Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-12-01

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  2D Stars Df Zulu
picked a record from each of the last 20
years that received some serious
turntable/CD action over our store speakers.
Why not make your own list of yearly 'heavyweight' listens and tack it up on Zulu's bulletin
board. At the end of January 2002 we will award
a $100 dollar gift certificate to one lucky list-
maker, with four runners-up to each receive $25
gift certificates.
And hey. if you weren't born yet (or were just too
damn young!) - still take a stab at it and let us
know what you imagine you would have listened
to. Points awarded for creativity...!
1981: Gun Club-Fire Of Love
1982: Rank and File-Sundown
1983: The The-Soul Mining
1984: R.E.M.-Reckoning
1985: Slow-Against The Glass
1986: The Smiths-Queen Is Death
1987: Redd Kross-Neurotica
1988: Pixies-Surfer Rosa
1989: Stone Roses-s/t
1990: Sonic Youth-Goo
1991: My Bloody Valentine- Loveless
1992: Liz Phair-Exile In Guyville
1993: Jon Spencer Blues Explosion-
Extra Width
1994: Portishead-Dummy
1995: Yo La Tengo-Electro-Pura
1996: Tortoise- Millions Now Living Will
Never Die
1997: Belle and Sebastian- If You're Feeling
1998: Calexico-The Black Light
1999: Magnetic Fields- 69 Love Songs
2000: Destroyer- Thief
2001: The Strokes-Is this it DISCORDER7S  X-MflS WISH LIST
world peace
an editor
tabloid size printer
five G4s
good, cheap production night food
bigger office
sacks of money
Hans Fenger: Langley Schools Music Project by Luke Meat p. JO
William Parker by Mark Fernandes p. 11
Pinback by Jay Douillard p. 12
Tobias Says it is Not a Richie Hawtin Interview by tobias p. 15
24 Hours of Radio Art by Bleek p. 16
Angels of Light by Barbara p. J 8
Yabby You by Soulsistah p. 20
Wayne Horvitz by Lucas TdS p. 21
Dear Airhead p. 4
Culture Shock p. 4
Fucking Bullshit p. 4
7" p. 5
Radio Free Press p. 5
Vancouver Special p. 6
Panarticon p. 7
Over My Shoulder p. 7
Strut & Fret p. 8
Under Review p. 22
Real Live Action p. 25
Charts p. 31
On the Dial p. 32
Datebook p. 34
Kick Around (comic) throughout
vhen our
This is the best cover we've ever had
art director, who had threatened to quit, saw
decided to stay. This painting of Michael Gira was done
by Simon Henwood and is featured on the back cover
of Giro's recent collaborative CD with D Matz of Windsor
for the Derby, entitled What We Died (Young God
Records). It was layed out by Mike Payette and some of
his friends from Bloodstone Press, all of whom probably
live in houses with the names of East Side streets.
Greg Sage:
Christa Min
KK Null:
Steve DiPasquale
Frank Zappa:
Barbara Anaersen
Bob Marley:
Matt Searcy
Rob Crow:
Lori Kiessling
Ann Goncalves
Scott Malin, Mike Payette, Duncan
McHugh, Kitten Vile, Lori Kiessling,
Bleek, Michelle Furbacher
Joanna Habdank, Lucas TdS, Bleek,
Keith Turkowski, Donovan "A+ +"
Schaefer, Angelika Apell, Sabrina
DzaficRandal Mindell, Jon-Ray
Mac McNeilly:
Bryce Dunn
Black Francis:
Luke Meat
Ann Goncalves
Beat Happening:
The Ubyssey
Matt Steffich
Ms. America
Elvira B.
Steve Albini:
Linaa Scholten
© "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights
I reserved. Circulation 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for
I one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2
I (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag-
| azine.
DEADLINES: Copy deadline for the February issue is January 16. Ad space is available until 23 and
I can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon request. DiS-
I CORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicit-
I ed artwork (including but not limited to drawings, photographs and transparencies), or any other
I unsolicited material. Material can be submitted on disk or in type. As always, English is preferred.
I Send e-mail to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellinghom, CiTR cqn be heard at 101.9 fM as well as
I through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
I CiTR DJ line at 822,2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017
I ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@ams.ubc.ca, visit our web site at http://www.citr.ca or just
I pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T1 Zl, CANADA.
printed in canada
E   S   E   N    T
K recordings artists
from Olympia, WA, USA
Dub Narcotic
Sound System
Mint recordings artists
from Vancouver, BC, Canada
The Evaporators
Mint recordings artists
from Ladysmith, BC, Canada
Operation Makeout
Mint recordings artists
from Vancouver, BC, Canada
Thee Goblins
+  zine  fair  +  art  show
+   screening  of
The Shield Around the K
8pm Friday
January 4thf 2002
SUB Partyroom, UBC
tickets $8
available at ZULU RECORDS
and elsewhere, starting next week
Dear Editor,
I am writing to you in response
to an art review that was written in the Panarticon section of
I i.
i the a
who  V
opening in the main room of the
Helen Pitt Gallery on October
13. While I do not wish to
argue the reviewer's position
about my work, I do think that
the review demands some clarification. When the reviewer
states that perhaps the reason
that the Pitt Gallery staff
stopped Ms Dawn's performance was because I was not
getting the same attention as the
performance, he insinuates that
I somehow had a hand in the
gallery's actions. I can say simply and directly that I did not. I
have known Kim Dawn since
we were students together at
the Nova Scotia College of Art
and Design. I have nothing but
respect for Kim and her work
and I was pleased to have the
opportunity to show my work
alongside hers.
As   a   professional  artist
myself, I would never ask an
artist to stop their work while it
was in process under any circumstances. I made no exceptions to this principle at the
opening. Again, I respect Kim
Dawn's work and as far as I am
concerned the problems that
surrounded the evening had
nothing whatsoever to do with
the artists and was a decision of
the Pitt Gallery's staff alone.
Thank you for your attention. I trust that you can appreciate the gravity of this situation
and that some clarity needs to
be brought to the review. I am,
of course, disappointed that the
evening has become something
other than it was really about:
Sara Graham,
Calgary, AB
/ did not insinuate that you had a
liand in it. So the question remains:
why did the Pitt stop her? And
given your stance—tvhy didn't you
do something about it?—tobias
Dear Lyndsay [former
DiSCORDER editor],
Tried calling you but would
rather email than leave a message. I really hope you'll get
back to me with some form of
reply because what I read in the
November issue is driving me
absolutely batty.
On page 5, there is an article titled "fucking bullshit" and
I suppose what I'm desperately
hoping for is that it was printed
as some kind of joke. If not,
then you guys need to seriously
address the matter of editing for
content and fact checking.
Given that I do this for a living
and that I used to contribute to
Discorder, the amount of grievous mistakes in this article
shocks me (thus the hoping it's
a joke part). Do let me know
what the hell Christa Min was
trying to prove.
Much appreciated.
Digitopolis Media Corporation
rell us that we're ugly. Tell us how
much you'd like to square us in
the nose. Send us your love. Dear
Airhead, #233-6138 SUB Blvd.,
Vancouver, BC V6T 1Z1.
I get hundreds of fan letters
and emails every month.
Ninety-nine percent of them
are from boys who want to have
sex with me. This is very
strange, since none of these people know what I look like. Well,
let me tell you, I'm hot.
Seriously, we're talking boobs
like mountains and lips as soft
as my ass. Everyone just falls in
love with me. Let me give you
an example: i.e. That stands for
what happens when I walk
down the street. It's like I'm a
wind, and when I pass by, cocks
fly up in the air like birds. I try
not to look in the mirror because
if I see myself, I get all aroused
and I can't concentrate on anything. So it's hard to write this
column when I keep getting
these letters that remind me how
Some people try to win my
love by telling me about the
bands they like. Jeff from
Calgary, Alberta writes, "I love
every band you love! Does this
mean that you could love me
too? PS: I have Mudhoney's first
seven inch and I'd like to give it
to you, but you'll have to come
get it... where can I send a plane
ticket?" Terrance who lives right
here in Vancouver asked me if I
would see Jane's Addiction with
him. "Meet me at the will call,
baby. (I have long blonde hair
and I'll be wearing leather shorts
and my I LOVE PERRY tee."
Ben from Seattle sent me a
letter that smelled like piss. It
It's like I'm a
wind, and when
I pass by,
cocks fly up in
the air like
was doused in some sort of perfume that wasn't supposed to
smell like urine, but it did. I tried
to read the letter, but he wrote
like a six-year-old with three fingers, so I don't know what it
said. Yan from Victoria sent me
a ring made out of the wires
from his stereo and asked if I
would be his wife. Killer's letter
was post-marked from
Bellingham, and he sent me
drawings of my name wrapped
around his cock and asked me to
choose the one I liked best so he
could get a  tattoo.  Dad  For
Sasquatch sent me an email
about his band and the song
they have with the lyrics,
BULLSHIT." He writes, "YOU
Every letter is nice and wonderfully well written, but my
heart belongs to Jimmy Rush
who lives in Emerson, Manitoba.
"Last night, dressed in black, i
convinced an old indian lady
that i was a hutterite. i put on
my best accent + told her i was
from 'Turkey Calf colony. She
ate it up like a dink taco." Jimmy
also told me that he was going
travelling. "I got my deutsch
passport the other day so i guess
i'm officially eurotrash now. i'll
have to parade around all sunburned, with my balls hanging
out the sides of some tight
shorts." All you have to do to
make me fall in love with you is
mention your balls. I like it if
you have balls. •
Or, school for the blind,
I think I am a straight man
trapped inside the body of a
gay man. My physical self—
and sometimes my mind—can't
seem to help being drawn
down into the arms of a boy, or
two. But culturally I have nothing in common with those stupid faggots I see at the mall.
Oh, sure, I occasionally find
myself jazzing it up with Nina
Simone in the privacy of my
own home, wishing I was a
black woman lounge singer in a
smoky night club, feather boa et
al. And, sure I get bizarre gay
urges like wanting to wear really big shoes, and those who
know me know that I am prone
to shaking my saucy booty on
the dance floor once in a while.
But these are, I feel, minimal
gay qualities that can—if a
greater attempt were made—be
eradicated from my behaviour
through a rigorous daily regime
of self-affirmations, or costly
visits to a local geneticist. I am
4 jancember 2001
anthony monday
willing to accept my problem,
and this, dear readers, is the
The whole idea got me
thinking. Now, I know I have
been   known   to   have   some
gramme but are captured by a
secret underground army of
transsexuals that hide surreptitiously outside various expensive clothing outlets.
They are then thrown in a
would spend the hours merely
screaming "J-Lo is not a responsible form of art" or
"Hollywood   has   their   own
Afternoons would be "politics and queer theory" taught
by a fidgety MTF with short
black hair and the vestiges of
her male body in her hands and
her upper lip. It would be her
job to inspire our whimpering
faggots to be pro-active and less
vacuous; to care about something more than shoes and sex;
to think about the gaining
momentum of the right-wing
huge and dangerous cock made
less pink and veiny and ugly
because of the sorrow in his
voice. "Please, it hurts so
much"...we've heard this much
Anyway, back to "Mr.
Monday's School of Social
Reprogramming." The nice
thing about the school (apart
from that I get to kick the shit
out of irritating people 'cause
I'd be the boss, and bosses are
allowed to do that) is that it can
apply to straight people as well.
Perhaps any number of those
yuppies that head down to the
The idea is this: We start a school dedicated to the eradication of "gay" as a
cultural identity. A sort of boot camp for the idiots of homosexuality, minus the
(bizarre) eroticism of the military man. ("Ooohh, Bruce, isn't he HOT?! And he
kills people. And follows orders blindly. Maybe we can fuck later.")
wacky ideas in the past—like
that time I thought it'd be fun to
drink ethanol (good times...
good Kuwaiti times!)—but I
think this idea  really could
The idea is this: We start a
school dedicated to the eradication of "gay" as a cultural identity. A sort of boot camp for the
idiots of homosexuality, minus
the (bizarre) eroticism of the
military man. ("Ooohh, Bruce,
isn't he HOT?! And he kills people. And follows orders blindly.
Maybe we can fuck later.") The
candidates for my school don't
so much as apply for the pro-
back of a windowless van and
said army of transsexuals drives
them to the secret university/
base somewhere in East Van.
On arrival they would be
stripped of their Hilfiger shirts
and matching pants, given
rough blankets and told to go to
their cells and have a good long
think about what they had done
The next morning, they
could start their year long intensive program. Mornings would
be dedicated to the re-programming of "art and culture."
Taught by a Large Scary
Scotsman With A Stick,    he
and atrocities in the world, and
the rip-tide of American consumerism. (While I am on this
topic... has anyone else noticed
how many US flags there have
been around town lately? I saw
one of the back of the bus
recently, saying "We Won't
Forget"—fine, dandy, don't forget, but do your not forgetting
in the US of A. Has everyone
forgotten that we're Canadian?
You know, ironic American-hating idiots with our own problems to deal with? I don't want
to see us merging into the hot
crotch of Papa America under
the guise of commiseration, his
New Hot Spot in town—slumming it down on the corner of
Abbot and Pender—could also
be captured by our army of
transsexuals. Any number of
blonde bimbettes wearing nothing but a spaghetti strap top in
November, drunk on two martinis, pointing her boobs at anything vaguely male would be a
prime candidate for a bit of
abuse for the good of society. Or
how about those men who slide
behind a girl when they're
dancing thinking it's his prerogative to rub his dick on her ass,
as if it were a dirty thing and
her pants were a tissue? I think
they could use a couple months
of said Large Scary Scotsman
With A Stick screaming at them.
There are any number of people
who need a good beating... and
lately there has been a lot more
of them. People who begin their
September 11th..." Or Art
Students. There's a seriously
untapped pool for the giving of
abuse. Or people who write letters in "Dear Airhead."
Now, I know most of you
are thinking: "Ha ha, isn't this
Anthony Monday character a
nutcase! What a kidder." But,
I'm serious... if not a school,
then some sort of public society
that goes around with a stick...
okay, maybe I am getting a little
off topic. But still, something
should be done.
Especially   with   the  gay
I guess it's all about being
on the outside looking in. I sure
don't want to be there, with the
clones and the boys dancing
about with boys and the boys
who all look the same and don't
seem to do anything productive
in this world but spend their
But it makes me feel lonely,
Everyone should be just
like me. I know exactly how to
make this world a better place.
