk Quota
Exceeded", by Rula Lenska (sorry, not the model but the band),
which consists of Escargot zine editors Windy Chien and Jeanne
with another woman named Laura. Three women making cool,
noisy sounds. (Sick ond Tired: 1230 Market St. #224, San
Francisco, CA, 94102; Dark Beloved Cloud: 5-16 47th Rd. #3L,
Long Island City, NY, 11101)
Our third compilation for the month is
more a bizarre documentary than a compilation as such. Sounds of the
American Fast Food Restaurants •
Vol. 1 features ten authentic field
recordings full of dark humour and
American kitsch, wilh an introduction by
Ryan Kerr of the Golding Institute and
narration by Greg Turkington. The most
disturbing of the tracks (all of which
were recorded in various Californian
restaurants) is from the Hot Dog on a
Stick, while the Subway recording is
most yawn-inspiring (probably a good
thing). Believe it or not, future recordings
in this series include Sounds of
Californian Car Rental Agencies, Sounds
of San Franciscan Adult Bookstores, and
Sounds of the American Multi-Plex
Theater Chains. Oh, and don't forget to
check out vol. 2 of The Fast Food Restaurants.
Makes us glad we're Canadianl (Dolor Del Estamag*
apdo postal 12-500, 01344 Tamaulipas, Mexico.)
While we're on the weird stuff, Austin Texas (the band) has
sent us their latest offering. The o-side, "Indy Rock Girl", managed
to thoroughly confuse us with its mix of musical styles. The song
starts out with violins and what sounds like classically trained
female vocals, then turns into a classic indie rock number complete
with feedbacking guitars, crunchy bass and a male vocalist. The
song then switches back to piano music with the guitar feedback
still going, but ibis time the vocals are male harmonies. The b-side
songs are sort of like a combination between Smog and the Velvet
Underground. This is lo-fi creativity at its best. (Good Witch
Records, 6660 Washington Avenue, #3E, St. Louis, MO, 631 30)
A reliable source tells us lhat "urusei" means noisy in Japanese,
which is an apt description of the music made by Urusei
Yatsura UK label Che Records, also home to Slipstream and 1 8th
Dye, has released a two-song 7" by this band, packaged in a
bright orange sleeve covered with sad silver hello kitties. We prefer the b-side
song, a heavier, distorted track ironically
enliHed "Lo-fi" even ihough il was recorded
to 16 track. Kind of like a really punk
sounding Seam. (Urusei Yatsuro, 335 Gt
Western Road, 1/L, Glasgow G4 9H5/ Che
Records, PO Box 653, London, El 8 ZNX/
e-mail: che@cheltd.demon.co.uk)
The Secret Stars probably won't remain
a secret for too long, if we have anything to
say about itl A couple of seasons ago we happened upon a Shrimper Records cassette by this
band. It proved to be a delightful find full of wonderful no-fi pop songs and confusing noise tracks,
oil done by two folks, Geoffrey C.F. and Jodi V.B.
Now we're pleased to say we can tell you about
iheir beautiful new single, encompassed in thick
blue/grey cardboard wilh silver-ink stars and constellations on it. The Iwo songs on this record are
much lusher sounding than those on the Shrimper tope, despite
being recorded to four track, and feature sweet boy vocals and
strong girl vocals with clear guitar sounds and not much more. But
who needs more when you have lo-fi perfection? (Secret Stars: P.O.
Box 921, Allston, MA, 021 34/ Simple Machines: P.O. Box 10290
Arlington, VA, 22210)
Have you ever bought a record jusl because of the packaging?
If so, be warned: we predict that some time in the near future
you're going to purchase the single by Piper Cub (no relation to
ihe Vancouverites we'll be mentioning later in this column). Piper
Cub is another one of those superstar bonds, this one being composed of Jim from Velocity Girl, Andrew from Tsunami, and John
from Edsel. Their record holds Iwo songs of typical indie-pop wilh
lyrics such as "Oh, baby, give me one more chance; you know I'll
toke it. . . woo hoo... " But you should see the paper airplane this
record comes withl You have to put it together yourself, of
course, but lhat's half the fun. Sub Pop's gotta stop spending so
much money on packaging - it's making us poor folks feel rather
»^%'A ■•
**•*§ e*> y.
The new Cub/Potatomen 7"/CD-EP is the First in a series of
split singles to be co-released by Vancouver's Mint Records ond
Berkeley's Lookout Records, with each record featuring one Mint
band and one Lookout band. Our cub ain't so cuddly anymore on
this platter, as songs titles such as "The Dav I Said Goodbye" (full
of retro-pop hooks) and "Exit" (o longer, driving bound-to-be-o-hit
song) suggest. Cub are sounding more and more jaded, ond bitter -
join the club, we sayl
The Potatomen fellow up their full-length CD on Lookout with two
songs, "The Beautiful and the Damned" and "Arcato". A surprisingly light and poppy sound (with Morrissey-esque vocals) from
Laurence Livermore (Lookout's head honcho himself) and co.
(Mint Records: #699-810 W. Broadway, Vancouver, BC V5Z 4C9/
U>okout Records: PO Box 11374, Berkeley, CA 94712)
Also on Mint/Lookout, though not a split, is
the latest offering from punk veterans The Mr. T
Experience. The single starts off well enough
with a great, tongue in cheek pop-punk anthem
to the alternative lifestyle ("Alternative is Here to
Stay"). The b-side song, however, reveals the
band's annoying tendency toward extreme guy-
rawk, wilh lyrics about a new girlfriend having
"bigger breasts and a higher IQ/she's o-wigglin'
and a-gigglin' and a bakin' a pie..." We assume
this is also tongue in cheek, but it just ain't funny.
Don't let the cover to the new Shiva
Speedway 7" scare you away from listenin' to
it, cuz it's worth it. "Twister" b/w "Hell" is the follow-up to a split 7" the band did wilh Quiwer on
Harriet Records. A three piece (2 gals on guitar,
one on drums), Shiva Speedway play aggressive,
Sonic Youth-influenced music, and they can
proudly say they've shored the stage wilh such
bands as the Raincoats, Come, Bedhead, Blonde
Redhead, and Boss Hog. Need we say more? (Fire Eater Records,
PO Box 390643, Cambridge, MA, 02139)
Speaking of Harriet Records, they've been kind enough to send
us a couple of their latest releases this month. First up: The
Receptionists' Keep Your Secrets EP. We don't know too much
about this New York group, except that we like their, dare we say,
cute brand of twee-pop. Interesting song arrangements, good use of
flute, accordion, and xylophone, and sweet female vocals and harmonies make us want to call The Receptionists a less produced, less
poppy Pest 5000. It also features neat song titles like "Eyebrow
Dirge", "The Lament of the Soldier's Wife" and "Wink Wink" (as in
keep your secrets, wink wink), ond a great interpretation of the traditional song "Fairy Dance". (Receptionists Box 1500 Vossar
College, Poughkeepsie, NY, 12601/ Harriet Records: Box 649,
Cambridge, MA, 02238)
Also on Harriet is Louisville, Kentucky's Hula Boy,
wilh their new 7" January 17,   1912. The
ihe title track is
folk-pop song
ide-b  is  another
Aoog-laden ditty
/ilh vocals in a folky
and simple. (Hula
Boy c/o 1 66 Pope
Street, Louisville,
KY, 40206)
the best for h
the       Canad
poop!   Startin'
way far away in Halifax,
Plumtree with Water Had Leaked Into My Suit, on lhat tasty East
My Suit, or
ords. This f,
Coast indie label Cinnamon Toast Records. This follow-up to the
band's Flutterboard cassette is on swirly dark grey vinyl and continues to show off Plumtree's great musical abilities. Side one
consists of "The Phone the Phone", a fast, Juliana Hatfield-slyled
guitar song, and "Uno", a cute, jazzy ditty. The sole song on
side two, "Sodium Chloride", is a medium tempo pop ballad.
Yummy. (Cinnamon Toast Records, PO Box 2665 Halifax
Central, Halifax, NS, B3J 3PL or e-mail: msg@ra.isis.netcom)
Trophy "Best Boozer" Records has sent us a split 7" by The
Stinlcies (new incarnation of the fabulous Leather Uppers) and
The Knuckle Dusters. Two great garage punk hits by two great
garage punk bands. No wank, no wimp, just a helluvalolta rawkin'
fun. (Trophy Records, 89 Seaforth Ave., Toronto, ON, M6K 1 N8)
While we're on the topic of garage rock, Shindig '94 winners
Meow have finally released something! With six songs on pink
swirly vinyl, their record is interesting because the songs seem to
start mid-note. But olher than lhat, this is straight ahead girl garage
rock, wilh a definite catty theme. Check out side b for the catchiest
of catchy feline tunes. (Twist Like This Records, P.O. Box 540995,
Houston, TX, 77254)
And hey, while we're on the topic of Shindig, 1991 contest winners Brand Now Unit have a new, self-tilled 7" which seems to
be their first release on HearlFirst Records of Germany and Japan.
Three songs of political angst wilh consistently fast, crunchy and
catchy riffs by this Vancouver quartet. Hi-fi production by Blair
Calibaba and cool cover design by local artist Atomos. (BNU c/o
2360 Windsor Street, Vancouver, BC, V5T 3Z5)
Gob. How many times can we say punk? Punk. Punk. Punk.
Punk. Punk. Punk. On clear green vinyl, apparently endorsed by the
Jolly Green Giant. The Gobbers do it again on their second
LandSpeed release. Green Beans ond Almonds. (LandSpeed, 386-
1 027 Davie Street, Vancouver, BC, V6E 4L2)
Last bul certainly not least, Ten Days Late hcve
, "Out of Tune",
punk and  less
Treehouse Lounge
Saturday. October 21
You know, I always wondered
what happened to those guys with
the huge slick pompadours, big
sideburns, and muscle shirts - you
know, the ones who'd always be
down front at those Stray Cats
concerts. Apparently they're
hanging oul at the new(ish)
Treehouse Lounge down at the St.
Regis, where, in the midst of a
recent Ray Condo show, they
seemed right at home (but so did
the rest of us).
Opening the show were the
Hayseeders, a local (I assume)
group I've never heard of. No!
too shabby as instrumentalists, especially their fiddler. Weak on the
vocals, though. I would definitely
check out these guys again, especially if they took notes from
One of Ray Condo's gifts
seems lo be in attracting an enthusiastic and varied crowd who
jusl come to have a good time.
For the uninitiated, an old(er) guy
in a cowboy hat with a beat-up
guitar fronting a mondolin, snare
drum and stand-up bass might
seem pretty darn square. Visuals
aside, these guys can rock. Ray's
on-stage potter is almost as bril
liant and twisted as his takes on
country and rockabilly gems. And
the dance floor never emptied for
Those young whippersnap-
pers bands out there could learn
much from a slick cat like Ray. His
treads are far from wearin' thin...