No. Really. I do. • radio free
It's about that time of year
when the world's people
take inventory of their
accomplishments or hours misspent. New Year's Eve seems to
come earlier every year, the
older you get. You wanted to
start that zine but just fell on
your ass and now it's almost
2002 and all you've done is
work for that goddamned
motherfucker you call your
boss. Oh, what a sad tale. These
are hard hard times when we
have such little time to take
stock of the important things in
life. Perhaps this year, with
God's help, you'll get that zine
up and running again. Life is
too short to remain on the
wrong track, my friend. I'm
here to help.
Let's take a look at what the
go-getters have been up to,
alright? Some east-side hippy
has ambitiously culled some
impressive resources and published a new lit-rag named
CRANK. This one looks like it
could really get off the ground,
too. Submissions from well-
positioned scribes like Michael
Turner, Marcus Youssef, Ivan E
Coyote and Sheelagh Davis set
ment. In some ways Crank flirts
with the exclusive, east side
intellectual '60s burnout, but
thankfully it's no Common
Ground or any such shit. There
is a good amount of talent, a
healthy irreverence and plenty
of frivolity. Add a bit more
snide and you've got a perfect
product. (Crank Magazine, PO
Box 21590, 1850 Commercial
Crank's gears in motion like a
well-lubricated... crank. The
included art, odd diagrams,
quizzes, tips and self-indulgent
ad space plus pro layout suggest that Crank is serious about
making this a long-term invest-
Drive, V5N 5T5)
One very fine and long-running mini that's been leaving
skid marks all over the zine
community for years is
MOTORCYCHO, now on issue
#16! Highlights from this issue
are the interview with The
Demonics and the biker movie
poll results. You got it, all motorcycle culture with reviews of all
sorts of cycle related things from
Manuel Rodriguez, aka Spain
(whose biker illustrations range
back to the '60s) to motorcycle
clubs. I can neither confirm nor
deny that editor honcho hosts
a show right after mine here
at CiTR so don't ask.
http: / / ratbike.org/motorcycho.
For about five years I've
been reading E*rock's THUMB
fanzine and loving it. Mr.
E*rock has moved Thumb from
a general indie-rock focus to the
fine experimental electronic
publication it is now. It's also
part of Portland, Oregon's
Audio Dregs label. With issue
#12 the humble fanzine moves
to digest form and utilizes
E*rock's groovy layout talents.
So let's begin the list here;
artists covered within are
Arovane, B Fleischmann,
Harold "Sack" Ziegter, Inkblot,
ISAN, Momus, Mouse on Mars,
Mum, Vote Robot, and Wechsel
Garland. The music reviews are
always to the point and unpretentious and sport hand-drawn
album art by the editor himself.
Sorta like a miniature Grooves
magazine for now, Thumb
shines like a true cult favourite.
(US$4.95 from PO Box 40572,
Portland, OR 97240-0572 USA)
For the type of reader that
thinks too much about silly
standard zine presentation but
better than average writing and
attention to detail. There's an
overboard tribute to Car-Toons
magazine that really delves into
the memorable quirks and
antics while offering a great
look at the artist Von Dutch.
Editor Jay Ruttenberg eloquently encourages shock jock
Howard Stern to take a hard
look at Paul McCartney and
John Lennon and sacrifice his
career to gaze into the eyes of
his wife instead of splitting.
Nice writing and well-explored
rants in Lowbrow make for an
exceptional zine. Here's issue
#1, don't miss out! (Write to 243
West 15th Street #3RW, New
York, NY 10011 USA) The
Lowbrow Reader is seeking a
good mascot too, in case you
have any ideas.
One of the most bizarre layouts in zinedom has always
come from (AIN'T NOTHIN'
whose outputs in the past have
been in varying shapes and
sizes while containing a confusing array of Asian-American
trash pop culture in comics,
illustrations, oddball quotes,
and a fascination with weird
toys and campy action heroes.
The Newest Moonshine is now
in conventional magazine format while offering more accessible material and a much more
linear approach. Freakish adolescent pictures and content
remain in many ways though
but there's more "Control"
where there used to be
unabashed "Kaos" (Get Smart
reference there). So in the mish-
mashed mayhem of Moonshine
#15 you'll find features on DJ
Q-Bert, Xu Xu Fang, The
Boredoms, Japan's Gregory
Horror Show, and tons of
insane filler. Kinda like a low
rent Giant Robot Magazine and
lots of fun. (Send something to
Bwana Spoons at PO Box 6645
Portland, OR 97228 USA or go
see www.grasshutcorp.com.)
Mysteriously a few copies of
NIGNE issue #3 have been circulating around some of the hipper
establishments of Vancouver.
Where this little thing is from is
unknown (to me anyway), but it
seems to be the work of two individuals named Ran and Venus.
These shadowy characters do the
narcissistic no no of interviewing
themselves if only to clear up the
zine's intentions (which still
remain    somewhat    unclear).
What is evident is Nigne's
attempt to shake people out of
their torpor and view the world
through their own eyes rather
than the amoebic stimulus and
response existence so popular.
Interesting report on what they
call World War 1984, though I'm
still confused about its supposed
impact and ongoing threat. I
guess I'll have to look it up some
where. Information on the current war to end all wars can be
found inside, too. "The War is a
Sham" and some naughty Dr.
Seuss humour toward the back
make Nigne a refreshingly different publication in need of further
There's more stuff to cover,
but there's always time and
another year to do it in. If you
have any questions or news
items concerning zines, please
write to me at <speckfan-
zine@yahoo.com> and I'll take
a look at it. I'm here to help. •
Ho ho ho and no no no,
your eyes do not
deceive you, it's an
extra large scoop of 7' surprises
waiting to be shoved into stockings around the fire this holiday
season and we'll try to satisfy
your vinyl cravings 'til we see
each other again in February.
Starting off with a prezzie
too big to fit in the ol' sack,
comes a 10" from a New York
based group calling themselves
The Detachment Kit. Emo-like
tendencies abound, with sharp
guitar bursts and sing-shout
vocals, they try their hand in
recording both in digital and
analog formats, the latter being
preferred by yours truly, just
'cause it sounds warmer and
packs a bit more bang for
the buck. (The Self-Starter
Foundation, PO Box 1562, New
York, NY 10276 USA)
Speaking of that, bands
from Portland seem to understand the meaning of bang
quite well, with several entries
from our sister city to the south
(props to Christeen Aebi of
Backfire zine and Runaways
tribute band Cherry Bomb for
the goods!). We love Portland!
We love Wendy O Williams! So
do seven bands on the EP "I
Was A Teenage Plasmatic,"
which is not covers of
Plasmatics punk gems, just
gushing admiration for a far out
woman, who would tell them if
she still were alive today that in
their monkey suits, they look
just like monkeys. There's
drunken debauchery from the
likes of The Loudmouths and
The Spits, among others. In
fact, three of the bands on that
comp also share some wax elsewhere; The Triggers punk it up
with a four song effort, and The
Nearlydeads and The Black
Rebels prove that less is more
on a single of lo-fi slop that
leads me to believe that if they
spent their money on rock and
roll, it was money well spent.
(All of the above courtesy of
Jonny Cat Records, PO Box 61,
Estacada, OR 97023 USA.)
Making our way back up
the 1-5, we pause in Bellingham
for a musical pit stop by The
Mega Brats. You'll probably
want these guys at your next
basement brouhaha, providing
that you bring the beer and they
bring the tales of living in a
backwater 'burg set to pissed
off rock. (Pool Or Pond, PO Box
2084, Bellingham, WA 98227
Home Sweet Home; greeting us at the door are The Spin
Offs and The Riff Randells.
Holy Harmonics, Batman! The
Spin Offs have certainly paid
their respects to The Ramones
and The Queers on their nine(!)
song debut, eschewing tunes of
love and the quest for it, even if
it means accepting imperfections in your "Flipper Baby."
Just don't "Daisy Miller" her.
(Whatever the heck that
means.) (Contact the band at
PO Box 31551 Pitt Meadows,
BC V3Y 2G7). Our gals The Riff
Randells (or should I say gals
and guy, since there has been a
change to the line-up yet again)
have caught the attention of
Southern California's Lipstick
Records, probably due to the
fact that Lipstick Records is the
home of similarly minded bubble-gum bop from the likes of
The Bobbyteens, The Peeps,
and Candygirl, also 'cuz they
knock off a great version of
Nikki and The Corvettes'
"Girls Like Me," but mostly for
their greatly improved fun-in-
the-sun, cruisin-the-strip, radio-
blastin' rock and roll. (Lipstick
Records, 1154 Powell Street,
Oakland, CA 94608 USA)
With the radio blastin' so
much—listening to Hiisker Du
and a good chunk of the SST
Records back catalog—The
Braille Drivers decided to write
could have written a song about
it too, but not for the reasons
they describe, even more so
'cuz I couldn't handle the
monotony of it all. (Hey Frankie
Recordings, PO Box 090629,
Brooklyn, NY 11209-0629)
I almost busted a copy of
the new Lollies single before I
managed to slap it on the
turntable. Being pressed on 180
gram vinyl, this record should
have a warning label stating it
ain't for the weak-limbed.
Luckily, the music contained
therein is fairly light organ-
drenched pop, bringing to mind
a pastiche of '60s psych and '90s
quirky Brit-pop a la Heavenly
or The Pastels. (Contact the
Bringing it all to a close this
time around will be singer/songwriter Eleni Mandell, and
although I'm not really down
with the whole solo artist thing,
side one of her waxing on Heart
of a Champion Records is the
choice cut, a torchlight downbeat jazz number ("Turn Off
The Lights") that will warm the
soul on these cold winter days.
(Heart of a Champion, PO Box
3861 Minneapolis, MN 55403
Happy holidays, buy vinyl,
and see you in 2002! •
K n o w s o me o ne thathis been
this year. Vancouver
First of all, an apology to
Star Collector. In
September's review of
their CD Black-Eyed Soul, I
referred to a song with a groovy
bass riff, but I inexplicably
called it by the wrong title. The
song is in fact "When the Pill
Goes Down." Sorry! And I will
try to cut down on the drug use
in the future.
I'm no longer surprised to
who sends in a CD has its own
The Pariah Project seems to be
all about tackling the big issues.
Il   s(,II  ,1
The first s<
this EP (not
ings, mind you) is about people
numbing themselves to the
world's problems. The third, I
think, is about consumerism.
But it's the second song,
"Reena," that's been getting the
group some media attention.
It's about Reena Virk, the 14-
me to find out how many of
these sites are bad. I'm not talking about cheaply-produced or
simple sites, or even unappealing design. The problem is ani-
pop-ups, pages that freeze your
computer or demand the latest
download of something before
year-old girl who was killed by
a gang of kids in suburban
Victoria. Her story is horrible,
certainly. (It also has a special
resonance for all of us who didn't fit in at high school.) And it
does say something about The
Pariah Project that they felt
compelled to address this subject. But you have to ask yourself, what does this song really
say about what happened to
Reena? The track sounds very
atmospheric and emotional,
with Taryn Laronge's vocals
somewhat surprisingly pure
and sweet on top. She sings
things like, "Reena they'll pay,"
which strikes me as a little
creepy. In short, I'm not convinced that the lyrics add much
to our understanding of the
issues. No one thinks that writing in a fresh and significant
way about social injustice is
easy, but surely this is the challenge an artist has to face when
taking on such a serious topic?
Triple Word Score
Here's what I like about this
band: they recorded these 14
songs in three days; they sent
me a bio that was hammered
out on a typewriter; they play
sub-two-minute-songs at a mile
a minute; and they don't mince
n gel 1
we're all supposed to believe in
the low-budget DIY ethic when
it comes to putting out CDs,
why can't bands understand
that they might have fans with
two or even five-year-old computers and a dial-up connec-
ough bitching.
o this
words. They also have a song
called "All Day I Dream About
Punk Rock," which includes the
unambiguous line, "Corporate
punk rock sucks!" The frantic
quality of their playing is reminiscent of Suicidal Tendencies,
while the three-piece's sound is
remarkably spare, clean, and
musically competent, relying
on fast bass and guitar runs for
its angry energy. And if you
want to hear a song that's about
100 times scarier than "Reena,"
try "Why I Quit Drinking."
The "Kick Me!" Generation
As you might have guessed
from the CD title, frontman
Pete Campbell specializes in a
certain bitter/humorous style
of songwriting. While his lyrics
are often edgy (if not angry)
and sometimes overtly political,
the music itself is testosterone-
soaked clean-crunchy pop, giving the impression that Pete is
being stretched in two completely different directions.
From one side of the band beckons an idealized pop music paradise, full of irresistible hooks
and catchy refrains. The pull
from the other side is world-
weariness, disgust with current
events, and sour self-knowledge (with a big dose of self-
deprecation). One result of this
tension is a song-story ("The
Morons' Song") about witnessing bad behaviour at a long-ago
Young   Fresh    Fellows   gig,
including sweet boy harmonies
and lines like, "I'm a fucking
idiot, I'm a fucking goof."
Another is "Anything From
Home," where the narrator is
pissed off with himself for driving 700 miles to see a girl who
won't have sex with him. But
it's not all about chicks and
bands: there's also a song about
working at a soul-destroying
job, one called "Thalidomide,"
and another in which Noam
Chomsky's name is dropped.
What other pop band would
even try?
Sackcloth and Ashes
If you really want political, look
no further than Submission
Hold. Singer Jen Throwup
veers between unbelievable
sweetness and snarls, covering
topics like biotech conglomerates, oppression of women,
substance abuse, even the
incredibly specific (and local)
"The Day the Police Stole the
Bushes from Grandview Park."
The enclosed booklet includes
lyrics translated into French
and Spanish, woodcuts, and
some provocative explanatory
notes. More than music,
Sackcloth and Ashes is a call to
(PO Box 21533 1850 Commercial
Drive, Vancouver, BC V5N 4A0) •
Parts Unknown
Record played most often on your show:
The genius of Dan Destroyer's "Canadian Lover" and everything from the Kindercore
Records catalogue except Japancakes.
Record you would save in a fire:
Tie between Descendents' Milo Goes to College and Stereolab's Emperor Tomato Ketchup.
Record that should burn in hell:
Is Hell too good for Tenacious D? (Sorry, Eric.)
Book you would save in a fire:
Hostels Canada, a guide to the best youth hostels in Canada.
Worst band you like:
It's time for a national holiday for RATT.
First record you bought:
Def Leppard, Pyromania.
Last record you bought:
Iron Maiden, Best of the Beast.
Musician you'd most like to marry:
Ida Nielsen of The Beans. She's sexy, she's got her Grade 10 in piano, and she is the
Sugar Refinery.
Favorite show on CiTR:
World Heat (tres exotique), Girlfood (well versed in all forms of melody), and The Cute and
Cuddly Show (like eating cookie dough again).
Strangest phone call received while on air
A guy called me and said, "Nick Gilder just left my house. Can I hear some Nick
Gilder?" •
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6 jancember 2001 Your world doesn't need people. It
becomes a tvorld of words detached
from bodies where theory becomes
an obsession of thought, where
human reactions, emotions and
actions are placed neatly into their
own sphere of theory. Music, writing, ideas produced by the new
gods of thought, revered and uplifted, and in this way detached
through seeing connections...
Feeling at the end of the century
and it has already passed—
meeting people on Quadra
Island who also want to move
to Montreal—maintaining a
sense of decorum in the face of
the lockstep—feeling happy
that the government will only
have fascist powers for five
years because of sunset clauses
in Bill C-36 instead of for the
rest of our lives—not that it
matters anyway as the Bill is
grandfathered—still drinking
and smoking too much weed—
trying to write essays and think
about what we should be doing
about the whole damn thing—
doing little—doing nothing—
doing everything and burning
yourself out so you do little or
nothing—still drinking and
smoking too much weed—
reading Baudrillard—learning
that the good oT boys are now the
good oT girls.
Saturday, November 10th. The
scene: Pacific Cinematheque.
Old poets and bill bissett and
young slick poets with big
vocabularies and even bigger
sideburns mingle to absorb an
evening of "videopoems."
Ranging from the very good to
the not so very good at all, the
videopoems were by no means
a disappointment—yet not
incredibly spectacular either. It
all comes down to the fact that
"videopoem" = video+poem,
and that if you don't have both
you don't got any. (And this
was only one night of three, so
take this with a grain of salt.)
The audience received ballots,
with a rating scale of one to five
based upon one's "impression."
Impressions—some of the
poems were simply a voice-
teenage projects on the Big
Issues, and some were what I
came for: "videpoems," most
notably "Damned Spots" by
Julia Burns, featuring mangled
and discoloured trippy footage
of a dog and a kennel and
mumbled poetry about legs—
the entire thing was a real
mindfuck—and "Elemental
Reels" by Gerard Wozek which
captured surreal imagery and
poetry through an expansive,
wistful, emotional aura;
"Keeping Her Cool" by Goody
B Wiseman was the standout
humourous selection with the
best use of teddy bears to date,
with no sound whatsoever—
and was it just me, or was the
real hashed turnover that they
were lesbians?—and "Re:
Solution" by Penn Kemp perfectly portrayed the poet's performance of sound poetry with
inventive low-budget camera
angles and cuts, sneaking into
"videopoetry" through a subtle
reconstructive editing of the
videopoem's elements. Also
kudos to Scott Russell's work,
using hand shadows, lighting
and the viewing of words to
slow down the pace a little. But
not all were that lucky. As an
emerging genre, videopoetry
will have to work hard to distinguish itself from either just
video or just poetry or videoart
or new media collage.
Was that William Gibson gro
Everyone who has ridden a
Pacificat knows how little space
there is. But what sucks worse
is the non-stop in-house obtrusive TV system. As the ferry
leaves the dock, with the grand
majestic trees of Horseshoe Bay
on either side, the TVs light up
with Coke ads, ads soliciting
advertisers, little Knowledge
Network shots of other beautiful places in BC with New Age
music thrown over top, perfectly destroying the real beauty
outside (a simulacrum of it:
here's the beauty inside, on the
TV, nevermind the ever-
expanding Horseshoe Bay terminal—afterall, if there are TVs
inside, perhaps it justifies the
lack of deck space outside). Not
only are the TVs everywhere and
especially worse in the scenic
upper lounge, the speakers are
obnoxiously loud, so you just
won't miss those Sports
Highlights while you watch the
bald eagle flitting the breeze as
you wind your way through the
Gulf Islands. It's like a constant
mosquito—no, a swarm of mosquitoes—that won't fuck off.
Worse, you can't swat them
away or load up on Deet. So
here's the buzz: Adbusters, I officially implore you to put out the
call to jam these damn speakers.
I can deal with the TVs, but the
speakers, the sound of Coke
being slurped, pumped through
sciousness, canned from the ceiling—it is too much. Enough
with obtrusive advertising!
As MLAs see their wages go up,
rubbing their hands with miserly Scrooginess, and the public
servants wait to see if they lose
their jobs just before Christmas,
and the kids get to look forward
to making an entire six bucks an
hour (and all the corporate
cows start cutting the hours of
anyone over 500 so they can
hire new kids to do it cheaper—
and then do the same to
them)—not to mention the cutting of one-third of all government regulations, for no other
reason then, hey, one-third sure
golly looks impressive—I propose
certain solutions to Mr.
1. Campbell and His MLAs
should be paid $6 an hour for
their first 500 hours of work.
Then they should get minimum
wage. Please sign the petition
to make this happen:
hrtp: / /www.petitiononline.com /
2. All laws regulating what is
illegal in regards to harming
politicians should be removed.
3. One-third of Gordon
Campbell should be physically
removed. Start with the heart—
he obviously doesn't need it.
Culture-jammers and WTO impersonators The Yes Men have had
their satirical gatt.org website shut
down by WTO lawyers. But they
aren't taking it lying down. Go
here to get your Yes I Will "paro-
dyware" that will mirror any website you want, as long as you got
the domain and the space:
http: / / theyesmen.org/yesiwill /.
Viva la web-resistance!
Until the end of Pax Americana! •
>t just putting myself in a
painful position, I'm also making
the lives of Discorder staff miserable. Though I read Aislinn
Hunter's What's Left Us and
Nature's Healing Oracle by
Ambika Wauters, I'm in no
shape to review them intelligently. I've had half a litre of diet
soda and things are still getting
blurry. I'm sleepy. Ever get the
feeling that reading over my
shoulder isn't all that much fun?
Some of the time I'm whining
and not talking about books at
all. This behaviour isn't exclusive
to my column. I've just as bad on
the air.
This past month a caller
told me that each week on my
show I "bag on whitey" (I find
the use of this term—"white"—
troubling because it suggests
that a large number of people
should be relegated into a single, homogenous group. Just as
us "yellow" folk have separate
cultural identities, those who
are branded "white" or "black"
possess unique cultural identities that simple "us and them"
racialization doesn't address).
It's likely the caller doesn't like
my weekly critiques of dominant power structures because
person of slipping into
dialogue; I'm part of the colonizing   country   club.   Thus,
Jesus are), but it's pretty insulting to all the people who have
religions that don't view
December 25th as the one of the
most important holy days of the
year. For the past two years, my
family and I have gone to see
Chow Yun Fat movies on
Christmas Day. No turkey dinner or songs about baby Jesus
for us. But just because I'm not
in the spirit of giving, doesn't
taking your feelings into consideration. I've got four books
and quiet epiphanies here.
Svendsen: if you insist on a
subtler book with a female protagonist, look no further than
Marine Life. It's a group of interconnected stories surrounding a
character named Adele and her
family life. The last story is a
tearjerker. By this I mean that it
was genuinely moving; there
are no lame stories in this well
crafted book.
IN THE WORLD by Sherman
For the past two years, my family and I have gone to see Chow Yun Fat
movies on Christmas Day. No turkey dinner or songs about baby Jesus
for us. But just because I'm not in the spirit of giving, doesn't mean that
you aren't, so I am taking your feelings into consideration.
he thinks that I'm shouting my
bullshit from the margins.
Really though, I'm criticizing
myself a lot of the time because
I don't think of myself as being
on the margins in every situation. I'm North American, I
have a degree, I have a place to
live and more than enough food
to eat. Just because I'm an Asian
girl, doesn't mean that I can't be
part of the evil establishment.
I'm just as guilty as the next
when I'm examining the evils of
North American society, I am
saying "I, too, am responsible."
Though I just claimed to be
part of the North American
norm, I must confess that I
don't really celebrate Christmas
in either the Christian or capitalist sense. I bristle when people refer to the holidays as
Christmas holidays. I don't
mind so much (I grew up thinking about how great Santa and
to recommend as presents. Be
warned, however, that none of
them are novels. The upside is
that because they were not published this year, they are available in (the cheaper) paperback.
DECLINE by George Saunders:
a collection of short stories destined for someone who likes
satire and theme parks. This
book changed the way I view
the short story. No housewives
Alexle: these short stories are
funny and sad at the same time.
When I finished reading this
book, I wanted to drive down to
Spokane in order to start stalking Sherman Alexie. But
because I'm lazy, Alexie doesn't
need to get a restraining order
against me.
ALICE POEMS by Stephanie
Bolster this poetry is written in
a straightforward manner, but it
produces complex meanings. I
endorse the paradox of complex
simplicity in poetry. Oh yeah,
this book won a big, big prize.
But it is worth reading, because
Bolster has an incredible control
of words and imagery. Who
cares if some uppity judge
thought it was great? I think it's
great. If that's enough for me,
maybe it's enough for you.
If you insist on buying novels, go for Paul Auster. If it's
non-fiction you want, try Jan
Wong. For children, look no further than Lemony Snicket and A
Series of Unfortunate Events.
Harry Potter (the book, not the
movie or the million other
Harry products) isn't cool this
Christmas because Rowling is
holding out on us. Where is that
fifth book? I've read the first
four books three times already.
Maybe I should ask for a life
outside of my apartment for
I feel a little guilty recommending famous writers and
their big publishing houses. It's
not like they need my help or
your money. Anvil Press needs
our help though, so I must say
once again that THE DOOR IS
OPEN by Bart Campbell is my
pick as the best non-fiction book
published in 2001.
Remember too that the
independent bookstores need
your help, so bypass the megas-
tores and go to your neighour-
hood bookseller. •
Friday, November 2
Access Artist Run Centre
David Yonge, the man behind
the Yellowboy alias, made his
singular contribution to the
LIVE Biennial when he took on
the persona of an historic 1970s
Mexican   wrestler  and   went
finally yielded to muscle and
the hood cracked free. The
testosterone team was in
extremis. Unable to contain
themselves, the lads rushed the
Camaro and had to be "booed"
pie—the third art-dan
whatnot had drawn a capacity
crowd. I snagged a perch on a
coffee table next to some friends
while an act called Of Sex, Your
Body was on. Although the
frontwoman used a microphone, I could barely decipher
a word she was saying, but it
could have been something like:
"I'm so strange and arty that I
He slid to the ground, microphones shrieking, and attempted to
wrench off one of the doors, but the Camaro was stubborn.
Testosterone simmered, car-buffs whimpered and tactical matters
were debated.
veil  he
Houdini. The early 20th ci
we I lee
Carrall Street, where a Camaro
was lowered defiantly at the
curb. Fresh from a Showdown
Seattle cinema the night before,
in the process. And hang-
Yonge sported a deep 3 "gash in
ing in the air now, as it must
his right palm but otherwise
have been then, was the beauti
ful heroic pointlessness of the
lean, muscular and menacing in
act itself.
flared   jeans   and   a   glitter-
After the show ended, there
encrusted balaclava.
seemed to be a lengthy period
He and  a  handler taped
of audience disorientation. It
eight microphones to his body
was as if in the heat of pure
before he jumped onto the car,
spectacle, Art had melted down
ripped off his t-shirt and struck
and   slunk   away   unnoticed,
a   victory   pose.   The   crowd
leaving everyone to mill around
cheered—eager to plav along
aimlessly in front of a floodlit
like  trailer  trash  at  a  WWF
match. Bat in the first of several
And me? I just wanted to
contextual shifts that the 45-
give Diablo a massage.
minute   performance   would
make,  audience  engagement
became    seriously    real    the
Saturday, November 17
moment "Diablo" leapt into the
Ms T's Cabaret
air and came down in a full
Bv 10:30, the bowels of 339 West
body-slam onto the roof as he
Pender were heaving with peo-
slid to the ground, microphones
the        Stubborn        Camaro.
Testosterone   simmered,   car-
buffs whimpered and tactical
matters were debated as a cou
l'   '''
ple of rumble-ready lads who
fc*>   *i
probably thought they'd died
and gone to heaven kept offer
ing to help.
When a very high steplad-
der was brought onto the scene,
the crowd  groaned,  its own
HP                yr    "N^
endurance already fraying. Bv
this time, the style-cramping
Besides, the arty embellishment
of  a   sound   collage   seemed
unnecessary here. Floating from
don't bother about mic tech-
arty and seductive and talk into
my collarbone and keep running mv hand over my brush-
cut because that will give a sexy
touch to mv deep artiness."
Came with two very serious-
looking sidemen on musical
instruments, Cabaret was horribly damaged by this. Shame on
Things perked up with The
3 Bitches-old-school drag
queens who have suddenly
found themselves part of the
neo-cabaret scene. With every
show, they're a little more polished and theatrical with their
material. However, these gals
turn into raging workaholics as
soon as they get near a stage,
and reappeared so often
throughout the evening that
they risked diluting themselves.
A few less numbers would have
kept us wanting more!
Art Damaged regular, Evil
a r t
r a d
y  y   y
y   y   y   o<
+y   y  y  y
y y y y -
^ y y / y
«*    y     y y
y   + y y
* y y
our annual 24-hour radio
experimentalist blitz:
January 17, 2002
Stevil, is developing a nice bit
of comedy shtick as a slacker-
clad, heavily-pierced grumbler
who disapproves of panhandlers, squeegy kids and bus
transfer hawkers. At the end of
his set, he strapped on an axe
and sang his catchy little
grunge ode to Kraft Dinner.
Man of many aliases, David
Yonge, played lion tamer to his
friend's beast in a chaotic ci
vignette as De Suza and De
Paula. Yonge's sinister, boxy
face mask nibbled at the edges
of Dada and the audience visibly receded as the act raged
against the front tables.
Still, I didn't see anything
that made my mind slip sideways until Nico Orgasmico
took the stage. Then I knew we
were onto something. She's a
great, zaftige yoi
Yonge twisted in the air to land
with a sickening thud on his
side, barely making a dent in
the metal. As he repeated the
dive, I thought of mythic figures like Sisyphus and Wile E.
Coyote. Then he was under the
hood, trying to shoulder it off
its hinges, his back becoming
smeared with the soot of a thousand  road  trips.  Muscle car
8 jancember 2001
further voluminized by two big
balloons under her pullover.