This guy deserves more attention
ond a wider audience, so look
for his next gig and git your pals
down there. Yeehawl
Vol Cormier
Starfish Room
Thursday, October 19
Things started quietly ot the Starfish Room on this night. The
Imagineers, a bass-guitar-drums
trio, started their show with a
heart-warming display of amity,
shaking hands with each other.
Twice. They then cut into a set of
bog-standard, classic-rock style
electric blues in the Steve Earle
idiom, except not as good. It was
pretty much 70s music meant for
a late 80s beer commercial. The
Imagineers seemed to be doing
their damndest, but, in the end,
their name turned out to be just
so much false advertising.
Next up were the Strapping
Fieldhonds, from Philidelphia. A
quartet composed of two guitars,
bass, and drums, they relied
pretty heavily on tried and true
pop melodies and didn't really
seem to go anywhere with them.
With the exception of the last
song, the Iwo guitars were pretty
much just aping each other, and
A five-piece band from San Francisco, they played some fantastic
ond bizarre music with some of
the most original melodies I've
heard for a while. Sometimes they
had a bass, drums, and three guitars going - eoch guitar playing
something different and adding
up to a really enjoyable whole -
the bass and drum lines were
none loo inspired. The band did
a poor o job of capturing the
crowd's attention, and their performance was received with polite but unenthusiastic applause.
As disappointed as I wos by
the first two bands, I was impressed by the Thinking Fellers.
and sometimes guitars were
traded for a violin or a banjo. The
band is very egalitarian in doling out its vocals - eoch member
seemed to contribute equally to
the singing over the course of the
show - ond they have a pretty disturbing way of delivering them at
times, as when the men changed
midstream from soft bass to deranged Falsetto. The Thinking Fellers also manoge to create a particularly interesting and original
quality in their playing, producing a number of sounds of which
I wouldn't have thought their instruments capable. At one point,
the bassist, Anne Eickelberg,
called for a beer bottle and proceeded to play her bass with it.
Not as a slide on the neck, though
- she seemed to be using it to drive
the strings into a kind of haunting
and ethereal opiated frenzy.
All it all, il was a heN of a
show. I went in not knowing
much about the Thinking Fellers'
music, and I left it wonting to
learn a bunch.
Adam Monahon
Commodore Ballroom
Sunday, October 15
As evenings of pure, unadulterated musical pleasure go, this one
will be hard to beat. Each oct was
worthy of headlining, turning in
a great performance and great
songs, if anything, the actual
headliners were the least worthy.
But more of that later.
Kingston's The Inbreds started
promptly at 8 p.m. ond justified
the upward trajectory their popularity has taken of late. They are
a two-man force-de-pop, entertaining and appealing. Lead
singer/bassist Mike O'Neill's
ability to cajole all sorts of sounds
out of just four strings is amazing. The relatively meogre crowd
that saw them pby were uniformly
appreciative, and obviously cognizant of the fact that The Inbreds
are, in short, unreal.
The nicest surprise of the
evening came from Bostonion
Jennifer Trynin and her band,
bassist Mike County and drummer
Chris Foley. Songs that were
good, strong rock tunes on record
reached their explosive potential
when performed live. Trynin is a
guitar diva sans pareil, almost
overshadowing her distinctive
voice in the course of her six-
stringed antics. All three musicians impressed individually and
as a cohesive, blasting whole, because, basically, they are bloody
good; and they set a standard
that Buffalo Tom, in some ways,
Buffalo Tom seem to be at that
taken-for-granted stage - everyone
knows ihey are a good live band
wilh pop gems of songs, so it is a
given that they will be enjoyable.
And they were, but in a way it was
too predictable. In light of the
Jennifer Trynin powerhouse and
the (somewhat) new breed of
power-pop so well represented by
The Inbreds, the Boston trio weren't
as exciting as they once might
have been. The excellent musical
abilities of Trynin ond her band
mode Buffalo Tom seem somehow
less accomplished. I wanted des
perately to like Ihem as much as
when I first saw ihem play, and
their songs are good, but they
weren't as remarkable as the other
two bands. Ah, whatever - it was
a damn fine night of music.
Sophie Hamley
Town Pump
Saturday, October 14
Treble Charger are one of my favourite bands at the moment and
ihey have been since I first heard
them last year. Perhaps an attitude like that will never make for
the most objective review, but I
think I can safely say that Treble
Charger lived up to their high
standards. Piercing, driving and
melodic songs, with on energy
that few bands have, allowed
them to wow the audience
(whether they realized it or notl),
most of whom were there for the
headliners. Their actual sound
was another matter though. If may
have been because their regular
sound technician was working the
Halifax Pop Explosion, or maybe
because the band couldn't quite
gel with someone else at the
board, but the noise coming
through the Town Pump's loudk
speakers was a jumbled mess.
1 3 Engines aren't a band I've
ever been terribly fond of. The occasional ditty may have perked
my ears in the past, but I never
saw reason to seek out more by
them. I suppose I could say they're
as good os their songs but unfortunately for me, I didn't like more
than a few. The full crowd (many
of them in a moshing mood) certainly enjoyed 13 Engines, and I
don't know if that says more about
my tastes or the crowd's. They
played their anthemic rock songs
to people that genuinely liked
them, I just didn't happen to be
one of those people.
Brian Wieser
Starfish Room
Thursday, October 12
It was a night of infectious rock
at the Starfish Room. First up. The
Figgs. These guys were the perfect opening band - they rocked
the house just enough to get the
crowd riled up and smiley faced,
but not so much that they put the
headliners to shame. They pulled
off such opening band pizazz by
means of their fast, melodic, guitar-driven grit rock and an equally
energetic on-stage attitude. These
four guys were all smiles and
bopping heads, with a few spontaneous knee crunching leaps
thrown in for David Lee Roth Rock
credibility. Three spritely young
bucks with guitars took turns singing lead and harmonizing on
back-up vocals, and it was this
constant interjection of melody
which made their music so head-
boppingly, heels hoppingly infectious. No matter how loud, fast
26 NOVEMBER 1995 or hard the song got there was
always a catchy tune rugging at
your toes ond equally melodious
vocals tickling your ears. The
Figgs are one of those bands who
just look like they're having so
much damn fun pounding out the
tunes on stage. None of that shoe
gazing, sensitive indie rock fiddling with the fuzz pedal between
every song, these guys have a
raw energy and a totally unpretentious air which make them and
their music simply irresistible.
Their songs have titles like "Chevy
Nova" and "Cherry Blow Pop",
and, appropriately enough, they
dedicated one tune to Vancouver's own infectious rockers, the
Smugglers. I say appropriately
because if I were to lump The
Figgs in with anyone, The Smuggs
would probably be it, if only for
their similar on-stage chutzpah.
Unfortunately, after being so
revved up by The Figgs, the
crowd was forced to endure forty
minutes of lag time in between
bands, after which they were
ready to be fired up again. So
when Britain's Supergrass finally
took the stage I'd have lo say that
the majority of the audience was
more than ready lo love them. As
was I, but somehow, despite my
full-on readiness to be rocked, I
thought the performance fell a little flat. Although I'd probably be
hard-pressed to find an audience
member who'd agree with me,
because technically the show was
pretty much flawless, I just thought
it was a little loo predictable.
There weren't any surprises - the
lads looked, to the tress, exactly
as they did in every publicity photograph ever published of the
band, and they delivered a
steady diet of familiar hits from
their full length release / Should
Coco (OK, maybe familiar to me,
because I've worn out the CD until
it's nothing more than a rainbow
on a platter). They did play a
Kinks cover as well as a poppin'
version of a sentimental Kenny
Rogers tune, but the greater part
of their set consisted of crowd-
pleasing Coco. In addition, the
set was quite short and the blokes
didn't provide much in the way
of on-stage banter, but my main
beef is that they just didn't do anything on stage which I hadn't already heard them do on the album - which I guess is no crime.
So what am I grumbling about?
Oh... never mind.
Kazi Stastna
Town Pump
Wednesday, October 11
I have to admit that I'm usually
one of those people who are in
bed by midnight, so concerts can
be a bit of slog for me because I
usually just want to go home and
sleep. Damn, I wish the band
would hurry up, so I can go home
and roll in to bed.
Luna woke me up after the stupor I was in following openers
Superflux, who were so nondescript that I can't even describe
them. Luna are so magically pop
that you can't help but feel all is
right in the universe. The show
flowed along very nice!/ indeed
and tunes from all three Luna releases were trotted cut ond I got
to sing along with some of my
fave Luna lines, especially from
"California (All the Way)" - "I'm
livin' like a trucker does/Even
though I haven't got the belly."
Not many lyricists can create vocalist Dean Wareham's observations, but Dean, honey, SMILE, for
God's sakel Luna will certainly
win no awards for their energy
level but their songs and musicianship were so good, I didn't core.
Hell, I was willing to slay up way
pas! my beddie-byes time for them
ond they only did one encore and
we milled around, waiting for
them to reappear, but no such
luck. Jeez, I don't stay up late for
just anyone, boysl
June Scudeler
Town Pump
Tuesday, October 3
Chinchilla started this night off
with their all-Female line up, rousing people to dance and pay attention. They weren't our thing,
though, so we mingled.
Next up was Sicko, who we'd
seen a few months bock at the
Starfish Room. It's simple, it's
punk, and maybe if so many
bands didn't sound like this nowadays it would have been cooler.
We like them but don't love them
and once again found ourselves
mingling. They did have a lol of
crowd response though, so hey,
what do we know?
Jawbreaker rockedl The
sound wasn't the best but we
loved it and so did the crowd.
There were continuous requests
for "Chesterfield King" off of Bivouac which they finally played to
an enthusiastic, devoted, lip
syncing throng of fans. The pit
was moving the whole time and
everyone seemed satisfied. Jawbreaker played songs from their
new album Dear You as well as
previous releases , finishing the
night off with "Bivouac", the powerful last track from the album of
the same name. We laughed, we
cried, we shared a moment.
Steve & Mike
The Rage
Wednesday, September 27
Tonight's show was billed as a
multimedia art rave. Now, I've
been to a few raves in my time,
and this was not one. If anything,
it felt like Morrissey's wake, or a
Labatt Ice commercial.
First up was the fashion show.
Overall, it was rather tepid, which
was surprising for something with
a sexually charged S&M theme.
Imagine the Twilight Zone as a
strip joint, only worse.
The first band of the night was
Ihe Black Market Babies, who fall
into the glam-punk category (imagine early Motley Crue as a
Ramones/Dead Boys cover
band). Although the snide remarks directed at these guys were
coming in fast and furious, I
thought they weren't bad. This
band could be really good if they
concentrated more on the music
and passion, and less on fhe hair
dye (black, of course). „
The Broineaters also played
tonight, if you can call it that.
What is this? Chris Houston with
Alzheimer's Disease? I think you
better stick with painting, Jim.
There was also a heavy metal
haircut slide show. Some looked
like Warrant and Rait rejects, others looked like out-takes from Outlaw Biker magazine. Can you say
cheezy? I knew you could. As a
matter of fact, the ripe scent of
aged cheddar seemed to be wafting through the building...
Last up, and the perpetrators
of this event, were the Garden,
who were surprisingly good. They
were technically proficient and
melodic. Although they sounded
a bit too much like the Sisters of
Mercy (as well os other goth
bands of that ilk), they had a
bluesy undertone which offset it
very well.
Even though I enjoyed some
aspects of the show (being
somehing of a sick puppy, I found
the piercing exhibition
quite...alluring), I thought that the
blatantly 'alternative' undertone
was rather patronising. The Gen
X scene as brought to you by the
Province and U.T.V.
Keith Courage
CiTR 10L9 fM presents
In Spite
■'.: TOVEHBER     7 1~~
Johnny Millenium
Veronica ']-l
Polar Bear
...they rose fr
SHINDlGjp i,
their monstrc
thirst for |
the beat to ti
the earth!
Readymade j
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Tha Great Escape
Many articles have said thai Blur
will never make it in America because they're too English. For me,
that is their charm and I admire
them for not sounding like Green
Day. Why should they? With the
advance of so called American culture across the globe, Blur's Eng-
lishness should be applauded, not
seen as a liability. If America
doesn't get it, it's their loss.
Vocalist and lyricist Damon
Albam loves to make English archetypes come lo life - the lead-off is
called "Stereotypes" after all. The
most effective use of these archetypes is in "Globe Alone" wilh it's
chorus of "He is because he saw il
on a commercial break/and if he
doesn't get what/he wants then he'll
get a headache/because he wants
it, needs il, almost loves it." It also
features the bang on line "Who's
mobile phone gives him the bone/
who very keen on Sharon Stone."
The Great Escape's musical
styles change from the Specials-inspired "Fade Away" to the space
age ballad "Yuko and Hiro". It is a
joy to put on a CD that you don'l
know what to expect from because
of it's sheer variety and quality.
Amazingly clever anti-consumerism
packaging, too.
June Scudeler
Action Pants
(No Life Records)
If the Brady Bunch made a band,
they would sound like this St. Louis
trio. Band members Matt, Karen,
Renee and unofficial fourth member Dave, strum out (insert cute
adjective) and simple melodies.
However, I would put money on the
fad that deep down they want to
be an evil band. Song titles like
"Super Star 666" and "Criminal
Band" give the listener a hint to the
dark lining in the silver cloud. Further evidence can be found in
"G.I.2k"  in which the happy
bursts of senseless noise... Bang
your ponytail. The next time you
invite the cheerleaders over for pop
and chips, pull oul Bunnygrunl and
bop yourself silly.
The Dandy Warhols
(Tim Kerr Records)
want honesty and emotion and
power ond soul. You want trulh.
You're sick of the Green Day/Soul
Asylum epidemic and you want a
change, you want things to go bock
to normal. I know.
The Dandy Warhols are those
slivers of light that manage to penetrate your blinds every morning.
They wake you and remind you that
things are still new, come out and
see. "...none of my friends would
bother to even bother.. .Philip wants
to be a rock star but he's a bit
uptight...and he sits on the couch
all night..." Courtney Taylor's voice
floats over and under and over and
pulls you in headlong all the way.
It won't leave you alone.
And the music. The songs are
so full and honest, complete with a
Jew's harp, a mandolin, a sitar, and
a flute. "Not Your Bottle", "Just Try",
and "Nothing" manage to capture
the slow and moody sincerity and
subtle streams of emotions that
haven't been captured since Jane's
Jeremy Lanaway
Is il noise? Is it art? You decide.
Obviously not for the timid, Hafted
Maul follows a formless and discordant path that deconstructs
melody and will leave the less ambitious scratching iheir heads. Mark
Spybey, formerly of the pioneering
industrial avant garde group Zoviel
France, has now based himself in
Lotusland and hooked up with cEvin
Key (Skinny Puppy) to produce an
ited by short       abstraction  of popular music.
oise... Bang Unidentifiable frequencies merge
into a soundscape intentionally devoid of riff and beat. Many will think
Dead Voices on Air is a waste of
>. Ther
n his I
*e, Von
Gogh sold his paintings in bistros
for o drink.
P. Hofmann
Lost Somewhere Between the
Earth and My Home
It's nice to know that classical instruments can still be used to create fresh and innovative music. The
Geraldine Fibbers are a five piece
band from Los Angeles featuring
two guitars, drums, a double bass
and violin (alternating with the
viola). The sound that is produced
is a nice change of pace to hear.
Carla Bozulich has an amazing
voice which could probably sell a
band by itself, and the arrangements of instrumentals are equally
proficient. The previously independently released single "Dragon Lady"
is definitely one of the highlight
tracks, bul songs such as "The
French Song" and "Lillibelle" show
lhat there is much more to the band.
Lost Somewhere... is a mixture of
rock, country and folk all rolled into
one, and it's good. Hmm... maybe
I'll start playing my cello again...
iSrSkame Quan
The Ambient Room
With a generous assortment of relatively fast BPMs on several tracks,
■railed ».
'   CD   i:
rather inappropriately titled piece
of work. However, it's the tracks
without beats, like "Speeches",
"Dim Voices", "Moisture" and
"French Cook", that really stand out
from the crowd. These 'ambient'
tracks are really interesting and I
wish there were more like these. As
for the rest of the disk, it's pretty
,   fee
Kenneth Raaberg, makes me cringe
everytime I hear it.
Brian Wright
Too Late... No Friends
I'm not really schooled in the punk
rock thing, so I can't judge the relative quality of this CD. I can say
that there are twenty songs in all,
including a Smugglers cover ("Hey
Stephanie"), ond that the track
"Marching Song", an entirely instrumental piece made up of kazoos
and other human derived sounds,
is really funny. It's difficult to distinguish most of the songs, but a few
that really stand out are "Extra,
Extra", "Asshole TV", and "I Don't
Know". It's fast, it's punk and it's
Grahame Quan
Amrita...AII These and the
Japanese Soup Warriors
(North South Records)
From the Nation posse that brought
the world Fun-Do-Menlal and Trans
Global Underground, Loop Guru
once again assumes its supremacy
over EVERY single ethnohouse outfit in the entire world with this outing. But how to explain this breed
of perfection? Description is beyond
mortal understanding, therefore let
me quote something from long ago
and far away: "The viewing of the
Mind contains ten divisions. The first
is the viewing of the realm of the
inconceivable. The second is the
excitation of the merciful heart. The
third is skillful and tranquil concentration and insight. The fourth is the
refutation of the (laws) universally.
The fifth is the recognition passage
and obstruction. The sixth is cultivation of the paths of the Way. The
seventh is resistance to impediments
and ancillary acts of opening one's
vision. The eighth is knowledge of
order and degree. The ninth is the
ability to acquiesce with tranquillity. The tenth is absence of (law)
craving." - Zhi Kai
I couldn't have said it better
myself. Five lotus flowers out of five.
(But is that a prepubescent vagina
on the cover?)
Afraid of Sunlight
Pink Floyd fans, this one's for you.
From the wild cover art to the religious overtones to the mellow atmosphere, Afraid of Sunlight is absolutely full of Floyd influences.
However, Marillion is not simply a
Pink Floyd rip-off, and this album is
a great one in its own right. There
is not a weak track in the bunch of
them. Melodic guitars swirl around
simple rhythms and a synthesizer
background, giving the listener an
hour of pure bliss. I usually like loud
obnoxious party bands, but I am
indeed very impressed by
Marillion's Afraid of Sunlight.
Peter Stevens
laora Tahiti
(Too Pure)
(Attic/Planet Dog)
In the world of ambienl techno,
Germany injected a degree of Teutonic (i.e. 'dark') kinetic energy
perhaps signified best by, say, Sven
Vath or the folks at Tresor. Mouse
on Mars don't happen to fall into
the same school of thought as their
brethren, laora Tahiti, their second
LP (the first being the fantastic
VulvalandIP), sounds Einsturzende-
clunky, with shades of Ultramarine-
folk and ughl jungle (yuck). Is this
a good sign? Well, I definitely liked
the tracks "Hallo", "Schunkel" and
"Kompod" because they sounded
like the Mouse on Mars with which
the world is already familiar. Another thing is that the album is twice
as long as the first LP, perhaps making up for quality with quantity.
Eat Static's Abduction easily has
the year's most lame album cover,
making X-Files special FX look In
dustrial Light and Magic-good. But
who caresl It's a great album I Well,
half of it is anyway. Some tracks
are rave fodder, like any 808 State
album out there, bul others gleam
like an Orbital, Underworld or LFO
album. Tracks like "Golf Breeze"
and "Splitting World" make ya
wanna slap your dancing shoes on
and... Holy shit, I'm getting loo old
for this.
(Hub City Records)
Corolla reminds me why The
Papillomas were my pick for
Shindig winners last year ('though
they ended up coming in second to
Meow): witty lyrics
>f Ihe
lobel-era Re
placements (maybe a little loo much
so al times) and Buffalo Tom. Not
all of the songs are standouts, and
by no means do I compare this CD
with BT or the Mats. However,
there's definitely some potential
here, and, given a few years, the
Papillomas could develop into a
band of their calibre. In the meantime, Corolla is slill worth checking
out, especially for songs such as
"Ted Nugent's Spine", "Piece of
Corn", ond "Yeah". These are the
songs lhat stood oul the most to me
at Shindig, and I think the fact that
I still remember seeing them play
those songs is something of a testament lo their quality.
Brian Wieser
Mistura Fina
Translated from the Portuguese,
Mistura Fina means fine mixture.
Aptly tilled, bassist John Patitucci's
rhythms employs some of that country's greatest purveyors of a music
style that is rapidly growing in appeal to a mass North American
audience. Although not well known
north of the Equator, names such
as Joao Bosco, Ivan Lins and Dori
With a jewellry purchase
you receive a free piercing by
Canada's most experienced piercers
1043 GRANVILLE STREET 688-6225
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c/iuw**. for ttio«p not in the know, tin*: Ii a Injbrid mix of cka, punk, tap deliverw) «/ltli
one mighty ?onio boom...
DrofCity   Chintoscuro SALD 21?
Tin- lollow up to A Revolution..., tin*; Il moro fuzzo) out than the last, featute*; a fine
cover of the Spacemen '•! clawlc losing Touch..."
Godstat   Constnl   2LP set only (no CD) HAC42
?0 tracks over ?LPs of perfect mc* fi pop. Wlc Dalton and frlpnds (Smudge etc.)
continue to pump out PC (pop correct) ditties.
Hunters & Collector* Demon Flower SALD 220
This has the angst and noise of the early Conni) Plank produced stuff and the
sonRwrltlnjt/pop sensibilities of Human Fraitry period. Like his Australian peers Paul
Kelly and Ed Kuepper, Mark Seymour is a storyteller/songwriter. If you ever had a
soft spot for these guys, return, you won't be disappointed.