Nico and her two sidemen all
wore helmets and she carried a
red phallus on a stand. As she
slowly limped around with a
cane, her black-suited males followed solicitously, providing
backup to her salacious little
yelps. This was tilted, perverse
and outrageous. 1 really liked it.
Adding an  MC  to  these
»nings w
David Yonge in Yellow Diablo. Photo by Cedric Bomford.
T Paul St. Marie was definitely
in command as he kept things
moving like a rockabilly Joel
Grey. He was also ready to slam
the audience with his own
potent spoken word when a
misplaced dildo or sudden wig
crisis caused a slight delay.
The producer of the series is
deeply buried within the persona of Satina Saturnina (or is
it the other way around?). This
unit is always intense, compelling and hilariously deadpan
about it. Their costumes are
works of art in their own right
and tonight, in the ultimate act
of frontwoman narcisism, the
boys in the band wore prosthetic headcovers moulded after
Satina's own face and hair-do.
Ms. Saturnina herself was packing a plush strap-on. Their
sound is slowed-down, old-
school punk with vocals which
suggest Siouxie, but listen to the
hypnotical] repetitive lyrics and
you'll know that Satina's got
her own fantasies going. The
band won many new fans on
this night, so get ready for #4. • K,clc aroundy
<kce<\W 2©o\ • Sco\t"v,^\\rr
 HANS ffn(;fr
■   that   touches   t
In 1976, music teacher Hans Fenger recorded two albums by his three
elementary school classes in Langley, BC. While releasing albums by 5
to 12 year-old students was itself an ambitious project for the time, it
teas the music Fenger chose tlutt was truly revolutionary. Rather tlian traditional elementary school fare like "Frere Jacques" or Raffi tunes, he had
Ihe children singing "Good Vibrations" by the Beach Boys, "Rhiannon"
by Fleehvood Mac, "Desperado" by the Eagles, "Saturday Night" by the
Bay City Rollers—even "Space Oddity" by David Bowie!
Originally pressed exclusively for the children's families and classmates, these albums were "discovered" this year by music archivist Irwin
Chusid and re-released as The Langley Schools Music Project:
Innocence and Despair. This album has become an unprecedented phenomenon, obtaining immense populuritu, nti'c reetews, and incredibly
diverse airplay. < higinul pressings are uo<e selling as collectors' items for
obscene amounts of money. More than just a novelty album, Innocence
and Despair lias won over countless hearts.
Accompanied somnehnt haphazardly by the children on standard elementary school instruments like xylophones and woodblocks, and sung
enthusiastically by the clearly overjoyed kids, the songs project pleasure
and pathos the originals could only hope lo have captured.
Luke Meat had the pleasure of speaking to music teacher Hans Fenger
about how he got away with it.
DiSCORDER: I know you're getting sick of this question, but
how did this wonderful album come to be?
Hans Fenger: I was hired by the Langley school district to teach
music; at that time I was playing in a band, The Psychophonics.
Great name!!! Do any recordings exist?
There are a few... We did a version of "Telstar," and I was also in a
band called Blood on the Saddle.
That's the name of one of our programs here on CiTR!
I realized that a few years later! Anyway, we were playing kind of
early "cowboy punk" or whatever.
That stuff is kinda popular right now...
Oh well, I guess I was 25 years too late for that too [laughs]1. I needed to get a steadier income—we were expecting our first child—so I
went back to university to complete a year of teacher training. I had
gone to SFU previously...'and before I was able to complete my
teacher training, I was offered a job in Langley. I had NO experience
with teaching music. My first year was teaching music to grade one
students; my second year, I was at three schools! Rather than teach
"public domain" songs, which is what a lot of music teachers consider them, and instead of looking for small choir arrangements,
because I had never sung in one before, I fell back on what I knew
how to do—play in a band. I wanted to teach in a way in which children could communicate musically with each other. "Jamming," you
might call it. I thought it was really important that they could create
spaces for each other, that they could make music where they felt
like a whole, and that hopefully gave them a feeling that they were
musical. Essentially, Luke, I wanted to teach these kids to have the
same feeling of music that I did, and it didn't matter to me weather
they sounded good—I just thought, "It's just little kids..."
They're havin' a blast!
[Lauglis] They did have a blast, but they also took it very seriously,
and that's where the nature of the material came in.
Did any of the kids know the original versions of the songs?
No, I taught them. I played it on the guitar. They wound up performing the songs the way I heard them in my head. We jammed
around as far as the arrangements were concerned. We would try
several ways of playing, and then the kids themselves would jam,
and every lunchtime we would get together and play music. After
awhile it got difficult to get them to go to any other classes because
they wanted to play music all day!
Did you have any moguls in terms of convincing (what I assume
are) the small town Christian and rural values of the Langley
school board and, more importantly, the parents who funded the
10 jancember 2001
production of the albums, to sing popular rock and roll songs?
Well, after the first album, I think that they didn't know what to
make of me [laughs]. It's just as simple as that! I was in a rural part
of an already rural community. I had a smart administrator, though.
He realized that the kids were doing really well; they liked and
enjoyed it. I can truthfully say, Luke, 1 never had any real hassles
from administration or parents.
If I ever received any negativity, it was more from the music-
teaching establishment. They tended to see what I did as a little
weird, and tended to be condescending. Y'know: "This is 'nice,' but
it's not 'normal.'" I think "not normal" was the phrase they used
the most! The second album I made, I had Danny Ross as an administrator. I can't say enough good things about him; he was great at
dealing with offbeat teachers like me, the kids loved him, and he
understood counter-culture. You have to understand that Langley
was going through a tremendous teacher shortage at that time, and
basically hired a ton of people, but they were also founding fundamental schools out there, so there was the conservative movement...
But the school system itself also had many, many progressive elements to it, which Langley still does. They have a wonderful fine
arts program. Langley has always had those two conflicting elements, but the two seem to co-exist for some reason. I think what I
had at the time was progressive people. I'm not so sure about the
system, though; I was very lucky that way.
Can you explain what Orff Percussion is, and why you chose that
type of instrumentation to teach and record?
When I was in university, I was briefly exposed to the Orff Music
Method. Carl Orff was a composer who invented a music method to
teach children, in which he used xylophones with different kinds of
voicing, so you could have altos, tenors, basses, and sopranos creating ensembles of xylophones. The beauty about a xylophone is that
you can remove any note that doesn't fit into a pentatonic scale; it's
impossible to hit a note that doesn't fit. For example, I had five year-
old children playing very, very simple two-note tunes so they could
correspond with whatever else was being played at the time. It's a
very ingenious music method. Carl Orff himself was a brilliant composer, his most famous work being "Carmina Burana." When I started at Langley, the school already had those types of instruments!
Now, I knew almost nothing about the method—I just thought they
sounded kinda cool, and that I could use them with the band. So we
didn't use the Orff method, we just used the Orff instruments, and
I can say that the Orff people are still not happy about that. But that
says a lot more about them than it does [about] me. Music education people are very uptight folks. ["It is very evident that the [Orff]
instruments were not used as they would be used in the Orff-
Schulwerk approach. AOSA has no desire to be connected with this
recording ... Thank you for your interest in the American Orff-
Schulwerk Association."—Executive Director, American Orff-
Schulwerk Association]
In choosing which songs to teach the kids, were lyrics a consideration? I must admit, it is quite ominous hearing children's voices
enthusiastically sing in "God Only Knows," "so what good would
living do me..."
[Laughs] Like Children of the Damned] I taught every song for a musical reason. "God Only Knows" is technically a "round." When I did
"Space Oddity," I taught it as an opera. It was a dramatic form. You
had characters: Major Tom, Ground Control, the counting, even—
that was a character. "Band On The Run" I taught as a symphony, in
the sense that the song is in three different parts, like some symphonies are. I always tried to teach that music is music and that genres are irrelevant. If it's from the heart and soul, who cares whether
it's jazz or punk or... martian!
Speaking of "Space Oddity," what makes that beautifully piercing
sound when Major Tom takes off?
It's a steel guitar being played with a bottle by a nine year-old
through a Marshall amp—cranked on 10, might I add! It's a sound
you could never digitalize; it's so raw. Every song that I taught was
for a musical reason. Lyrics like "God Only Knows" or "In My
Room"... I realized that most kids like singing about that, rather
than the generic "kids' song" which is usually, "I love to sing, I love
music, if we could all hold hands there would be peace in the world,
I would be a happy person, and I would fly in the sky and we would
all be equal..." After a certain age, most kids don't like those kinds
of songs. I taught to all age groups, and I never said: "You don't
know how to sing! You can't play!" It never occurred to me that ability was important—these are eight or nine year-olds we're talking
about! If the kid couldn't play the bass with four strings, I would
remove two or three of them!
That being said, was there a way of deciding each student's role in
the band?
I usually did the instrumentation with the older kids, who were
about 11 or 12, who could manipulate the more complicated instruments, like guitars, for example, and they could focus for a longer
period of time. The little kids really loved to sing, to belt out those
In the last decade, the "indie" or "lo-fi" sound received quite a lot
of attention. Have you always had a "do-it-yourself" ethic, and is
the movement still relevant?
I've always had that ethic. The point is if you're going to make your
own album with your own material, you have to know that you're
not going to sell a million copies. You're always going to be uncommercial. You don't have distribution, etc. The Pointed Sticks and
DOA were releasing albums on their own labels and doing very well
locally, but I had made our albums a year prior to when that scene
took off.
Did you go see those bands play live?
Oh yeah! We went to the Buddha all the time. Joe Keithley ran for
the Green Party in my riding, actually...
Did you vote for him?
Of course [laughs]'. Anyway, when we made the albums, it was still
the height of Fleetwood Mac and disco and the whole industry that
rock 'n' roll was. I basically thought making this record was a project. Luke, you have to remember—back then, making a record was
a complete mystery to a kid. If you made a record, and it was
released, to these kids it was no different than The Bay City Rollers or
Rumours. To them, it made no difference. They were on a record, and
so was Fleetwood Mac, so that made them just as good as Fleetwood
Mac, as far as they were concerned. The beautiful irony of this entire
thing is that the success of the record now is just the second part of
the project. The first being that they recorded a record; the second
being that they recorded a successful record, and they're old enough
to understand it all!
Are you still in touch with any of the students on the album?
Since the re-issue, yes. Lots!
How were you approached by Irwin Chusid to re-release the
Irwin received the record from Brian Linds who has a radio show at
UVIC. He found it in a thrift shop. Irwin played it on WFMU radio
in New York, where he has his own program. He received an amazing response to it, and through some Internet sleuthing, he contacted me.
One final question. Looking back, which of the following two
songs would you choose to teach: "Why Don't We Do It In The
Road" by The Beatles, or "Tusk" by Fleetwood Mac?
[Pause, then tumultuous laughter] I would choose "Tusk." "Why Don't
We Do It In The Road" has too much of an ambiguous meaning,
even though they would probably love singing it!
How would you teach "Tusk"?
I would teach it in itty-bitty parts. Preferably with a marching
band... •
by   LUKE  MEAT mysticism and
musical (re)awakening
By Mark Fernandes
William Parker
laughingly told me that he v\
talking about his bass—
The great musical dance had ended for the Fred Anderson
Trio. The audience filed out of the Norman Rothstein
Theatre after the show's final piece. I stood on stage as the
musicians packed up their instruments and prepared themselves
for the chilly autumn night after playing a blistering two hours of
improvised music on October 28th. Reeds player Fred Anderson
stood in the foreground wearing his thick leather coat.
Percussionist Hamid Drake was nowhere to be seen, while
William Parker and I chatted centre stage. Parker was hunched
over his bass when he looked up and explained to me: "Fred likes
to keep warm. I like to keep Fred happy."
I whipped around and looked in Fred Anderson's direction
and sprayed out, "Fred, come on! You're from Chicago, how
many layers do you need? It's only fall."
Fred just stared blankly at me. Parker gestured at him and
sn't talking about that Fred, he was
med Fred, probably in reverence of
the late, great bassist Fred Hopkins from Chicago. However,
Parker's playing is its own statement, devoid of any overt reference to Hopkins or any jazz idiom. Names like Charles Mingus,
Charles Hayden and Jimmy Garrison will get bandied about
when critics review his playing, but he's beyond idioms. If you
were to let your ears open up, if you let your eyes see his notes
emanate, you would realize that his music is not reexamining jazz
history—he is acting as a medium to reach other worlds.
His eyes close, his hands speed up; he is conscious of the
other musicians yet he sees the bigger picture, the greener pasture
that lies ahead. Parker pounds and pricks his fingers across the
fretboard in a walk pulse form. His arco work is all broad strokes
of brilliant opaque colours. His bass playing is a frenetic landscape of textures and tonal shading of an undiscovered reality
that he taps into and reveals for all.
Parker's bass playing is very much his own style, cultivated
many moons ago under the influence of avant jazz pianist Cecil
Taylor. In the '70s, when the two first worked together,, Parker
found that if he used more percussive techniques with the instrument, he could achieve a more tonally rich sound. It was from
those early Taylor sessions that Parker developed the theory and
technique called the horizontal and vertical continuum of flow.
After about 30 years of performing and 150 recorded appearances
William Parker discussed his art aesthetic with DiSCORDER.
"Y'know, it's like in last section of this last piece we played,
y'know, I was visualizing a rice field, people working in a rice field,
on this last piece. And it kept cutting across from China to Cuba to
Africa and Japan—it's like four different countries in that section,"
says the Bronx-native Parker.
What makes Parker's playing so superlative is that this vertical and horizontal takes place on the bass, in that he simultaneously bows across and fingers up and down, creating a continuous flow of music. Parker describes the musician's visualization
in terms of a conceptual image that replaces the structural rigors
of notes, scale and time signatures. It is this sense of musical freedom that Parker strives for.
"I could see, if you look at the way a note is written on paper,
you know it has a stem and then a head; and if you look at a tree,
a tree has got a stem and it's got some branches—that's a vertical.
If you look at the way the horizon goes and look at the way things
build on the horizon, whether its buildings, whether it's clouds,
you know that's a horizontal visualization," says Parker. "If you
m it's actually dead or when it
When we stand up then that's
c images, but you project on th
look at the way a body lies
sleeping then that's a ho:
vertical. So all these are
When Parker is projecting on the sound, he is infusing the
note with a spontaneous vitality, a spirit. The note can be looked
at as a microcosm of the universe; a starting point like an atom or
a star, an evolution of ideas and form. His spontaneous arrangements are a highly ordered and complex system of emerging variants that are reflective of his constant musical (re)awakening.