The NecHrine No 9 NHem Fulls SALD 214
"A complete hussy, coated In a becoming arrogance   the most ridiculously under
recognized pop organism" The brilliance of Davey Henderson (of the FireFnglnes/
Win) and crew is not to be missed. Kelrnan won the Booker, Irvine Welsh
Trainspotting Is a must read too. All eyes on Scotland... Mo need to be a cynical
bastard I suppose... Just don't ignore this one.
The Nectmir-e No 9 SnintJuck SALD 229
Davey I lenderson returns with one of the most important releases of the year*.
Melody Maker says "Saint Jack is a serious achievement. No other band could get
away with this  most wouldn't even think of hying."
Caymmi are legendary in South
America. Mistura Fina blends jazz
textures within a Latin framework
lhat relies on being quietly tasteful
as a collective rather than being a
showcase For individual talents.
Well worth a listen.
P. Hofmann
Feels Like Heaven...Sounds
Like Shit
Banking on the success of the Notes
from the Underground LP, and banking on it heavily, are remixes of the
most popular tracks from said LP.
Yes, it's a remix album, so you'd
belter be a Pigface freak to love this
one. However, if listening lo the
same songs over and over again,
albeit mixed by DHS, Skalenigs,
Youth, Psychic TV, and Law & Order, isn't your thing, move on and
wait until the next, forthcoming, LP.
If il is your thing, though, go lo track
16 and enjoy the apex of whal this
here outfit has attained.
(Moon Ska NYC)
Ah, yes, ska based on and performed by users of alcohol, pot,
surfboards and sex... And who
belter to pull it off than a bunch of
crazed surfer Aussies from Newcastle. You won't find any deep themes
or songs that will make you ponder
love, politics, or anything except
having fun. A fasl-paced mix of
■md hor
i ska c
surfpunk. Rippin' covers of "Hawaii
5-0" and "California Sun". Don't
head lo the beach without ill
...And Out Come the Wolves
Besides the melodic punk songs on
Rancid's new CD, my favourite aspect of iheir latest release is the ska
songs they've included. Rancid
seems lo be remembering the roots
of their founding members, formerly
of Operation Ivy, and tracks like
"Time Bomb" and "Old Friend" odd
a nice change on this 1 9-song CD.
Other highlights include "Journey
lo the End of the East Bay", a song
in Rancid's usual punk rock style
which tells of Operation Ivy's breakup, and "Junkie Man", a poetry
piece by Jim Corroll (and the source
of the CD 's title). ...And Out Come
the Wolves is excellent - very upbeat and guaranteed lo put a smile
(Hollywood Records)
Supercharged with adrenaline-induced tunes, Seaweed's Hollywood
Records debut packs an impressive
and powerful punch. The fourth full-
length release from these
Washingtonions is indeed another
great chapter in the style and sound
rhol is...TACOMAI Seaweed
projects an energetic sound incomparable to any other band I've
heard before, with slamming drums
mixed in wilh a wall of guitars, and
Aaron Slauffer's howling voice
piercing my our eardrums.
Comparing Spanaway to previous Seaweed albums is 'apples
and oranges'. If you are someone
who enjoys the semi-low-fi
grunginess of old Seaweed, you
may be disappointed with whal you
Punchbuggy All Mite Chu
rn Roller-
al West Coast tour, before the band heads to the studio to start work on the
im. look for dates in mid/late November probably with Trigger Happy. Also
new 7" out on Montreal's Mag Wheel Records.
The Vncflht Lot       Shake Well
The 'h(\ album from Brooklyn's (inest and it
nest. 14 pop punk
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I Send $15 to CiTR to have a t-shirt mailed to youl
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hear. Spanaway is full of electrically-charged tracks whose sound
quality is head and shoulders above
that of Four, Weak, and Despised
(all on Sub Pop).
If you are a speed-junkie in desperate need of a quick adrenaline
fix, I recommend picking up
Spanaway. Just be prepared to feel
an uncontrollable urge to bang your
head against something as the
power lhal Seaweed projects rushes
through your veins. VISUALISE
Catfish Corday
Here's Where the Strings
Come In
If you were expecting a new sound
or something different from the
clean sounds of Superchunk, you
will be disappointed by the band's
latest release. Here's Where the
Strings Come In embodies Superc-
hunk's usual sound of melodic pop/
punk, with the regular verse/chorus arrangement and, most noticeably, Mac's style of one-sentence
repealed choruses.
Not lo say that the CD is bad
because of this, it's just very Super-
chunk. Some notable songs are
"Green Flowers, Blue Fish", a
slower, quieter song that fully culminates for a brief second and then
reverts back to its sweet sound.
"Certain Stars" is reminiscent of
Porlaslalic's sound (Mac's olher
band), as it consists of layered guitars and keyboards. Overall, I enjoyed ihis CD.
Carols From the Canyon
(Chemical Sound Recordings)
From Toronto, Suckerpunch is [was
actually, they broke up a few weeks
ago - ed.] a musically strong, three-
piece rockabilly band. Carols from
the Canyon possesses a greal, intense energy, from the powerful
guitar riffs lo the sexy vocals. Like
any good rockabilly band their lyrics are infused with a retro undertone (from lava lamps to Marilyn
Monroe), as well as some very sexu-
illy suggestive lyrical content.
This album has a great combination of a fast psychobilly pace
with a good classic rockabilly
swing. If I didn't already own a
copy of this CD, I would buy one.
Oh yeah, the band members are
cute, too.
Julie Matson
(Come On, Join) The High
The Clash were angry loo... but
they had talent.
P. Hofmann
Milktrain to Paydirt
(Homestead Records)
In a Word
(Earache Records)
Trumans Water's latest album, probably like their previous works, can
be simply described as beautiful
chaos. The immediate impression
one receives is of a formless exploration of tonality, multi-layered mayhem lhal incites repeated listenings
in on effort to decipher each tangential wandering. The most well-
known reference points lhat can be
offered are that this band has slight
echoes of Pavementhood by way
of Sonic Youth, but this is a bit simplistic and does not begin to describe their sound. Trumans Water
are excellent noise merchants, mixing different instruments and keys
in such a way that each time you
listen you'll find something new. To
break the olbum down into individual songs would ruin the effect.
Milktrain to Paydirt will not be
to everyone's taste - if you like discordance, experimentation and
noise, you probably know about
Trumans Waler already and need
no further encouragement; if you
don'l, this album is eminently worth
a listen, but stick with it rather than
throwing up your hands at the absence of melody.
In contrast, Fudge Tunnel's collection of collectibles on In a Word
sounds overly bound by form. These
bottom-heavy blastmeisters deliver
a solid LP of loud, heavy rock that
will delight any connoisseur of the
genre. The main complaint would
be the similarity between songs.
Bul, hey, they obviously like what
they do and what they do they do
well. These songs will not kick-start
any neurons in need of thoughtful
stimulation, but they will provide a
comforting cocoon of plain ol'
noise, and sometimes this is jusl
what you need.
Sophie Ham ley
500 Miles To Glory
(Red Devil Records)
In my rich fantasy life, the soundtrack to all ihe corshows, motorcycle rallies, drag races, and any
other automotive event would be the
music contained in Gearhead
Magazine's 500 Miles to Glory,
twelve supercharged, overdriven,
hkictane rawk lunes from the likes
of Nine Pound Hammer, The Fallouts, Supersuckers, Teengenerate
and others. All this is nicely packaged and interspersed with some
classic Indy 500 audio dips.
My only regret is lhal, as with
all fantasy, reality sets in and I realize lhal Lynyrd Skynyrd and Southern/Classic rock will always be the
ruling force at all such events. I
guess the rest of us will have lo rely
Oil/Skampilation Volifl
(Radical Records)
Nineteen tracks of in-your-face ska/
oil/hardcore/jazzll recorded live
from the 2-day Oil/Ska Fest at the
Grand in NYC. Wilh powerful horn
driven bands like Mephiskapheles
and the Scofflaws intermixed with
the loud sounds of oi bonds like
Oxblood and the Wretched Ones
this might not be for everybody, but
if you like your tunes loud - whether
they be ska-punk, hardcore oi or
old school ska - check this out. Other
notable bands include Skavoovie &
Ihe Epitones, N.Y. Citizens, the
Bouncing Souls, Spring-Heeled
Jack, and the greal bonus CD track
"Ray-gun Sally" by the Slackers.
Trancesylvania 5
(23 Frankfurt)
The entire 'Trancesylvania' series
from 23 Frankfurt has been great,
and the legacy continues on
Troncesy/vonia 5. The first syllable
in the name says it all. This compilation spans two disks, with 27 underground cuts by 17 artists -155
minutes of pumping  European
30  NOVEMBER 1995 trance with a dash of progressive
house thrown in for variety. All of
the tracks will move any crowd lo
the dance floor.
This compilation is quality from
start lo finish, with tracks from Felix
Da Housecat, Speedy J, DJ Misjah,
Laby Doc and the Dentist, Ceh/in
Rotane, Emmanuel Top, Union Jack
and many many other reputables.
Even Hardfloor drop in with their
distinctive 303 mastery on two
remix tracks. Trancesylvania 5 will
cost a bit more and it will be hard
lo find, as all imports are, but go
out of your way to find it and roll
up that loose change because it's
worth every penny. So, when's
Trancesylvania 6 coming out?
Brian Wright
A Northern Soul
(EMI/Vernon Yard)
One would gather lhal when The
Verve were recording A Northern
Soul an ample supply of substances
were within arms length. With their
second album, this Brit quartet offers a pastiche of drawn-out, sometimes sloppy psychedelic jams not
far removed from The Stone Roses.
Hypnotic guitars and organs
wash over loose melodies in a
somewhat epic fashion thai drags
you into The Verve's wonderful Paisley world. A sense of drama encapsulates each song, with guitarist
Nick McCobe providing the sonic
backdrop for Richard Ashcroft's
subdued banshee wail.
Northern Soul has the ability
to gel under the skin and saturate the pores with its majestic
sweep. A rare combination of
power and beauty.
P. Hofmann
Plays America's Favorite
Award Winning Tunes
(Catasonic Records)
When you first look at the cover
of ihis CD, you get the impression thai this is some hack trying
to cash in on the Tiki Notion
craze. Now, why on God's green
earth Mark Whealon would want
lo identify himself with this particular trend in music is beyond
me, considering that what we
actually have here are soundtracks and contributions to whal
I imagine are highly pretentious
theatre and performance pieces.
To tell Ihe trulh, the songs here
aren't bad, if you like your background music eclectic and experimental. Whealon lends lo run the
gamut from off-kilter ambienl to
what sounds like soundtracks to old
silent horror films. ("Boiled Trap" is
a good example).
Although some of this is extremely annoying (avoid at all
costs "Squeeky"), not lo mention
redundant, I can honestly recommend this lo all of you who like
your muzak spiked wilh acid (the
drug, not the music).
Keith Courage
The Very Same
The first time I put this album on, I
despised it and was prepared to
tear it to pieces. Upon subsequent
listenings, however, I grew to appreciate il. Musically, this album is
all over the map. Influences like Yes,
Jethro Tull and other 70's progressive rock bands often rear their ugly
heads. Wooden Stars also incorporate the zaniness of John Zorn, the
twisted pop sensibilities of Polvo,
and the quiet lazy side of Eric's Trip
into iheir music, adding to the slew
by using instrumentation like cello,
piano, accordion, saxophone and
violins, in addition to the standard
guitars, bass and drums. While I
respect whal Wooden Stars ore
doing, after 60 plus minutes, it lends
to gel a bit overwhelming.
Fred derF
Apparently, this music is a tribute
lo a German TV show called Space
Night, and yes, ihere is definitely a
spaaey feel to almost all of this CD.
However, there is one misfit track
called "Rainforest" which is sprinkled wilh bird calls and tribal
drums, definitely bringing the listener back to terra firma. Meanwhile, all the other tracks are slowly
meandering in zero gravity and are
filled with void-spanning echoes. It's
nothing lo gel too too excited about,
bul, overall, Xylon's Mooncafe is a
rather pleasant chilloul journey and
by far the best music I've heard on
the Hypnotic label.
Brian Wright
Pacific Legal
Education As:
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man or woman over the age of 19
with a never-say-die attitude and a
good s-ense of humour?
We are a non-profit society that
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If you have about three hours per
week available for at least the next
six months we'd really like to hear
from you. We believe that one-to-one
interaction with a well-adjusted adult
can improve the behaviour of a
troubled child.
Interested? Please call us todav.
presents a Benefit for CO-OP Radio
20 years of listener supported radio!
Laura Love
New CI?
Helvetica Sold"
available at
Zulu Records
November 9th
870 Granville St • Doors open: 8:30pm
Tickets: $18 in advance, available at Black Swan, Highlife,
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Online BBS at 1.416.391.1960 _ove_frer'q5 LONG VINYLnovember'q5 SHORT VINYL 35
1 gob
2 jale
3 thee shatners
6 various artists
7 various artists
8 various artists
9 southern culture...skids
10 sonic youth
11 supersuckers
12 various artistB
13 real mckenzies
14 the superfriendz
15 young Canadians
too lata...n<
16 BC
• 32
friends a in
planet pimp
here the strings... aerge
and out cone the wolves epitaph
lit froa within nettwerk
a slice of leaon    lookout* /kill rock stars
only bowie only    boy
the Bacriiicioufl sounds sub   pop
give ae the cure radiopaque
real mckenzies if«
nock up, scale down aurder
childhood  i
17 uncle joe's hig'ol driv«
18 ani difranco
19 various artists
20li_ phair
21 various artists
22 palace ausic
23 nr. t experience
26 the Gaming lips
2? Bianspheric
28 various artists
29 various artists
30 show business giants
31 dirty three
32 various artists
33 treble charger
35 various artists
no escape zulu
unresolved   childhood   issues      wingnut
ir chick rock headhunter
not a pretty girl righteous babe
rock for choice -  spirit of '73       sony
juvenilia ep aatador
volume 11: reading special volume
viva last blues palace/dragcity
alternative   is   here...ep   lookout! /mint
aake it or break it impossible
clouds taste metallic warner
Boaniua sonic   unyon
outpunk dance party outpunk
the long secret harriet
lets have a talk with the dead   virgin
dirty three touch   &   go
oh canaduh! lance   rock
self-title sonic   unyon
goofyfoot kill rock stars
darla records summer sampler darla
Z ten days late
3 poumons
6 refrigerator
accordance to natural law  kill rode stars
out of tiae klark
new se think
kat nip twist   like   this
sexual dreaming rise
louder than goodbye squealer
haters of couch bulb
nerdy girl
long distance
8 aoonsocket
9nerdy girl
10go sailor
1 i pussycat trash aaore
1 2 treblecbarger/punchbuggy split
13 the fiends she's not broken
14 tullycraft true blue
1 5 nine pound hammer teenage head
16 be hi / c bearleader split
17 the earthllngs dr. drink
18 railroad jerk bang the drum
1 g superstar 26hundred sell out
20 hallo i'a a ti
21 pluatree
22the astronauts
2 4 queer s / Bink hole
2 5 slow gherkin
26the mcrackins
27super hussy
28*v«rious artists
29 teen angels
30 brand new unit
31 the hate  bombs
32 rendering lucy
no   life
kill rock stars
dr.    mushroom
bad poisonous alien love snack   sac
water had leaked... cinnamon toast
war of the satellites shot   down
hetarobash was flipper slow to burn
split ringing    ear
zen and soccer join  or   die
life, hey mikey shredder
we are the beet corporate
for   paper   airplane   pilots       papercut
teen dream sub   pop
quick draw richy rich heart   first
she's the girl speedoaeter
really truly
33aark brodie&beaver patrol   shreddin' & surfin'
34godzuki/asha vida split
3 5 litmus green goin' to town
I gaze
3 squeeky
4 brian Jonestown massacre
5 john korsrud's hard rubber
5 the stupes
7 celestial aagenta
3 mollies revenge
3 the aysterons
3 euphonix
1 the deadcats
I polar bear
3 the wheat chiefs
\ lashback
5 trish kelly
7 cool hand luke
3 bona Gy
) violet
I the unhappies
I blisterene
3 the sweaters
4 queazy
> trial
5 the papillomas
7 groverfur
3 downer
3 south of main
) blowpipe
I hayden
I parkas
3 -ransco
l trapezoid
> alley boys
barbequa with el vis
radio    exorcist
she   devil
big   duap
someone else's aind
touch  the  fish
>   on   all   the    cracks
peanut   guy
aister   right
your   way   or   no   way
reach    for    the    sky
falling     down
b   za
i'a    lying   again
garden of eden
crying gaae
1      1 aize 9
2 juno reactor
3 microglobe
4 anthony aci
5 off and gone
6 techno head
7 loop guru
9 Blab
|    1 0 lownoise anc
i'm ready rem virgin 1
guardian angel blue room 1
the afreuroparemixee                               af s 1
1 ha ha more
off and gone ep exist dance 1
i want to be a hippy aokua
duniya                                                 wavefora 1
Bts                  hardcore terror voL 1                     ruaour 1
atomsraasher                                  h.    dukebox
theo            stars                                               master   max |
1 1 blur the great escape eai
2  gane                             olympian                                          polydor
1     3  aphex twin                 donkey rhubarb                                  warp
1    4 resistance d              beat of                                         harthouse
1 5 various artists help war child go discs!
g dam on albarn (the singer froa blur)
1    7 little men who get drunk&sing kiss songs over the phone
1    8  Pwcy bysBhe Bhelley
1    9 my so-called life re-runs
1  io   anything but oasis.
1 ajala                                             carnival '95                         ice  records!
2 strunz and farah                      heat of the sun                           selval
3 jane bunnett                              rendez-vous brazil-cuba   justin time 1
4 beenie    aan                             reggae    gold    '95                             ras 1
5 gloria      estefan                 abriendo      puertas                 sony
6 lawrence martin                       message                   first nations ausic 1
7 byron lee & the dragonaires        soca    tatie           vp    records 1
8 nuBrat fateh ali khan            the last prophet                   realworldl
9 la banda gorda                          candela pura                                       rap
10   supercat                                      the   Btruggle    continues           sonyl
TOP 10
ji sleepy shadows matador
thrill jockey
7   various
9   gillian
10   all pop
•edhead self titled
snderson Bighted at the quintron Bl
songs your boyfriend's too stupid t
smells like
F*/Vr In
rn" f!1
T w *
^w                   sipmnriME irmnjHiDiiiE ttddikbdcs
1    hermanoe roeario
la duena del swing
1   1    rancid                                  "and  out  come the  wolves"  lp   (still!)   1
2   proyecto uno
aerengue con letra
eai    latin
1   2   rocket froa the crypt                                          "hot charity" ep    1
3   marc anthony
ta   conozco   bien
sony   discos
1   3   groovie ghoulies                                 "beet with five hands" 7 inch 1
4   jerry rivera
sony discos
1   4   april  march                                       "chick   habit " double  7  inch 1
5   raarito rivera <_ bravo
mar y cielo             f onovisa tropical
1   5   rocket froa the crypt                                         beet live show ever  1
6   gloria estefan
abriendo puertas
1   G   city   picnics    cafe           (corner   of    Richards    &   Hastings)   1
7   grupo kaos
puerto rico
Bony   tropical
1   7   squirtgun                                                                                                  lp   1
8   rey   ruiz
estaaoB   solos
Bony   tropical
1   8   fr8* Shindig beer at the Railway Club
9   tito rojas
1   9   "Canadian relics"                                                                             7 inch 1
10   la banda gorda
candela pura
1 10   sister lovers                                                                                        deao   1
Call THE AD CAPTAIN at 822-3017 (ext. 3) for info        <&■
All of time is measured by its art. Most
broadcasting shuns art for incestous market-music. This show presents the most recent new music from around the world.
Eon open. Hosled by Paul Steenhuisen and
Cam McKiltrick.
THE ROCKERS SHOW I2:00-3:00PM Reggae
inna all styles and fashion. Milce Cherry
and Peter Williams alternate as hosts.
LUCKY SCRATCH Alternating 3:OO-5*0OPM
Blues ain't nolhin' but a good woman
feelin' bad. Git down and git back up
again • host Anna.
Orkney; Nov. 12 & 19: Marlene Dietrich;
Nov, 26: beAydance. Join Kim & Helen in
their quest for nadoslko i poezja.
HEATHER'S SHOW 6:OO-8:0OPM Dedicatated
lo the gay, lesbian, bisexual, and
transsexual communities of Vancouver and
listened to by everyone. Lots of human
interest features, background on current
issues and great music from musicians of
all sexual preferences and gender identities.
COBRA. 8:00-9:00 jelly candy cobra • 12" of
slimy eating fun!
GEETANJAU 9:00-10:00PM Geetanjali features a wide range of music from India,
including dassical music, both Hindustani
and Carnatic, popular music from Indian
movies from the 1930s to the 1990s, Semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, Folk Songs,
etc. Hosted by J. Dhar, A. Patel and V.
Join host Dave Emory and colleague Nip
Tuck for some extraordinary political research guaranteed to make you think twice.
Bring your lope deck and Iwo C-90s. Originally broadcast on KFJC (Los Altos, California).
4AM Drop yer gear and slay up late.
Naked radio for naked people. Gel bent.
Love Dave.
11:00AM Your favourite brown-steri,
James and Peler, offer a savoury blend of
the familiar and exotic in a blend of aural
delights! Tune in and enjoy eoch weekly
brown plate special.
PM With your hosts theGourdof Ignorance
and Don the Wanderer. What will we play
today? Rog will put il away.
CiTR's industrial/noise/ambienl show,
■ wimpy British pop, Beastie Boys, indie
guitar swing, and techno thrown in for
good measure. Hit your olfactory nerve
centre with June scudeler@mindlink.bcca
endeavour to feature dead air, verbal
flatulence (only when I speak), a work of
music by a twentieth- cenlury composer-
can you say minimalist?—and whatever
else appeals to me. Fag and dyke positive.