"It's like when you get into shamanism, you have to project
that when [you're] that note, you're saying 'Be healed,' you're
saying 'Rise up.' You're saying 'Feel this, feel this.' You're doing a
mantra. You're really plucking and feeling. You don't worry about
whether it works or not, this is your intent. This is your intent and
when music stops it stops 'til tomorrow night when we get into
Seattle and we see what happens there."
There is an apparent mysticism that abounds not only in the
musical work of Parker but in his thoughts as well. He's hidebound by pseudo-Buddhist ideas of compassion. Through music,
he seeks to ritually understand human suffering.
"I think that's the point of not just musicians, I think that if we
feel for our neighbors and we feel for other people, we feel for
other people in their pain and not just share their joy, we share in
their pain and in their suffering, then we can give them more,"
says Parker.
"I mean in a sense, monks pray everyday, and people pray
everyday for peace, and you look and say the world is getting
worse and worse, but, if one day those monks didn't pray then
you'd really see the effect that the prayer has within... I mean, like,
one day if you say to everybody in the world don't pray, don't do
any good deeds, don't play any music. 1 believe if that happened
you'd see dark clouds over the earth because that's what's keeping us, I said it a million times, I sound like a broken record, but
that's what is keeping the earth balanced: is the prayer. Is the
good deeds. Is the good vibrations we're putting out there."
Those "good vibrations" Parker refers to are similar to the
thoughts of the great jazz pianist, Sun Ra, who claimed his music
revealed equations that re-established the linkage between all
metaphysical worlds. Parker could be considered a part of what
Ra called the Angel Race—those artistically inclined beings that
can directly communicate with other realms.
"We speak about the tone world but there are also worlds of
lots of different kinds of spirit worlds. All kinds of strange and
terrible characters coming and invading people's spirits," says
In 1998, Parker released a solo bass work entitled Lifting the
Sanctions. While it seemed apparent to me that he was referring to
the sanctions placed on Iraq, Parker described the album as an act
of liberation, not limited to those affected by the UN sanction in
Iraq, but for all people.
"It was about a call to lift the sanctions on creativity; to lift the
sanctions on poetic and personal freedoms; to lift the sanction on
the truth that had been laid down in America all these years. It's
still against the law to really tell the truth and to speak the truth
you'll be, and nowadays especially, you'd be considered unpatriotic if you speak the truth," says Parker.
However, Parker is not a musician concerned with escapism
from those sanctions placed by Earth-bound forces like politics
imunity art
A decade ago Parker and his wife, dancer Pati
founded Arts for Art, a foundation that sponsors
events from Manhattan's Lower East Side to Washington, DC.
Parker sees an opportunity for healing through art.
"I think that the true self, I think the true calling of people
is to try to seek the spirit from where we came from, and what
really guides us. I mean it's almost like that's what we were
spun off of. Y'know we're a piece of clay spun off this other
piece of clay and so it's in us," recounts Parker.
"Y'know the strength and spirit is in us. It's just that we
choose to develop other areas in life all the time so we don't
develop our higher selves—what you call your third ears your
third eyes—you're higher perceptions are closed off because we
are not taught to develop them. And that is simply what music is
supposed to do is to help develop. And that's all music is for, all
art is for—to feed our soul." •
, Piercing The Veil (AUM
Other notable appearances by William Parker:
1973 Frank Lowe Quintet (ESP Records): Black Beings (ESP/BASE)
1981 Cecil Taylor: The Eighth (hat ART)
1993 William Parker: In Order To Survive (Black Saint)
1996 David S Ware Quartet: Wisdom of Uncertainty (AUM Fidelity)
1997 Multiplication Table (hatOLOGY 516)
Music: Time is of the Essence, The Essense
s Beyc
ii Fidelityi
1997 Die Like a Dog Quartet (FMP)
1lEfr?g5S®!ffi Pinback
I feel really awful for bugging
a sick man. I asked this sick
man a bunch of tech nerd
questions, in his quite tired
and confused state. Thankfully he was a nice sick man.
This man's name was Rob
Crow, one half of Pinback.
The poor man, he passed out
after the interview. DiSCORDER: Could you tell me your name, age, and hometown?
Rob Crow: Hometown? New Jersey.
What previous bands have you been in?
Heavy Vegetable, Physics, Johnny Super Bad and the Bullet
Catchers, Optigonically Yours, Fantasy Mission Force, Your Best
Loved Melodies, Optigonically Yours, did I say that already? Thingy.
Did I say that already? Pinback, uh... Snotnose and probably some
others I forget.
You recorded your album entirely on a computer? Was it a Mac or
a PC?
PC! Screw Mac, you can't play good games on those!
What kind of software did you use?
Acid, Vegas, and Nuendo.
How do you like Nuendo? I've heard it is hot shit.
I don't like Nuendo as much, I like VegaS. But Zach loves it.
But there is a new Nuendo and it's supposedly easier to use.
I've heard it may replace Protools as a new standard in recording.
We don't use Protools because that is just kinda confusing.
What were some of your favourite microphones during the
Ahhh, God. It all depended on what for. Usually we use the trusty
Rode NT-1 on the first album. For the new album we used the NT-2
What were the rooms like that you recorded in?
By Jay Douillard
What's Zach's room like?
Ton Zinser: Two story ceilings, all concrete cinderblock.
Mine is just your average bedroom.
I noticed that you experimented with different spaces on the new
Yeah, we recorded some of the drums in our friend's garage, and
some of the dmms were recorded in a real studio, just to try it out.
What kind of soundcards do you use?
i have a Gadgetiabs 8-in, and Zach has... what does
Zach have these days? He upgraded from the
Gadgetiabs. I don't know, some crazy thing. But we just
bought a 24 track 2" reel-to-reel and we are going to try and build
our own studio in this new place.
Are you just going to record yourselves or other bands?
Oh, of course other bands. So far it is split up between me and Zach
and Paul from the Black Heart Procession and Three Mile Pilot. We
will mostly be recording the things that the three of us do.
Which is a lot of projects.
We did all the drums for the next Thingy album using it at Paul's
house. And hopefully they will be doing a lot more [Three Mile]
Pilot stuff, in the r*
What kind of board is going in the studio?
I forget what the latest board that Zach has is.
Photos Lori Kiessling
Do you have a favourite piece of outboard gear?
At home I kinda like the JoeMeek [Compressor]. Zach did a lot of
buying equipment that he couldn't really afford, and seeing that it
didn't really do what we wanted... [we tried] to trade it back. So
there was a lot of eBay going on during this record.
Do you create your songs in the studio?
It all depends, sometimes one of us gets a part, and we go with that.
Or sometimes we just build a drum loop in Fruityloops and go from
there. Sometimes it just happens at once.
Do one of you create an idea for an entire song? Or is it always a
No, Neither of us make an entire song. We always try to
collaborate as much as possible.
You're from San Diego, which has an active music scene. Any
notable projects right now?
Not really, nothing very interesting. It is pretty boring down there.
There isn't any good bands around right now. Well Boilermaker got
back together, and that is the only thing I'd go see around town. I
used to like No Knife but they broke up. Three Mile Pilot hasn't
played in a while but they are still together.
Is Boilermaker putting out a new album?
They just put out a compilation album, we have been touring with
them all the way except for these two shows in Canada. It has
been fun to hang out with those guys and I
watch them every night and have a really good
time. They were bummed that they couldn't get into Canada.
As am I! What's up with Gravity records?
It all depends. The guy that runs it is an on-again-off-again heroin
addict. So depending on how well he is doing he puts stuff out. So I
don't usually have anything to do with that guy. I'm not a big fan of
heroin addicts. But he as put out some great records.
Sort of a document of the San Diego scene?
Not really. I like the first two
Antioch Arrow records. I liked
those. And Clikitat [Ikitowi].
You were on the Urban Outfitters playlist?
I'm bummed that everyone mentions that! Because I didn't have
anything to do with it. I don't know anything about it. I don't go to
Urban Outfitters. We don't get any money from it. It means nothing
to the two of us, except that I guess it is cool that people get to hear
music that we do. [Sarcastic voice] It is not like we are so excited
about our Urban Outfitters deal. What a great market! We're more
concerned with writing music and playing shows.
Do you take the live performance into account when
you write a song?
Every once in a while, we realize that there is no way
we can play this live. But for some reason it has turned
out that we can play every single song off the new
album live now.
Do you know if there is a story behind Armisted Burwell Smith
IV's name?
He is just the fourth in
ily togetherness thing.
Any hidden meaning behind your band
It just sounds good?
Armisteds. He has got a strong fam-
s fron
n a film called Dark
On the photographs on the new album, there is a very eerie theme.
Where did they come from?
They are a small shelf of a bunch of slides that
I found in a thrift store next to my house.
Is it the same woman driving that car all over the place?
Yeah it is this old couple. That just traveled all around together. They
are really sweet pictures. I have ton of them.
Anything you want to say?
I'm tired!
Well thank you then. I'll let you sleep. •
13E[ggSl®MB irXifiHitM^ "^Vnrirnrin jflaiffij
Eric Flexyourhead
Flex Your Head
Record played most often on your show:
Seriously? Over close to 13 broadcast years it would have to be Out of Step by Minor
Record you would save in a fire:
Gonna' go with Out of Step on this one too. It's like, what?... 17 years since it came out
and it still gets me stoked every time I listen to it.
Record that should burn in hell:
I'm not opposed to the mullet-moron masses moshing, so whatever. I'll go with any of
the horrible, mindless boy bands or teen stars that the mainstream passes off as "music."
Book you would save in a fire:
Don't have the attention span for books. Too many years of one minute long hardcore
Worst band you like:
Worst hardcore band? Madball. People might think Matt Monro sucks, but I think he's it.
First record you bought:
It was either KISS, Alive or Aerosmith, Rocks, but I can't remember. I know my first
punk record was DOA's "Triumph of the Ignoroids" 12".
Last record you bought: It was actually two:
No Warning CD EP, Cops and Robbers Execution Style. I'm a sucker for the Bridge Nine
Musician you'd most like to marry:
None. Musicians are nothing but trouble.
Favourite show on CiTR:
Evil vs Good.
Strangest phone call received while on air:
Probably the "We're listening to you in Cali... South Bay, play Minor Threat" phone call.
The area code even matched up. Of course it was actually Pennywise in Vancouver with
a digital cell phone fucking with me. •
The Old Rinner
www.theoldripper.com The art of DJing maintains a quaint nostalgia in the face of rapid
technological advancement. As Palms and cellphones SMS your
lunch date and cancel your doctor's appointment—and Microsoft
gets set up to control not only your computer but your toaster—the
world of vinyl, turntables, and needles continues its steady course.
Until now, that is—for the next step has arrived and it is called
"Final Scratch." Unlike DJ able CD players and computer MP3 mix
programs, Final Scratch (FS) uses all of the existing equipment—
Technics 1200 turntables, needles, and a mixer—to allow you to DJ
MP3s supplied by a laptop. Two special FS records sit on the platters
with USB connections that go from the mixer to the laptop; then you
can do all of the things—I closely questioned Hawtin about this, and
this is what he claims—you can do with a normal record: scratch,
cue, backspin, lift up the needle to skip through the track, slow
down and speed up the record, accidentally knock it off, etc. Simply,
you can spin MP3s.
I am really suspicious of gadgets. I started learning violin years
ago, and as everyone knows, a Stradivarius violin, a couple hundred of years old, sounds and plays better than practically anything
made today. And so I approach the art of DJing, as a DJ, with the
same feelings: that perhaps it doesn't need to technologically
advance because essentially what we have is an instrument that has
somewhat reached its holistic peak. And as much as I have ooh'ed
and aah'ed over the many gimmicks and gadgets out there, from
EXF processors to built in samplers on mixers, when it comes down
to it, either you can DJ smooth and hard with the knowledge of the
tricks of a turntablist or you can't. So with that said, I remain cautiously suspicious over Final Scratch, perhaps because I am inherently suspicious of technology, despite the fact that 1 often embrace
it—perhaps a little too quickly. Hawtin is somewhat of a futurist,
and as a stakeholder in the company that makes FS, he is avowedly positive about the possibilities that FS opens.
Ritchie Hawtin: "...it really is helping to redefine things. Once you
have control over digital music files, you have much more of a
greater possibility for interacting with those files—when you're
playing CDs or vinyl, you're playing a physical form, it's locked into
that physical form. You really can't change the sequencing or the
arrangement. Now, because you are already using digital files, they
are sitting right there in front of you, ready for manipulation. And I
think... that at this moment, this is one of the key advances because
you don't have to use the system to play back music the way it was
originally recorded."
So it makes the whole medium much more pliable, plastic...
"Exactly, and I think that's what... artists have been doing a lot more
steadily over the years is trying to manipulate music as much as
possible, whether with two turntables or two copies of the record
or, like myself, drum machines or EFX boxes. Now, you can really
get into each piece, you can start to reinterpret it: extend breaks, take
out sections, so it's more of your own personal version. And then
have that physical interaction with it because of the vinyl interface."
Now, as somewhat of a musikal anarchist myself, I can understand Hawtin's sentiment. By introducing the ability to DJ MP3s,
we are also inherently introducing the ability to easily DJ one's own
music, but beyond that, to DJ one's remixes of others. This will, no
doubt, lead to all sorts of good and bad developments. Obviously,
this will allow a creative and deeper exploration of the music on
behalf of the DJ. But what about DJs who take a soulful, underground techno track—say, oh, "Knights of the Jaguar," and then add
a thumping, cheesy trance beat in behind with a big and lame breakdown in the middle? This is exactly what happened two years ago,
and the entire electronic underground rallied behind the maker of
the original track—DJ Rolando—and his crew Underground
Resistance, who pursued first Sony and then BMG, who distributed
a cheesy remix 12" and compilation without permission (they were
denied it). We are, in many ways, resurrecting an age-old artistic
debate focusing upon the artist's intentions and intellectual rights to
his/her work, a sense of "the track is the way it is because that is the
way the artist wanted it," and a subsequent respect for the artist's
integrity in making those decisions. The digital revolution is anar-
The same can be said for DJing one's own music. Unlike the
major labels, the electronic underground is often operated as a
break-even (at best) venture; only the lucky few like Hawtin had the
right combination of timing, luck, and talent to make a living out of
it and still stay on the underground side of the fence, (i.e. not sell
out—witness the UK, Ibiza, etc.) Final Scratch will open the doors
for DJs to no longer have to go through all that hassle of submitting
demos or starting up their own labels. Voila, they can play it immediately... and we are facing similar questions: on the one hand, certainly a proliferation of excellent DJs putting out their own excellent
music; on the other hand, however, the majority will probably be
303 cheese Rebirth-made crap 24/7. General result? Music overload.