Mail in your requests, because I am not a
human-answering machine. Gol a quarter
then call someone who cares.
FEMININE HY-JINX 4:00-5:00PM Forwomen
who sometimes don't feel fresh, but always
get fresh. Spoken word and music: light to
heavy flow. Maximum protection
recommended for male listeners. Holy
Hannah! It's a Femininst show.
Pereira for all the weekend sports shlock
from the high altitudes and thin air of Point
POLYPHONIC alternating 7:00-9:00PM listen
for allCanadian, mostly independent lunes,
and band interviews at 7:30!
Nov. 6: Treble Charger
Nov. 20:*ba
THE   JAZZ   SHOW  9:00PM-12:00AM
Vancouver's longest running prime time
jazz program. Hosted by the ever-suave
Gavin Walker. Feakires at 11.
Nov. 6: As "Showboat" (the musical) is
aboul to become a part of our lives in
Vancouver, we'd like to present a Jazz
version of the same. Trumpet great Kenny
Dorham with an all-star cast to the Kern
Nov. 13: "Infinity" is pianist McCoy
Tyner's latest and marks his triumphant
return lo the "Impulse" label. Tyner's
working trio plus tenor saxophone great
Michael Breaker!
Nov. 20: The return to disc of a long
sought-after rarity: "Gloomy Sunday and
Other BrightMomenh." Amosterful musical
essay of the arranging/composing and
playing talents of valve-trombonist Bob
Brookmeyer and an all-star big band.
Nov. 27: Canadian Jazz legend Lenny
Breau tonight. One of the very greatest
Jazz guitarists and a true musical genius,
Breau performs with bassist Dave Young in
a 1983 club date in Toronto.
CiTR. KXL9 fin
That's right, bub! ft>nk-pop, surf slop, and
lots more trash for yer can. Tune in to me,
Bryce D., for all the crud that's got class
eveiy Tuesday morning. Yowza!
Women in music and grrrls in music; Iwo
hours of info and rawk. Ya don'l need a
penis lo be a musical Genius!
K_RA 5:3O-6:00PM A half-hour of news,
issues, and concerns facing Muslims
throughout the woHd.
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 9:0O-10:0OPM Gelon board
Vancouver's only tropical fiesta express
with your loco hosts Rolando, Romy, and
Paulo as they shake il and wiggle it lo the
latest in Salsa, Merengue, Cumbia and
other fiery fiesta favourites. Latin music so
Alternating Tuesdays. Live readings and
the blest in techno bizzarre with host Lupus
Warning: This show is moody and unpredictable. It encourages insomnia and may
prove to be hazardous lo your health.
Listener discretion is advised. The music,
news and 2:00 WWOD hosted by Pierre
may not be suitable for the entire family.
LOVE SUCKS 11:30AM-1:00PM Tune in for
the musical catharsis lhat is Love Sucks. If
you can't make sense of it, al least you can
dance to it!
MOTORDADDY 3:0O-5:OOPM "We love you
... but you're a bummer man!"
AND SOMETIMES WHY 7:30-9:00PM yo la
tengo, go sailor, bikini kill, delightful little
nothings, pansy division... these are a few
of our fave-oh-wril things. La la la!
12:00 AM Let DJ's Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkhdephutay*. Listen loallourfavo rite
Punjabi tunes - remixes and originals.
CANADIAN LUNCH 11:30-1:00PM Toques,
plaids, backbacon, beer, igloos and bea-
STEVE & MIKE 1:00-2:00PM Crashing the
boys' club in the pil. Hard and fast, heavy
and slow. Listen lo il, baby.
Soukous, Samba, Salsa. Yes! Even Soca.
Enjoy this Tropical Daiquiri with El Doctor
del Rilmo.
nothing politically correct. We don'l gel
paid so you're damn right we have Kjn with
it. Hosted by Chris B.
Roots of rock & roll.
11:00PM Local muzak from 9. livebandz
from 10. Nov. 2: Something Ska
Alternating with RTY 11:00-1AM Chris
Pariah explores the Metanoid states and
psycho-sonic scapes of The Infinite
Livingroom, thai Nth dimensional space
between perplexed consciousness and
profound absurdity.
Greg here. Join me in the love den for a
cocktail. We'll hear retro stuff, groovy
jazz, and thicker stuff loo. See you here..
. and bring some ice. XOXX
TELESIS 10:00-11:00AM Tune in for
discussions, interviews & information
relating to people who live with physical _
menial challenges.
The hottest, newest, cutest, bestest, raging
Ska tunes wilh Scolty and Julie.
UTTLE TWIN STARS 2:00-3:30 PM Kiki Liki
third time's
the charm
»*w; Fivr*M>'s
tort Dtu
R<4(Jio free
kr\t\0 SHOW
Ska-t's Scenic
love sucks
Tropical d<ii<-hiri
Mary Tyler
F-mWm Hy-fin*
Awtr* How*?
0Mt for K?*f
kip hop k«(it
and sometimes
<;keasei> hair
wolf al flie door/
StT$ Ofctt*
My little
Li'vup Sink
slot from
After Hours
Kiki' Liki
Underground sound syslem-
style maslermix radio.
FOR THE RECORD 6:30-6:45 PM Excerpts
from Dave Emory's Radio free America
HOMEIASS   9:00PM-12:00AM   The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, rhe
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavor of homebass.
UMP SINK 12:OOAM-2:42AM Hosted by the
G42 players. DJ Norm brings you the
krunk. Doctor K talks about more krunk.
Brought to you by copacetic man surfing
the information super doodiddleyooper
Contact: limpsinkdbroken
Now in its 10th year on the air, The
Edge on Folk features music you won't
hear anywhere else, studio guests, new
releases, Brirish comedy sketches, folk
music calendar, ticket giveaways, etc.,
plus World Cup Reportat 11:30 AW. 8-
9 AM: African/World roots. 9-12 noon:
Vancouver's only true metal show; local
demo tapes, imports and olher rarities.
Gerald Rattlehead and Metal Ron do the
THE SHOW 6:00-8:00PM Strictly Hip Hop
— Strictly Undergound — Strictly Vinyl
With your hosts Mr. Checka, Flip Out &
J Swing on the 1 & 2Y
Alternating with MY LITTLE CRIMSON
SOMETHING 1:00-4:OOAM "You can tell
by the way I use my walk. I'm a woman's
man ...no time lo talk."
WHOM   &   HOW
Arts Ian McKinnon
Board Chair Harry Hertscheg
Business Mgr. Oris Ashby
Current Affairs Andrea Spence
Demos/Cassettes Dale  p	
Mobile Sound Andy Bonfield
Music Megan Mallett
President Brian Wieser
Production Aaron Robertson
Programming Miko Hoffman
Promotions Selena Harrington
Secretary Chandra Lesmeister
Sports Dave  Ryan
Station Manager Linda SchoTten
Student Engineer Fern Webb
Traffic Grahame Quan
Vice President Ryan Ogg
Volunteer Coordinator Jbhn RusBn
BUSINESS UNE 604/8223017
DJLINE 604/822-2487
USIC DEP'T. 604/822-8733
NEWS UNE    604/822-5334
~      "1/822-9.""'
FAX    LINE    604/1
Referendum '96
RITMO (WORLD BEAT) AT THE PIT PUB...Zoo Boogoloo w/djs Spun-K
and Czech (jozz, funk, reggae, hip hop) ot the Slarfish Room...Blue
Room w/dj Isis (ambienl) ot Automotive...80's Dance Night w/dj Brian
St. Clair ol Graceland...Readings, Music & more ot the Grind Gallery
(every other Monday ot 8pm)...
SOUL, HIP HOP & FUNK) AT THE PIT PUB...Passion w/djs Loce & Dickey
Doo at Richard's On Richards...Aqua w/djs Isis and Markem (ombient) at
Benny's Bagels Yaletown...Boogie Ave w/dj Maggee (70's old school) ot
Ihe Heritage House Hotel (453 Abbott)...Disco Nighl ol the
Commodore...The Greasy Spoon w/Slick atthe Hungry Eye...Klassix Night
w/dj David Hawkes at Luv Yr Hair...New Wave/Retro 80's Night w/d)
Atomic atthe Twilight Zone...Aural Fixation at DV8 (poetry- sign-up 7:30,
show at 8:00)...The Tongue of the Slip al the Glass Slipper (scheduled
readers and open limited open mike - 9pm on the third Tuesday of the
WED: Velvet w/djs T-Bone, Dickey Doo ond special guests (deep hou*e)
al The Underground...Reggae Night al Graceland w/dj George
Barrett...Cot Club w/djs Madness ond Ali ol the Starfish Room...Ginger
Snaps w/dj Mike & Soma and live electronic guesls ot Mors...Mo' Funk
w/ djs Soul Kid & Seren trip hop, acid jazz & funk) ot Richard's On
Richards...Punk Rock Wednesday w/dj Twigboy at the Twilight Zone...Suck
w/dj Czech at Luvafair...Max Murphy Collective at Raffels...Open Mouth
(open mic) w/host Carolyn Mark ot the Malcolm Lowry Room (9pm - coll
ahead to read)...
THUR: Sol w/dj Markem and guests (progressive, trance, tribal, hard
house) al Graceland...The Bottle w/djs Clarence and David love Jones
(soul, jazz & rare groove) at the Piccadilly...Soul 'n' Funk in the Basement
w/dj Marc and guests at the St. Regis (bsmt)...Nocturnal Injection Revelation w/dj Wonderbreod al the Twilight Zone...Cat House w/dj Mick Shea
(house) at Celebrities...
FRI: NewMindCondy w/dj Lee Haerlel ond special guesls al
Graceland...Lowdown w/djs lovely Lisa and Dick al the St. Regis
(bsmt)...Explorations in Outer Bass (ambient) al Melriches Coffee House
(1 244 Davie)...Planet ov Sound w/James Brown ond guesls al the World
(1-5)...Homo Homer w/dj Jules (house & disco) at the Odyssey...Molebox
w/dj Mick Shea (house) at Celebrities...Blitzkrieg (tribal, industrial, goth)
ot the Twilight Zone...Low Down (funk, jazz, hiphop) at the St. Regis Basement Lounge...
SAT: dj Brian St. Clair (progressive house, techno) at Graceland...Noah's
Arc w/dj Noah at the World (1-5)...Yo Mama w/djs KiloCee and J Swing
(hip hop) at the Twilight Zone...Bad Boys Nighl Out w/dj Jules (house) at
the Odyssey...djs Storm & Dickey Doo (house) at Celebrities...
SUN: Rewind w/dj Noah (relro rove) al Graceland...Uranus Invades
Mars w/djs Dickey Doo and Quest at Mars...Alternative Jazz at Cafe
Deux Soleils (every other Sun)...dj Jules (house & disco) al the Odyssey...Ska
Night w/dj Pig al ihe Twilight Zone...Movie Night at the Railway
Club...Pressing Poetry at Ihe Press Club (7:30)
WED 1 Bootsy Collins and his Rubber Band at the Commodore...Daytono
at the Railway Club...Circus in Flames & Blind Trulh al the Gaslown Music
Hall...The Incredibly True Adventures of Two Girls in love & Jeffrey at the
Ridge...Anlonioni's L'Eclisse ot the Pacific Cinematheque...
THURS 2 Belly & the Catherine Wheel at the Commodore...Yellow Belly
al the Hungry Eye...Bum _ the Monoxides at the Pit Pub...Daytona at the
Railway Club...Red Sugar,Billy Butcher _ the Soldiers of Misfortune ot the
Gastown Music Hall...No Mono & Chris Smith al the Malcolm Lowry
Room...International Animation Association Screening at the Edison Electric Gollery (7pm)...The Incredibly True Adventures of Two Girls in Love
and Jeffrey at the Ridge...Abbas Kiaroslrami's Through the dive Trees
ond Bai Yong-Kyun's Why Has the Bodhi-Dharma Left for the East? at the
Pacific Cinematheque...Bolluck's Books One in Ten reoding series: Out
West theatre group & their play Plague of the Gorgeous at 7;30pm...
THE COMMODORE...SNFU & Bracket at the Town Pump...The Monoxides at the Hungry Eye...Zumpano & Detroyer ot th* Molcolm lowry
Room...Pure CD release party with special guest Ralph Alfonso at the
Gaslown Music holL.DDT al the Rage...Tabu ley Rocbereou ot the Starfish Room...Clive Gregson at the W.I.S.E. HALL..Spike ond Mike's 1995
Sick and Twisted Festival of Animation at the Rldge„..Why Has the Bodh'i-
Dharma Left for the East? and Through the Olive Trees ot the Pacific
Cinematheque...The Agony of Arousal - Short Films by Mike Hoolboom &
World Premiere of Shooting Blanks al Edison Electric...
SAT 4 SNFU & Sublime al the Town Pump 2pm (ALL-AGES)...Sublime ot
the Town Pump (late show)...Opium Underground and Motherson with
Bonesow at the Hungry Eye...The Deadcats with Roach Motel al the
Gastown Music Hall...Rootabeggars and a Few Roosters al the Gaslown
Music HalL.Ngomo & Lux Indigo at the Starfish Room...Mudlarks & Zsa
Zsa at the Molcolm Lowry Room...Sonic Youth & Bikini Kill al Carver Gym
(Western Washington University, Bellingham, 8pm)...Sick ond Twisted Festival of Animation al the Ridge...Through the Olive Trees and Why Has
the Bodhi-Dharma Left for the East? at the Pacific Cinematheque...The
Agony of Arousal at Edison Eleclric...
SUN 5 HAPPY GUY FAWKES DAY...Women in Music Dance - starring
women of R&B, Tribute to Motown, Ladies Don't Drum at the
Commodore...Why Has the Bodhi-Dharma Left for the East? ond Through
the Olive Trees at the Pacific Cinemotheque...Sick and Twisted Festival of
Animation at the Ridge...
MON 6 The Chieftains w/the VSO at the Orpheum...Through the Olive
Trees and "Why Has the Bodhi-Dharma Left for the East? at the Pacific
Cinematheque...An Awfully Big Adventure and A Chorus of Disapproval
al the Ridge...
Torture Animals at Gregs Place (Chilliwack)...An Awfully Big Adventure
and A Chorus of Disapproval at ihe Ridge...
WED 8 Reef at the Town Pump...Susan Crowe and Cate Friesen at the
Glass Slipper..The Postman ond Mediterroneo ol ihe Ridge...luclno
Visconti's Sandra at the Pacific Cinematheque...
THURS 9 Laura Love ot the Commodore...Silly Rabbit with Junk ot the Pit
Pub..,The Rentals & Figdish at the Starfish Room...No Mona & Dick n'Jane
ol the Gastown Music Hall...The Sugar Beats ol ihe Malocolm lowry
Room...The Postman and Mediterroneo al the Ridge..Jan Svankmayer:
Alchemist of the Surreal: Short Program I and Svankmayer's
Pacific Cinematheque...Prof Zio at 9pm ot Edison Electric..Bolluck's Book*
One in Ten reading series: selections from Queer View Mirror at 7:30pm...
FRI 10 Skydiggers & Weeping Tile at the Commodore...Seam at the
Starfish Room...Electrofixion, Echobelly & the Dandy Warhols al the Town
Pump...Circus in Flames & Bdroom at the Molcolm Lowry
Room...Chanticleer al the Orpheum...Coco love ol the Voncouver Eoit
Cultural Centre...Matthew Grod Band with Holly McNarland al the
Gastown Music Hall...Circus In Flames & Bedroom at the Malcolm lowry
Room...Spike ond Mike's 1995 Sick and Twisted Festival of Animation at
the Ridge...Svankmayer programme al the Pocific Cinematheque...Eric
Saks in person at Edison Eleclric...
SAT 1 1 d.b.s. at Ihe New York Theatre (AU-AGES)...the smalls ot the
Starfish Room... Matthew Sweet, Lloyd Cole & Ivy at the Commodore...The
Beat Formers ot the Town Pump...The Deadcats & Roach Motel al the
Gaslown Music Hall...Parade & Spiritual Heroine at the Malcolm Lowry
Room...Lowen & Navarro at the Town Pump...Sick and Twisted Festival of
Animation at the Ridge...Svankmayer programme at the Pacific
Cinematheque...Eric Soks in person ot Edison Eleclric...
THE STARFISH ROOM...Mercury Rev al the Town Pump...Sick and Twisted
Festival of Animation at the Ridge...Mike Hoolboom's House of Pain and
Pasolini's Salo, or the 1 20 Days of Sodom al the Pacific Cinematheque...
MON 13 A Man of No Importance and Country life at the Ridge...House
of Pain and 'Solo' at the Pacific Cinematheque...
Star Rock _ Roll Benefit Tour (Randy Bachman, Felix Cavoliere, Mark
Farmer, Billy Preston) at the Commodore...Seven Mary Three with guesls
Silias Loader at the Town Pump...DDT, Blue Beard & Wig at Gregs Place
(Chilliwack)...A Man of No Importance and Country Life at the Ridge... .
WED 1 5 Billy Bragg & Tiddas al the Commodore...A Little Voodoo al the
Gastown Music Hall...Banff Festival of Mountain Films ot the Ridge...Marco
Bellochhio's Fists in the Pocket at ihe Pacific Cinematheque...
THURS 1 6 Big Sugar at the Commodore...Ash, China Drum & Mo Knife
al the Pit Pub...Peel & Lindy at the Malcolm Lowry Room...Banff Festival of
Mountain Films at the Ridge...Jan Svankmayer: Alchemist of the Surreal:
Short Program II +Jon Svankmayer; Animator of Prague ond Svankmayer's
Faust ol the Pacific Cinematheque...
FRI 17 Econoiine Crush al the Commodore...Moxy Fruvous ot Town
Pump...Mecca Normal & Peter Jeffries at the Malcolm Lowry Room...Van
Pelt Trio and Ad Nauseum with Ralph Alfonso ot the Press Club...Spike
ond Mike's 1995 Sick and Twisted Festival of Animation al the
Ridge...Svonkmoyer programme at the Pacific Cinematheque...Eric Sks'
Forevermore: Biography of a Leach Lord at 8 & 10pm ai Edison Electric...
ST. JAMES COMMUNITY SQUARE (ALL-AGES)...Southern Culture on the
Skids wilh Big Sandy and His Fly-Rile Boys ot the Starfish Room...Moxy
Fruvous al the Town Pump...Olympic 66, Blue & Thrill Squad at the Press
Club...Gale & 2 Foot Fbme ot the Malcolm lowry Room.. J.Knutson with
Jeremy Greenhouse ot the Gaslown Music Hall...Sick ond Twisted Festival
of Animation at the Ridge...Svankmayer programme at the Pocific
Cinematheque...Mercedes Sosa, 'Gestures of love' ot the Queen Elizabeth Theatre...Eric Soks' 'Forevermore: Biography of a Leach lord' al 8 &
10pm ol Edison Electric...
SUN 19 Sick and Twisted Festivol of Animation al the Ridge...Rounl
Mollberg double: The Earth is a Sinful Song and Pretty Good for a Human Being ol the Pacific Cinematheque...
MON 20 Jane SiberTy at St. Andrews Wesley Church...Double Happiness ond Tokyo Cowboy al the Ridge...Rauni Mollberg double bid at the
Pocific Cinematheque...
STAMPS..John Hialt ol the Commodore...The Pasties, Noise Therapy,
B.R.S. at Greg's Place...Double Happiness and Tokyo Cowboy al the
WED 22 Blue Rodeo ot the Commodore...Glove & Special Sauce atthe
Slarfish Room...Belle de Jour arid Grosse Fotige ot the Ridge...Pasoiini's
Medea at the Pacific Cinematheque...
THURS 23 Blue Rodeo & Crash Vegosot the Commodore...Skunk Anansie,
DSK & Minority ot the Pil Pub...Ralph Alfonso and the Immigrants at the
Railway Club...Belle de Jour ond Grosse Fatigue al the Ridge.. Jerry Legar
Trio at the Malcolm Lowry Room...Atom Egoyan's Exotica followed by
lecture presentation by Imre Szeman: 'The Aesthetic Cinema of Atom
Egoyan' at the Pacific Cinematheque...
FRI 24 Blue Rodeo at the Commodore...Waltons at the Town Pump...Rolph
Alfonso and the Immigrants ot the Railway Club...Philosopher Kings at
Richard's on Richards...Swank at teh Malcolm Lowry Room...Spike and
Mike's 1995 Sick and Twisted Festival of Animation at the Ridge...Michael
Powell & Emeric Pressburger double: Black Narcissus and I Know Where
I'm Going at the Pocific Cinematheque...A Particular Class of Women
by Janet Feindal al Station Street 2nd Slage (Thurs-Sat at 9:15pm until
Dec 16)...
SAT 25 Sick and Twisted Festival of Animation at the Ridge...Michael
Powell   &   Emeric   Pressburger   double   bill   at   the   Pacific
Cinematheque...Ray Condo T the Malcolm Lowry Room...
SUN 26 Jimmy Witherspoon/Duke Robillard/Long John Baldry ot
Richard's on Richards...Ashley Maclsoac at the Rage...The Nylons at
the Massey Theatre...Sick and Twisted Festival of Animation at the
Ridge...Rauni Mollberg's The Unknown Soldier    at the Pacific
MON 27 The Secret of Roan Inish and Muriel's Wedding' at the
Ridge...Blue Rodeo al the Commodore...The Unknown Soldier at the
Pocific Cinematheque...