There are already too many records: now we have tc
period. It's like the musical equivalent of Baudrillard's information
syndrome, where the more information there is, the less we know,
and the stupider we get. This will also have major consequences on
the labels when combined with the power of internet distribution:
MP3.com will become the new place to get music for DJing, and not
your friendly, local, independent record store, thereby once again
distancing communities through technology, possibly bringing
down the labels and the distributors, and hurting dedicated artists,
as fewer and fewer buy their records, or possibly, even their online
Perhaps I am elucidating a worse-case scenario. It would take
many people with FS to have this sort of impact, and with a price of
$2999 US (albeit including the laptop!), on top of the cost of turntables and a mixer, this won't happen anytime soon (although, given
that one no longer has to buy records at $15 a 12", this is essentially
the equivalent of two year's records for the average DJ). Not to mention that the end user must MP3 all of their records—as this is
unlikely, I predict the majority will simply play their own music or
material from the Net—and be a DJ playing-out on a regular basis
(prediction 2: the majority of users will split into two camps: rich
white kids and professional club DJs, i.e. the Paul Oakies of the
world, who can hire people to MP3 the music/hunt it down for
them). As for distribution and labels, if you want to get your music
out to people, you will still need to press records, as I believe that
people will still want an actual art object in their hands, be it a CD or
a record, despite the influence of the nominalist Net—the packaging
and the presentation is part of the mystique of vinyl, be it the minimalist German colours or the white label of an underground techno
producer. Buying an MP3 just won't have the same feeling... which
again leads me to think that what will happen is a glut of free, crappy music on the Net being DJed: this is perhaps the scenario of not
this generation of DJs, but the next, the kids right now. As Hawtin
recognizes, it's a love/hate relationship:
"A lot of artists aren't looking forwards to digital distribution. I
think this will start to pose more questions. A lot of distributors and
labels are a bit scared of final scratch, they love it and hate it at the
same time. But the floodgates were open before FS.... I am a little bit
scared of digital distribution, I am a little bit weary of exactly what
is going to happen, but it is going to offer so much more potential, so
much more possibilities for people to hear new and unheard music.
I think I would much rather have greater accessibility to my music
and a little more bootlegging than the way it is now."
What is also necessary? According to Hawtin, nothing short of
a shift in the way we think about owning things—property and possession. "Now, to own a piece of music, you have to have a physical
form... I actually don't really care if I own the new Herbert CD anymore. If I could really, just pay for the times that I was going to listen to it, on a subscription method, and know that when I wanted to
listen to it, I could do it—driving or chilling situations—I would.
But none of these kinds of infrastructures are there yet" —i.e. the
point where we can have wireless broadband connections in our
cars, PDs, and toasters, with built in credit card microchips so we
can pay on the spot. And, instead of the careful design of record
sleeves and covers, Hawtin sees the future of design in Flash, allowing a deeper and more immersive format for the artist to present
their message. Well? What does it all come down to? It sounds to
me like the turntables are getting more and more lost in the increasing attention paid to the box, the screen: no longer, as I noted to
Hawtin, will we feel the raised Plastikman logo on the Muzik album;
now, I will watch the Flash vid on my glaring radiation array and be
happy I only paid 50 cents for this track that I will never listen to
again. Disposable culture: disposable, transient, virtual muzak. Will
we still feel any value, any emotion, for such a transient, virtual
"product"? Or, are we truly entering the realm of music itself, which
in all reality has no object, is purely only sound waves? Welcome to
the postmodern: as music becomes more and more virtual and
omnipresent, it also becomes more and more inaccessible, with more
and more technology needed to hear it. Baudrillard, you were right.
Me: I think I will hang onto my records a little bit longer.... •
More information on Final Scratch at: http:ffwwtofiaakcratch.com.
ISEj^SBESS Back in the 1870s, British professor James Clerk Maxwell had mathematically proven that electric waves could be sent over distance.
After Maxwell's studies, one German scientist set out to prove
Maxwell's theories. In experiments that transmitted waves over a
five-foot distance, Heinrich Heine proved that waves travel in a
straight line across space and that they can be reflected. Radio was
Gugliemo Marconi's Wireless Telegraph was bom in 1874 in
Bologna, Italy. In 1896, Marconi created what amounted to an antenna to send and receive signals and, within a few years, he transmitted signals across the English Channel and eventually across the
Atlantic in 1901. During this remarkably significant period in history some wildly influential art movements were flourishing not far
from radio's birthplace. Post-Impressionists were giving way to
Cubism, then Futurism and Non-Objectivism among others.
During and after WWI an unsettling pessimism (Nihilism) set in
throughout Europe and to some extent North America, resulting in
the glory days of Dada and Surrealism. By this time radio's potential
was realized and utilized for military, hobby, and emergency purposes and, of course, it wouldn't take long for its commercial aspects
to be exploited. The time and the place were right for these painters,
poets and musicians to use this new medium, but access and availability was reserved for business and marketers.
Luigi Russolo drafted his "Art of Noise" Manifesto (seems like
everyone had to have a goddamn manifesto back then) in 1913. He
obsessed over the wonder of noise and discovery of sounds, which
led to his inventing several original instruments called
"Intonarumori." While Russolo seemed to vacillate over how musical
the experiments should be manifest, the Intonarumori concerts were
witnessed by many and were held in high regard by composers
(Ravel, Stravinsky) who were even influenced by these sounds.
None of the Intonarumori survives today. Once again, the desire
existed to redefine or re-organize the way we hear sound but suppression lurked around each corner. Russolo was frustrated by the
novel use of his instruments as mere sound effects.
"Let us cross a great modern capital with our ears more alert
than our eyes and we will get enjoyment from distinguishing the
eddying of water, air and gas in metal pipes, the gmmbling noises
that breathe and pulse with indisputable animility, the palpitation of
waves, the coming and going of pistons, the howl of mechanical
saws, the jolting of the tram on its rails, the cracking of whips, the
flapping of curtains and flags.
"We enjoy creating mental orchestrations of crashing down of
metal shop blinds, slamming doors, the hubbub and shuffle of
crowds, the variety of din from the stations, railways, iron foundries,
spinning mills, printing works, electric power stations and underground railways"
- Luigi Russolo, 1914
Germany's anti-fascist Weimar Republic arose in opposition to
the political right in the 1920s, when radio was experiencing its initial
popularity boom. The well-known egalitarian musician Kurt Weill
identified the groundbreaking potential of the new medium stating,
"...there could be no doubt that the preconditions for the development of an independent artistic genre of equal stature [with the other
arts] are present." Weill argued that radio should avoid the
inevitable broadcasting of pre-existing arts and dramas like film, but
should raise its own child, an autonomous "radio art." Unfortunately
radio was controlled by the political right. Some things never change.
While it is not quite fair to say that art completely escaped radio,
given the massive amounts of radio dramas from the '30s, '40s, '50s,
most radio has been as experimental or as groundbreaking as the
Big Mac. Imagine, though, broadcasts from the Dadaist events-such
as evenings at the Cabaret Voltaire! It seems obvious, given Cocteau,
Bunuel and Man Ray's interest in film and Breton or Tzara and
Eluard's interest in avant-garde writing, that radio, if readily available, would have been used to wonderful effect by the Surrealists,
other performance-art pioneers-and Lord knows who else-if the
instruments had only been in the hands of creative visionaries.
According to Tristan Tzara, for instance, Dada was capable of an
"elegant and unprejudiced leap from a harmony to the other sphere;
trajectory of a word tossed like a screeching phonograph record."
Eventually the Surrealists adopted a healthy disdain for radio and
its content, specifically music.
"And ever since I have had a great desire to show forbearance to
scientific musing, however unbecoming, in the final analysis, from
every point of view. Radio? Fine. Syphilis? If you like. Photography?
I don't see any reason why not. The cinema? Three cheers for darkened years. War? Gave us a good laugh. The telephone? Hello.
.Youth? Charming white hair. Try to make me say thank you: 'Thank
you.' Thank you."
—Andre Breton, Manifesto of Surrealism
|  B y    B1ee k  |
16 jancember 2001 Dziga Vertov, known as a Russian filmmaker, intended to create
art through sound until moving on to film as sound recording techniques were far too primitive in 1916. Vertov envisioned a
"Laboratory of Hearing," and was compelled to record and edit
non-musical sounds for editing. "1 had the original idea of the need
to enlarge our ability to organize sound, to listen not only to singing
or violins, the usual repertoire of gramophone disks, but to transcend the limits of ordinary music. I decided that the concept of
sound included all the audible world. As part of my experiments, I
set out to record a sawmill."
The Examples, theories, stories of pioneers, etc., go on for miles,
but we get a glimpse here of the rich tradition of art through sound
and vice versa. Through "24 Hours of Radio Art" we celebrate these
ideas and remember the visionaries. In a way I think we could feel
a sense of obligation to use the equipment available to us today in
order to realize and further these dreams and visions.
"Poetic modernism, Italian Futurism, English Vorticism, French
Dadaism, American Precisionism, all the avant-gardisms of the early
century, were obsessed with the representation of noise."
—CBC's Lister Sinclair's IDEAS: "TICK TOCK BANG: NOISE
IN MODERN ART" first broadcast January 27,1999
Every year, for some time now, a few independent and college
radio stations around the globe have worked to finally give modem art a transmitter. The concept of giving art a birthday was introduced by French born artist/peacenik Robert Filliou (associate of
John Cage, by the way) who in 1963 asserted that 1,000,000 years
ago, there was no art. But one day—on the 17th of January to be precise—Art was born when someone dropped a dry sponge into a
bucket of water. Filliou had lofty ideas floating around inside his
skull about "relative permanent creation," an exercise in inner peace
to be directed outward and into world peace. A continuing playful
anarchy as a way of rejecting "the fascism of the square world;" the
world which refuses to break free of conventional wisdom and the
inevitable war it falls into again and again. Interestingly, through
plan or coincidence, war and the horrors of fascism tend to be recurrent themes in many of the 24 Hours of Radio Art's sound collages.
These audio-art projects bring to mind other vividly surrealist
elements, namely the interactive game known as "Exquisite
Corpse." This was an activity that usually involved three or more
artists (generally visual types) that would start a drawing or montage on a piece of paper. When that artist was finished the paper
was folded back or covered so that the next participant could not
see what image came before. When the entire piece is finished, an
amazingly bizarre picture is presented for the enjoyment of the
group. When several stations (or even multiple people in the radio
studio) are involved in radio-art and sharing audio over the internet,
we have in essence, an audio version of an "Exquisite Corpse."
Combined with the Surrealist's interest in random or spontaneous
creations... well, I'm sure the tie-in is all too obvious.
Not to say that 24 Hours of Radio Art is all about noise. The day
is about art and other arts have been known to broadcast. Poets and
live musicians have graced the studio with their original contributions. The familial links of the creative arts are concrete and incontrovertible.
CiTR's involvement in 24 Hours of Radio Art has its roots primarily in the sound experimentations of Peter Courtemanche. Peter
hosted the weekly program The Absolute Value of Noise from 1988 to
1992. "This program featured a wide variety of radio-art and experimental audio—often generated live on the air. This radio show
developed into the annual 24 Hours of Radio/ART program (1992-
96)—a collaborative event that explored the concept of a "radio-art"
station; an event that posed the question: What would happen if
your local FM pop-rock station suddenly decided to go to an all
audio-art format? The answer may be available on January 17th
again. Then again, 24 Hours of Radio Art may also be the answer to
the question of "What do space aliens listen to at home?"
Our dear and former CiTR Programme Coordinator Anna Friz
acted as curator for the 24 Hours of Radio Art project. Her enthusiasm
was evident and she continues to work in the field as a sound artist,
performer, producer, and curator. Since moving to Montreal, Anna
has curated and performed in sonic events for Studio XX, The
Silophone, and Winnipeg's Send + Receive festival of sound—and
she is the founder of The Thereminions theremin orchestra. Much
of Peter and Anna's experiments in sound can be found archived at
Thanks to these forerunners the Celebrations have continued
each year and past broadcasts have had contacts in Japan, Austria,
Holland, France and Australia. Listen in from noon, January 17th
till noon the next day as CiTR's audio artists bring you the festivities, commercial free. Happy birthday to Art! •
I y RapiO E
RapiO Eft 7*
i7®tg&umm "I feel what you want me to feel. I don't feel myself when you feel me. Wrap your mouth around my
mouth. I close my eyes. I don't feel myself when you hold me down." -Swans, "Sealed In Skin" (1984)
"You put your eyes in my head, you put your voice in my mouth, you put your mind in my mind, you put
your blood in my blood." -Angels of Light, "Two Women" (2001)
Maybe I was wrong to contemplate a feminist analysis of Mr. Micltael Gira. As I stepped into the impersonal and
awkward process of initiating an email interview with the man behind the Swans et cetera, I felt a surge of righteous
applicability—/ could stick my undergraduate theories all over him, and he wouldn't even care'. The day after I sent
my questions off, I felt the first tremors of uncertainty. My careful wording and double-doublethink self-repression
notivithstanding, I thought that for sure he would spot me for ivliat I am:
a) a university student
b) a very big fan
c) a woman who lias trouble with men, and who finds intervieius extremely intimidating.
As it goes, I never really asked him anything remotely approaching my real questions, which were all about bodies
and the things humans communicate through them: love, power, powerlessness, hate. Bodies are what toe are, after
all. Bodies, real and imaginary, have been the singular fixation ofGira's lyrical universe in everything I've ever heard
by him. I really wanted to dig up those bodies and talk about them, cuz most people who write love songs talk about
togetherness in terms of "feelings." How's this for togetherness: you put your eyes in my head, wrap your mouth
around my mouth, I'm sealed in your skin. It's violent, and maybe that's why many writers oflove songs don't like
dealing with bodies (except in terms of aesthetic appreciation and genital bliss): they don't want to admit that humans
are corporeal and mortal, because they want their love to last forever.
But still, listening to Holy Money, Swans' 1986 album, hearing deadly-serious lines like"Your body's private.