The Abyss 315 E. Broadway  (side entrance)
Alme Street Cafe 2505 Alma  lot Broadway)
Anza Club 3 W. 8th  (Mount Pleasant)
Arts Hotline
Bossix 217 VV Hastings (at Cambie)
Bockstoge Lounge   1585 Johnston   Granville Island]
Black Sheep Books 2742 W. 4th (at MocDonold)
Cafe Deux Soleils 2096 Commercial  (the Drive)
Cafe View Montreol_ 317 £,.Broodwoy...(Mount Pleasant)
488 6219
222 2244
876 7128
684 2787
689 7734
687 1354
732 5087
254 1195
873 1331
683 6099
689 3180
789 6903
681 7972
681 5446
682 4629
681 7838
681 1531
683 5637
669 7573
683 2201
682 4388
255 4162
689 0926
872 6719
822 2678
684 MASK
685 1333
877 0066
688 2648
795 3334
322 6057
255 2606
681 4620
738 3211
688 5351
251 6626
685 7777
685 3288
Caprice Theatre 965 Granville (Granville Mall)
Celebrities  1022 Dovie (al Burrard)
The Chino Oub, 1471 NW 85th St., Seattle
The Clubhouse 400 Industrial
Club NRG 3699 Powell (Gastown)
CNImox Theatre 999 Canodo Place
Commodore Bollroom  870 Granville (Granville Moll)
Commodore lanes 838 Granville (Gronville Mall)
Cordova Cofe 307 Cordova (Gastown)
Crosstown Traffic  316 W Hastings   (downtown)
Denman Ploce Cinema   1030 Denman  (West Enrrrd)
DV8 515 Dovie (downtown)
Edison Electric Gollery/Cofe 916 Commerciol (the Drive)
Fireholl Arts Centre 80 E. Cordova (at Moin)
Food Not Bombs Voncouver
Frederic Wood Theotre (UBC)
Gastown Theatre 36 Powell (Gaslown)
Gastown Music Hall 6 Powell (Gastown)
Gloss Slipper   2714 Prince Edward (Mount Pleasant)
Graceland  1250 Richards (downtown)
Greg's Ploce 45844 Yale Rd. (Chilliwock)
The Grind Gall- * Pleasant]
Hostings Community Centre   2096 E. Hastings  (near PNE)
Hemp B.C.  324 W. Hostings  (downtown)
Hollywood Theotre  3123 W. Broadway  (Kitsilano)
Hot Jazz Society 2120 Main (Mt. Pleasonl)
Hungry Eye 23 W. Cordova (Gostown)
Jericho Arts Centre  1600 Discovery (Pt. Grey)
lo Queno   1111 Commerciol  (the Drive)
The Lotus Club 455 Abbott (Gastown)
luv-A-foir  1275 Seymour (downtown)
Lux Theotre 57 E. Hastings  (Gastown)
Molcolm Lowry Room 4125 E. Hostings  (N. Burnaby)
Mars  1320 Richards (downtown)
Maximum Blues Pub   1176 Granville  [downtown)
New York Theatre 639 Commercial  (the Drive)
Niagara Hotel Pub 435 W. Pender (downtown)
Orpheum Theotre  Smilhe & Seymour  (downtown)
Pocific Cinematheque   1131 Howe  (downtown)
Porodise 27 Church  (New West)
Porodise Cinema  919 Gronville  (Granville Moll)
Pork Theotre 3440 Combie (South Vancouver)
Picadilly Pub 630 W. Pender (ot Seymour)
Pit Pub bosemenl, Student Union Building  (UBC)
Pitt Gollery  317 W. Hastings   (downtown) '
Plazo Theatre 881 Gronville (Gronville Mall)
Raffels Lounge   1221 Granville (downtown)
The Roge 750 Pocific Blvd. South (Plaza of Nations]
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richords 1036 Richards (downtown)
Ridge Gnemo 3131 Arbutus (ot 16th Ave.)
Romper Room 639 Commercial (the Drive]
Russian Hall 600 Campbell  (Chinatown) ,\
Scratch Records  317A Cambie  (Gastown)
Southhill Candy Shop 4198 Main (al 26th)
Starfish Room   1055 Homer  (downtown)
Storlighl Cinemo 935 Denman (West End)
Station Street Arts Centre 930 Station  loft Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Theotre E  254 E. Hostings (Chinatown)
Town Pump 66 Water Street (Gostown)
Track Records 552 Seymour (downtown)
Tree House Lounge 602 Dunsmuir Si. (downtown)
Twilight Zone 7 Alexander  (Gaslown)
UBC CINEMA (located in the SUB)
UBC Grad Centre Gate 4  (UBC)
The Underground   1082 Granville  (downtown)
Voncouver East Cultural Centre   1895 Venables (al Victorio)
Voncouver Little Theatre 3102 Moin  (Mt. Pleasont]
Voncouver Press Club  2215 Granville  IS. Granville)
Varsity Theotre  4375 W. 10th  (Point Grey)
Vert 2412 Main (Mt Pleasant)
Video In Studios 1965 Moin (Ml. Pleasant]
Vogue Theatre 918 Granville  (Gronville Mall)
Waterfront Theotre   1405 Anderson   (Granville Is.)
W.I.S.E. Holl   1882Adanoc (the Drive)
Women In Print 3566 W. 4rh (Kitsilano)
Yale Blues Pub   1300 Gronville  (downtown)
Zulu Records 1869 W. 4th (Kitsilano)
34 NOVEMBER 1995 	
November 10
The Commodore
WEEPING TILE      -old
told Snap         snap
November 10
The Commodore
November 10
Town Pump
November 16
UBC Pit Pub
November 17-18
Town Pump
November 20
St Andrews Church
November 22-24
The Commodore
Stomp 442
Richmond * Guildford • Park Royal • Robson Street • Willowbrook • Coquitlam • Metrotown Eaton Centre Boss Hog
• Boss Hog
Lookout! Boss Hog just
slage. casting a
sharp New York axil lhat tills
the air. Broadcast from every
gesture wilh sly, smirking
attitude—one that belies (heir
otherwise simple, glossy
Details glamour. Captivating
— and oh boy ean they nx'k. Now on DGC. Cristina and
erew (yup, featuring one J. Spencer) swagger all over the
place with strident confidence and an experienced had-
assed hipness so addictive that compulsive complicity (to
the  rock) is inevitable. Just try to sit still.
CD 169?   Cassette 10*8
Air Miami
• Me Me Me
Distressed by Unrest's
departure? Don'l worry.
Think ol Air Miami as
Unrest's intercontinental
twin only not jusl reflected
but significantly reinvented.
Nomenclature adventurism
aside. Bridget Cross and
Mark Robinson, now joined by Gabriel Stout on
drums, continue lo expand their pop portfolio with a
charming combination ol familial programs and broad
exploration. Not afraid of experimentation. Air Miami
take off from where Unrest...landed?
Eric Matthews
• It's Heavy In
Poignantly titled The Sound
and Talent of 1995...
Here Today. Eric
Matthews' first solo full-
length presents fourteen
songs well steeped in
From The
® Scream,
Much like Sweet and
Mott The Hoople
were AM radio darlings
to the '70s, so should Rocket From The Crypt be
to the '90s. Owing just as much to those bands and
Album Oriented Radio as well as to their own ever-
evolving take on riff-rock, RFTC make superb use of
major label production to take their powerhouse, frilled
and relentless rock to the next level. All dressed up and
ready to go!
CD 16*8   Cassette 10»
Red Red
® Bunny Gets
Red Red Meat present no simple back-
porch aesthetic. Their
diverse (rock/blues/
country) sound has the
atmosphere of a big city
alley at 3:00 am or of the day after a funeral. A sound
overcome by the glorious misery of an ambivalent
morning's grey haze, witnessed after an insomnious
night spent listening to Ry Cooder at a slow speed
while drunk on whiskey. Complemented by an extended band and excellent production. Bunny Gets Paid
approximates the sombre yet raw feel of Big Star's
Sister Lovers. A second fine release for the Sub Pop
CD14?8   Cassette?*
Barlows and Nick Drake
CD 169J
• Red Hot +
Bothered: Indie
Rock Guide To
It's finally here!...a compilation of three separate 6-song
collections previously only
available on 10". featuring
songs by Built To Spill.
Grifters. Gastr Del Sol. Folk Implosion. The Sea
+ Cake, and fifteen others, this collection is a must have.
In whal olher purchase can you help in raise AIDS awareness, help out your sex life, and gel a load of great music to
CD 16*-
• The World
hood Of The
World (As
Local legends
NoMeansNo return
with their fust Full length
in two years' This one'
features first round draft choice. Tom Holliston
(from The Hanson Brothers) in the guitar position,
u ho along with Rob and John crank out shorter, more
concise numbers lo make this their strongest hit since
Wrong A World class act from our own backyard!
CD 14 8   Cassette 998   (avaL md-Now.)
The Magnetic Fields
® Get Lost
Most recently noted as the mastermind behind supergroup The 6th's. Stephen Merrit. armed with his
array of computer sequenced pop gadgetry, continues
on this his fourth album to crank out highly catchy,
heavenly hits. So come get drawn into The
Magnetic Fields!
CD 1628   Cassette 10*-
Foot Flame includes a
triage of influential and
l artists., namely
Jean Smith (Mecca Normal),
Peter Jef feries (This Kind Of
Punishment), and Michael
Morley (The Dead C). Showing
that the total can indeed by greater than
the sum of its parts, this record definitely demonstrates the profiency of the
artists involved.
CD14?8   Cassette 9*-
® The Sound Of Music By
Pizzicato Five
Witness the second full length release by
Japan's suave sensation Pizzicato Five.
The Sound Of Musk By Pizzicato
Five is the perfect complement to today's
global village jet-set attitudes. Touch
down with Pizzicato Five's most exalted blend of groove-cocktail mix etc. We
assure you the treatment is first class.
CD14?8   Cassette 1098
2 LPs 12*8
Plus Other Matador Favourites On Sale
And In Concert This Nuvember!
® One Track
Friday November 24th
@ the Starfish Room
guided by voiced  Guided
By Voices
® Alien Lanes
Sunday December 3rd @
the Commodore Ballroom
(with Urge Overkill)
S.F. Seals
® Truth Walks In
Sleepy Shadows
Wednesday November 29th
@ Harpo's (Victoria)
Thursday November 30th
@ the Starfish Room
So come in and check nut each nf these three titles, nn sale this month:
CD 14?8   Cassette 9*
Eno/jah Wobble
Spinner CD
® Uve At The
Bloomsbury Theatre
CD + Vinyl
Cocteau Twins
• Otherness
CD-EP + Vinyl
• Wonderwall CD-EP
Mountain Coats
• 9 Black Poppies
P.). Harvey
• Bring His Love
To Me
(2 different C EPs)
Black Dog
• Parallel CD + Vinyl
• Retried Ectoplasm
CD + Vinyl
• A Testimonial
Dinner CD (XTC tribute)
® XFM 104.9 CD
(previously unreleased
Tindersticks, Sebadoh,
7 Seconds
® The Music The
Message CD
® Arbor Bona Arbor
Maia CD+ Vinyl
Railway Club
Perfume Tree
Starfish Room


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