Your body's sacred. You should be violated. You should be raped. Someone weaker titan you should rape you," made
me think. His music and writing has always dealt with the intersection of sex and violence. Even the Angels of Light's
most recent release, the spectacular How I Loved You (released on Giro's own Young God record label), while more
tender than usual, opens up this wound. "My True Body" documents the young Gira's experience in an Israeli jail,
where he listened, night after night, to the sounds of a young Palestinian boy being raped repeatedly by his captors.
I saw in these fragments a hint of the insight that evades so many people: that power has many outlets, many courses of action. Our bodies are not private at all. This is an insight sliared by feminists, and 1 wanted Gira's opinion on
it. Ultimately, though, I chickened out. The following interview has no bodies in it, only words.
I've been listening to tlie Swans and tlie Angels of Light and the Body Lovers way too much lately. I'm
afraid I've become one of those religious people who is always talking about ]esus and tries to get other people to
lumg out with him. Well, the Angels of Light are coming to Vancouver on Sunday, December 9th at the Picadilly
Pub. You heard me right. Miss it at your own peril.
"SEX.   GOD.  SEX"
DiSCORDER: The band you're bringing on tour with the Angels of Light is quite pared-down,
compared to the ensembles on the albums. What does this do to the songs and the way they are
performed live?
Michael Gira: Well I think the songs are good, so it'll work in any context. I guess it's more
than with a large group because the energy is more concentrated. Our instrumentation is really odd for this tour—whatever we can all play, really. So Larry Mullins is
playing a Farfisa organ, electronic vibes, and a drum kit, all at once. Thor Harris is playing a
piano, hammer dulcimer, auto harp, acoustic vibes, singing, and percussion, again st
all at once. Dana Schechter is playing bass and piano and melodica and singing. I'm playing
my guitar and singing. It's like Pink Floyd as performed by a traditional American mountain
music group!
On "New York Girls," you seem to be addressing an audience—from the stage—but it's one of the
most intimate songs on How I Loved You. Have you performed it in New York yet? Does the song work
differently there than in other cities?
The first time we played it here was really surprising. The response was like at a football game. It's I
lous. There is a certain archetype to whom it's addressed, as well as specific memories, but maybe
Sheboigan Girls to diffuse the specificity.
A lot of early Swans strikes me as distinctly political. You often focussed, lyrically, on powei
mating or abusing another—and on economic and sexual exploitation. At the same time, yo
not interested in "preaching" to your audience about politics. Have your views era
Dve songs, like the kind the Angels of Light specialize in, can be political?
In the past I might have addressed certain themes as you described, that might be interpi
shied away from being polemical in any way. I'm selfish enough to not want to kill a so
associating myself with any doctrine—I don't like crowds! I suppose a love song could
Have computers changed the way you compose or produce music?
They haven't changed a thing 88 far as Angels of Light is concerned, as it's based ent
more possibilities in terms of editing. As for other projects such as the Body Lovers
fade and collage had a great deal to do with the final piece. On both those proje
recordings that had a distance of 15 years in their origination, then coexisted sim
er would overload and make the most violent feedback imaginable, as if about t
him let it go, then incorporated it into the piece. It seemed like the computer v
that the core of a piece hive a sense of being made by human hands. I never ]
Maybe I dreamt it, but I seem to remember your finger being up for sale. I
Hah hah! I suppose that was ironic, but actually I would have cut off my rigb
I tlunk it would look great, pickled in a jar and on a nice mantle piece. Not
sold his excrement in cans and charged artworld prices for it.
The past couple of >ears have seen Young God Records more productiv
Since the label is somewhat stable now in terms of distribution, I just the
different types of music from various artists, I thought it was time to gf
done, I suppose.
On your website, it states that you will be doing "reworkings of Svi
couple of years ago?
Probably not, bu: in this instance there's enough distance so that I fe
sound of the maerial anyway. It's just a source.
Soundtracks forthe Blind and the Body Lovers/Body Haters release:
it a phase that has passed, or is that kind of sound manipulation s
I intend, when ime and money allow, to do another installment of tl
kind of ridicu-
I should change it
:and control—one person dom-
u stated in a 1984 interview that you
inged over the years? Do you think that
•eted as political by extension, though I've always
mg by limiting its scope. Also, I'm extremely leery of
I be political, but don't consider mine to be so.
irely on the perfc
or even Swans circa Soundtracks for the
listen to Gorecki's Symphony Number Two (which is quite violent and expressionist), then easily
listen to Dylan's Nashville Skyline the next moment, and neither one takes on any more relevance
importance musically, but both contain a core of commitment to the passion of the performance, which is the essential thing, in the end, to me.
You've said elsewhere that "Inner Female" [from the Angels of Light's New Mother] is writ-
i from the point of view of Francis Bacon. Could you elaborate on this? (It's one of my
favourites, and I had a completely different interpretation...)
Well, I've always been a huge fan of his work, as well as the amazing, almost superhuman
ability he exhibited in living both a sybaritic, extremely debauched life, coupled with an unflag-
,., nu nC        „„ a.   „■, ging dedication to his work. I don't know how he did it: drinking and other sensual pursuits
of the song, tliough of course there s ., ,       .»,   , , . ,. ., ,        ,      . ,
-■■j tu    urt ss until four AM, then working in the studio until noon or so, then sleeping a few hours, then
?cts some of the sound
ultaneously in a new "perfc
o explode—the engineer wc
?as showing "personality" <
urogram rhythms for that reason.
is the finger still for sale, and if so, why?
it hand pinkie if someone had come up with the money—$250,000, to be exact.
that it's an entirely original idea—see the work of Mario Merz, for example. He
s were culled from perf(
" Also, on occasion, the computed leap at the controls to stop it, but I had
it that point. It's still important to me though
repeating the process. It's really heroic, in a way. Anyway, I was reading several different biographies and interviews with him, and the song came out from the sensibility I gleaned from
that, and of course his work. It's not a specific account by any means, though.
What does the name the Angels of Light signify to you?
It's just a name. Right now it signifies hard work, as we get ready for the tour!
There's been a strong visual component to the packaging of Young God releases. Who are
your favourite visual artists?
A few years ago I was visiting some friends in Madrid, Spain, and I ended up going to the Prado
every day, 8 hours, for a week, wandering aimlessly, taking my time. I came across ai
e than ever. To what do you attribute this?
night it vain to only release my own music, and since I'm enthusiastic about many
ive their music a venue. I do what I can with no money, which is what I've always
ans material" on tour. Is this something you would have felt comfortable doing a
el comfortable with it. The interpretations will have very little to do with the original
i used a lot of taped/sampled material. The two Angels of Light albums use none. Was
omething you still engage in?
ie Body Lovers. I don't have an agenda in terms of sound or approach. For instance, I can
Adoration of the Magi by Van Eyck, and sat staring
the definition of the word "beauty." At that
It just seemed like a sham by comparison. Then,
installation/light artist Dan Flavin in the same
choose favorites.
that for a few hours—luminous, magical,
thought I was finished with modem art.
it happened, there was a retrospective of the
'. I was similarly floored. So I give up trying to
Visit www.yoitnggodrecords.t.
BY  BARBARA And now, for something completely different we go to The Side Door,
where Vancouverites are actually having fun.
Legless H   JM
Some people ptBfer drinking to dancing. And, honestly, is there any more
pathetic sight in the world than someone who cant dance getting legless
drunk and stumbling out on to the dance floor to bust a move?
Legless is for people who bve music but can't danoaA/vont dance. As is ph
always the case at the Side Door, the music wi8 be an incredfoly edectjc
mix. We'll go from Tool to Wagner, from Tori Amos io Tom Waits. from
Emimen to Johny Cash. We'll throw in a couple dance tracks for those
of you who just have to shake it but, for the most part. Legless is for !
people who just want to listen to great tunes and get ripped.
Alchemy = magic. In medieval times, curious minds attempted tayftimjeari
into gold. Others tried to distill the elixir of life. At the Side Door we're
performing a different experiment. We're dabbling with social alchemy
We want to know what happens when all the different musical tribes
gather in one place to dance. |
Alchemy is about dancing. We'll hit you with 6 packs of dsco, trip Hop,™
calypso, Motown, funk, reggae, ska, trance, bangra, industrial, pdka,dru|ri
and bass... we'll throw everything at you - you show us what ya got
Thursdays ^
Drunk and Horny
There are only two things you need to know about Drunk and
Orgasms are fun.
Drinking is fun.
People go to bars hoping that they'll find someone who can make them
wal I8<e the Sirens of Odysseus and we're not going to pretend
otherwise. We'll do everything we can think of to aid all in their efforts to
taste the fruit the Bible forbids. The music will be subtly erotic to
blatantly sexual. A visual cornucopia of artistic eroticism will wash over
the room. The rest is up to you. ,*
Fridays and Saturdays
PT Barnum
There is no bar in Vancouver where you can, in the same night, be
entertained by a 12 piece marching band, a fire eating, juggling comedian
and a half dozen professional go-go dancers. Not your taste? How bout a
plate throwing Klezmir band, an obnoxious and lewd down and a sultry
troupe of hula dancers? You'll never know e xactty v.r;; it you'll find at the
greatest show on earth, but thats the point
DJs and performers wanted - call (604) 871 3335
Note: "ie" translates into "to" or
"for" in Patois, depending on what it
is used for. "Likkle" means "little,"
"haffi" means "have  to,"  "dem"
The influence of Jamaican music and
culture on contemporary music has
been broad and far-reaching, deeply
rooted m a tradition that is as much
loved as it is misunderstood. Any
reggae fan, who truly has been listening over the years, will be aware
of the musical contribution of Vivian
Jackson. The legendary Yabby You
has worked with an endless roster
including King Tubby, Lee
"Scratch" Perry, Mad Professor,
Scientist, King Jammys, Augustus
Pablo, Michael Prophet, Tommy
McCook, Sly & Robbie, Diana King,
Tony Tuff, and Patrick Andy.
The new millennium brings the
launch of Inity Music, formed
recently with the purpose of distributing as yet unreleased classic productions spanning four decades
from one of the islands' most prolific
producers/ singers. Whilst he was in
Vancouver, he finalized the formation of this latest musical venture.
Busu working with Daniel
Elmes of Dubvibe Productions,
Yabby You lias been adding the final
touches to some of his most recent
recordings, featuring a host of fine
reggae vocalists. In between giving
spiritual advice to local youth in the
kitchen of a Point Grey home and
tanking downstairs at the mixing
console, Vivian Jackson managed to
DiSCORDER: Could you begin
by telling our readers how your
career in music began and what
inspired your initial involvement?
Yabby You: My music started in
1972 and what really inspired
me, in those days you have a lot
of different religion, different
religious group and 'ting. You
have the church congregation
and you have the Rasta congregation, so I now wanted to establish my idea and my way of
thinking towards the whole of
here, both amongst the Rastas
and the Christian congregation.
So that was when I decided to try
and do the record because by
doing the record I could reach a
lot of people. I didn't want to
come and do it for a producer or
for just anybody or fede
Marley's. So that was when I
started. The first [album] was
Conquering Lion and when I do it,
I do it fe miself. So when it come
out, I was like singer, producer,
arranger, writer and it changed
the very name my parents gave
me. Conquering Lion is from the
same song that they began calling me Yabby You. At the beginning me say "Bee-You, Yabby
Yabby Yooouuu."
What do you consider constitutes a well produced song?
Well to me [it's] a song where I
deal with love. The creator of
love, not the love that man make,
like the make love, but the creator love. A song that deal with
love, peace and harmony. I look
at that as a good song. Anytime
you make a song with that idea,
like the inside of your thoughts,
that is the thing you're trying to
portray. It always comes out to
be a good song. I call those song
good songs, where it bring people together in love and harmony. Songs which preach peace
and love, without hypocrisy.
It's about the message.
Yhea. I always listen to my
thoughts, especially when all the
rain [is] falling and lightening
and thunder and earthquake and
dem tings. I always hear music
inside of my thoughts like you
hear a host of angels singing all
the heavenly songs. So I always
listen to those things and it
inspires me fe try and bring out
the tings that me hear inside of
me thoughts, [ujpon music.
Sometimes you find that the
lightening will flash and give me
idea. The thunder will roll and
give me a heavenly idea. Those
sounds that me hear, me always
try fe bring it out physically.
When me go to studio now, the
bass man, me suggest to him the
bass note according to how me
hear it inside of me thoughts.
The riddim, the horns and even
the way they must sing. It make
dem feel inspired and think
[ujpon religious ideas and dem
You're very deeply rooted  in
How does this inform your
music and your way of living?
Daughter, to tell you the truth,
everyone bracket me off. Me is
like a lonely sparrow up on a
housetop. But watch. Because of
the things that I believe in and
the things that I stand for, people
always bracket me off. People
don't want dem kind of things,
you know? Them don't want
people who really try fe be true
to the heavenly, the heavenly
kingdom and you find the Rasta
dem against me. The Christian
people against me and  it just
: and the
v things, and
makes me like me alone. The few
company me have now [is just] a
few likkle brethren, seen?
I've had the opportunity to listen to you at Dubvibe last week
recording some tracks and editing some songs. When I heard
the harmonies, they expressed a
great deal of joy...
Yhea mon! Yhea, it is joy, it is life.
Spiritual life.
Could you talk a little bit about
what you're doing here in
Me do a set of new tings. There's
the old time style and now me do
a set of new style [tracks]. Me
start it first in Jamaica, then me
come up here now to Dubvibe
and me finish it. We put in other
instruments and horns and den
mixed it down in order for the
CD fe be released. Me come and
decide that we're getting into a
partnership and then make this
new label that you heard me
telling you about, Inity Music.
All the mixing, the new instruments and the horns are now
[being] completed at Dubvibe.
The foundation mu:
backing were in Jan
ing a portion of ne\
it will be available n
So this new label is going to control all of dem tings, and Dubvibe
now becomes a part of it.
When you've licensed tracks to
Blood and Fire, they've had
modern groups like the Groove
Corporation and Smith and
Mighty produce remixes of your
songs. Do you feel that makes
your music more accessible to
different audiences that wouldn't normally listen to reggae?
Well fe tell you my personal
opinion, I would say I don't like
the modern ting inna it, but I say
that because for the youth[ful-
ness] of the whole thing. The
youth dem, they have dem own
space. Dem make [music] fe dem
own time, so dem have a right to
dem own music if they really
want and dem decide that is the
way dem choose. That is dem
love. Me can't dispute it. But
through my use of the old thing,
me going to say me prefer the old
thing. But me haffi face the fact,
just like when we were younger
and we hear the older music. We
then come up with our own idea.
[It's] the same thing with them
now, you know? So it wouldn't
be fair if me try and condemn it,
but it's quite logical I'm going to
love what I do.
What can we expect from you in
the future?
Well as me say, we haven't really
complete the work yet, but we
have seven CDs that we're working on, you know? We are working with different artists. You
have me, Tony Tuff, Pat Kelly,
Patrick Andy, Ritchie
MacDonald,    Kingstone,    and
Ce'cile. Each one is a message of
this time, in our own way.
Thank you so much for your
Yes daughter. Blessed. It's always
a pleasure fe talk about music
and the goodness of God to my
brothers and sisters because we
are all children of the u
it umvytiMniuoun
[ for the
full version of this intereieie or lane into
CiTR's Soulsistah Radio on Saturday,
December 22nd at noon for a svecialfea-
20 jancember 2001 WAYNE HORVITZ
I fired off a convoluted list of questions by email to keyboardist
Wayne Horvitz the other day and
asked him if he might be able to
answer them by the copy deadline
for this paper. Wayne Horvitz is a
prompt guy though, and lie
responded the next day. This gave
me time to fire off another list of
questions. He responded to those a
couple of hours later. What follows
is a reconstructed version of an
email conversation. I didn't change
any of Mr. Horvitz's tvords, but I
did change some of mine. Why,
you ask? Firstly, I did it to make
the text feel a little more like a natural conversation. Secondly, I am
embarrassed about my lack of
spelling facility. And to think that
people give me their school essays
to proofread...
DiSCORDER: Where exactly,
do you get your band names?
"Zony Mash;" "Ponga;"...
where do they come from?
Wayne Horvitz: You can blame
me for Zony Mash (in fact it is
the title of a Meters tune) but
Ponga is entirely Skerik's fault.
Skerik is the sax player for
Ponga. About that group—I
read that your first Ponga
album was gleaned from
around 20 hours of recorded
material. Is that the case? What
was the process like in selecting what material you would
be releasing? Was it a conscious decision to make a lot of
the songs short (as compared
to, say, some 22-minute jam),
or is that just the way it turned
The way I look at it, [studio]
records and live [recordings]
are two very different experiences. We grabbed sections that
we felt made "a piece." We also
focused on the sections with
heavier grooves because it
made sense for our first record.
On your most recent Ponga
album, Skerik is credited with
playing "Saxophonics." What
exactly does that mean? I ask
this because I noticed occasionally it sounded like Skerik
was playing and then I'd hear
another saxophone and I'd ask
myself if you had a cool saxophone keyboard setting on
your keyboard or if Skerik is
activating samples as he's
Skerik uses a lot of electronics
on his saxophone—and samples a bit.
As a bit of a jazz buff, I've
noticed that in some "jazz circles" there are often some negative attitudes towards
electronics in general—samples and DJs and stuff. Now,
obviously, your group [Ponga]
doesn't carry these attitudes
because you're heavily electronic in instrumentation and
because your first album was
remixed by a group of DJs, but
I was wondering, what sort of
decision was reached in terms
of letting your music be
remixed? How much of a say
did you guys have in what the
mixes would sound like, or did
you just, for example, hand
your music over to Amon
Tobin and tell him to "Do what
Absolutely... the re-mixer is the
artist—I, for one, didn't hear a
note of it until it was released.
Speaking of Amon Tobin, I
was reading a review of the
Ponga Remixes CD, and the
reviewer said that he enjoyed
the remix of "Pieces of Saturn"
by Mr. Tobin more than the
original version. How does
that make you feel?
I've thought about this really
hard, and I realize that I feel
exactly the same as 1 did 10
minutes ago.
That's interesting. In general,
how much does the media
influence you? I'm assuming
you've probably been criticized at some point in your
career, how do you deal with
it? Do you just ignore it?
Honestly, I try not to read
reviews—although I need to
from time to time. Criticism can
be unpleasant, and often misdirected. 1 never minded that
someone didn't like my music,
I do mind when they need to
rationalize it in terms that don't
have anything to do with what I
do. But good reviews are the
worse. Any artist that starts
believing their press is in real
1 should say there are some
writers I really love. Peter
Guralnick. Ralph J Gleason,
who really understood jazz history, loved the avant-garde,
wrote the liner notes to the
Jefferson Airplanes' first record,
and loved Levon Helm! [Also,]
Witney Balliet, who I rarely
agreed with but really understood music and musicians, and
With Ponga divided in half in
terms of ages, two from the
younger generation and two
from the older generation, do
you ever notice a clash of
Hey watch it—who you calling
"older generation"?
You're living in Seattle now.
As I understand it, [drummer]
Bobby Previte is living in
NYC. What's it like to have
band mates living on all corners of the continent?
I see Bobby more than I see
Besides Ponga, what's some
stuff you're working on that
you're excited about?
Just finished the Zony Mash
Live in Seattle CD. [There's a]
film score CD for Tzadik I am
wrapping up. Our new acoustic
CD, Sweeter Titan The Day, will
be out on Vancouver's own
Songlines label this January. Etc.
What sort of stuff do you listen
to when you're not playing?
What's in your record player
I think you mean what's on
your record player, or what's in
your CD player.
(I    meant    "record"    in    the
"album" sense of the word...
On my turntable—Michael
Hurley. In my CD player—a
copy of Tonga's Psychological
because I just got new copies
and I was checking that the
pressing sounded decent.
You mentioned the Meters earlier.   I   personally   love   the
. I v
terms of your own personal
journey in music, how did you
come to play the stuff you are
playing today? What stuff did
you listen to early on in your
playing years? I ask because
you hear bands like Medeski
Martin and Wood, who are
obviously funk-influenced,
and then you hear bands like
Metalwood, where all the
members say they play groove
background. What was your
Sorry—but I could write a book,
just like everyone else I listened
to a lot of music and certain
things just stuck. I get asked
this a lot, and usually some of
the people I mention are The
Band, Dylan, all the San
Francisco bands like Quicksilver and the Dead and Jefferson
Airplane. Pharoah Sanders
moved me into a whole other
area of music including
Coltrane, Cecil Taylor who was
a major influence, and especially the AACM and the Art
Ensemble of Chicago. Bartok
and Stravinsky opened the
doors for me to a lot of classical
music. Just like in jazz I tended
to start with the more modern
music and work my way backwards. For example Charlie
Parker led me to Lester Young
and soon I was listening to
Teddy Wilson and then stuff
from the '20s. A Merce
Cuningham show I went to had
John Cage and David Berman
and David Tudor all making a
bunch of noise which was
incredible and quite beautiful.
I'm a big fan of Captain
Beefheart and Sly Stone and all
the greats The Wailers and the
Stones. I like Chic and still pull
out their record once in a while.
Just like most of America,
Nirvana sounded killing to
me—Kurt Cobain seemed to
find that same place emotionally that Billie Holiday and Al
Green seem to find. I like Yo La
Tengo. Honestly probably even
more important than all the
above were people like Otis
Spann and Muddy Waters and
when I was young The New
Lost City Ramblers and plenty
of Mountain Music. My wife,
Robin Holcomb, has influenced
me profoundly, she can really
write a melody. A friend of
mine said to me once, "You
know how you listen to Korean
music and you hear a John Lee
Hooker lick." It seems to me
people are always talking about
how different music is, and I
don't really get that.
There   are   a   lot   of   blurs
between music genr
comment that stuck out at
when I was researching v
. One
e CD r
who v
"There is not as much of a gap
between Ponga and modern
popular music as there was
between electro-period Miles
and the tunes of that time,
indicating that the erosion of
barriers between 'jazz' and
other forms is increasingly
accelerating." Do you think
this is true? Or more generally,
what do you think about the
usefulness of "categories" in
I think the reviewer in the
above statement is both right
and also should find more interesting things to think about!
I heard through the grapevine
that there were some problems
with you calling your last
album "American Bandstand."
What happened? Did you get
the old cease and desist from
Dick Clark? Is there anything
you can tell me about that or is
all legal stuff our readers
wouldn't care about?
Exactly right. Dick Clark
claimed copyright infringement. We did not agree and
frankly we felt we could win
but it would be too costly and
time consuming. I decided life
was too short to worry about it,
so we agreed to re-release it
with a new title, as long as they
agreed to a few details we felt
strongly about. The ironic thing
was that the title was meant in
such an iconic way. American
Bandstand to me was just paying homage to popular music in
general—and a whole period of
history. Unfortunately, now
when I hear the phrase I just
think of this sorry legal hassle.
Frankly I wonder if Dick Clark
ever listened to the music.
Somehow I doubt it. •
See Wayne Horvitz and Ponga live
December 13 and 14 at the Anza
Loiv Level Owl Volume One
(Deep Elm)
Of course the local music store
only ordered in Volume One so
that now I have to specially
order Volume Two at an over-
inflated price. Damn their oily
hides! Personal vendettas aside,
Appleseed Cast released
Volume One and Two separately, but they're meant to go
together as one album. That
said, Volume One is terrific.
Their previous album, Mare
Vilalis, saw them take great
strides to rise above the ranks of
being just another emo band.
Low Level Owl sees them take
many more and leave the realm
of emo so far behind that you
can barely see it in the rear-view
mirror. Alternating between
quiet songs, rockin' songs, and
instrumental songs, Volume One
is, as stated in the liner notes, a
headphones album. The production by Ed Rose is amazing
as the band uses a variety of dif-
altogether unique album. They
make use of everything from
organs, to xylophones, to synthesizers and even leaves blowing outside the studio. This is a
lush, dense album that requires
repeated listening. And as soon
as I hear Volume Two, I'll recommend that as well. Wait a
minute. "Low Level Owl" backwards is... "Low Level Owl."
Ha, I get it now. No, wait. "Low
Level Owl" backwards is actually "Lwo Level Wol." I guess I
don't get it after all.
Some time back, the Council of
the Arts gave Veda Hille a
grant to go up to the Yukon
with a group of Canadian
artists. The goal was to record
life in the Yukon musically.
Veda Hille's Field Study,
released last summer, was the
first of the group's work to see
the limelight. Kim Barlow's
Gingerbread is the second.
Barlow paints a vivid picture of
life in the Yukon with her banjo,
guitar, and voice. The beauty of
this work is comparable to that
of Hille's, which was stunning.
Their influences are the same,
their execution quite different.
Barlow's lyrics are of a lower literary caliber than Hille's, but
they are more honest. She is
from the Yukon after all. This
release is steeped in Barlow's
love and understanding of her
home and, unlike Hille's work,
which primarily documents
nature, Gingerbread documents
human interaction. Gingerbread
and Field Study complement
22 jancember 2001
each other beautifully, and the
Council should be happy to
know that they got their
money's worth.
New American Language
The one problem I have with
Dan Bern's albums is that they
are never as good as his live
shows. There is something
about seeing a folk singer in
front of a captivated crowd giggling to every line of his songs
that y
a CD.
Having said that, by no
means are his albums bad. In
fact, his 1998 release Fifty Eggs
is probably one of my favorites.
I was quite excited to pick up
his new CD New American
Language. From what I gather
some of the costs of its release
were paid for by fans preorder-
ing via mail. That's pretty neat.
New American Language is
easily Dan Bern's darkest
album to date. It is still filled
with the same sharp wit and life
commentary that his fans are
accustomed to, but this time the
content is more serious. Gone
are songs about aliens fucking
monkeys or Marilyn Monroe
marrying Henry Miller—now
we get lines like "And then we
bombed the embassy we
thought was something else/
We might get to see World War
Three by Thanksgiving Day/
But as long as the turkey's golden brown it's all gonna be
okay." Most people will say that
this album is more mature.
Quick ha-ha laughs are
replaced with darker humour
that works on a number of levels. I think the changes are
interesting and refreshing, but
the old Dan Bern fan in me really misses the silly humour
found in Fifty E^'s or Smartie
Mine. I still enjoy New American
Language, but it didn't quite
grab   me   like   his   previous
Lateral Forces
(Surface Fault)
Kit Clayton, seminal agent of
dub techno, leavener of granular synthesis, fulcrum of San
Francisco techno—all of these
titles mean nothing in the face
of the expansive, orchestral,
daring work of Lateral Forces.
Deleuze's smooth space is soni-
cally translated, clear, translucent, the fractalized genesis
without origin, created at the
outset as the space for creation
to begin. The music rises from
the foundation of the darkest of
rumbling    beats,    morphing,
changing, undergoing the
crackling fires of granular synthesis, subsuming to the particle, the crackling landscape,
and from there, the emotional
topography of the dub chord,
the trace of Kit's foundational
sound, begins to emanate, to
bring itself into being, only to
dissolve in the sudden light of o
tensioned ambient patch,
revealing the high, microsound
static peals, bell-like, radio
changing, that were always
already present. Beauty never
sounded so embracing and
warm, as the enveloping wave,
deep sea, underwater, washes
over; then, like driftwood, rising from the tide, the atmosphere touches the senses, and
far off, on that distant island of
the horizon, approaching, performs the dub echo, crawling
closer and tentatively, until, like
the orgasmic bliss of two long
lost lovers, the beat unifies the
sound into the structure of the
soul. She's crying to you, and
me, and her tears leave us with
only the traces, the folds
between map and territory,
mental reality stripped down to
frequency manipulation, the
subtlest of spirits from the
world of wires and codes.
Should be listened to with
Fennesz's Endless Summer on
Mego. Quite possibly the defining
album of both dub techno and
tobias v
jmucho gusto! (Best of)
It's amazing how much you can
tell about a CD based on its
liner notes alone. Open up the
liner notes on this disk and you
can tell it's bound to be a good
listen. The centre spread is a
picture of the band—a huge
Cuban big-band—decked out in
their spiffiest threads and holding their horns. The young guys
are wearing red suits, yellow
suits, shiny suits, normal suits.
One of the older guys is in a
white suit complete with white
poorboy cap, white belt, white
shoes and the finisher—a big
black bow tie. C'mon—when
you see a guy dressed like that
and holding percussion instruments, either the album is going
to really really suck or it is
going to be too hot to handle.
Thankfully, this album of stuff
from jCubanismo! packs a wol-
lop of the latter. The only reason
it hasn't seen more play in my
disc player is that it isn't really a
winter album. I can't wait till
summer though. You'll see me
cruisin' round town in my '89
Honda Accord with the sunroof
open, running my fingers
through my hair while blasting
the sounds of one of the finest
Cuban big-bands around. I'll
look like a loser, but the music'll
be good. Besides, looking like a
loser has never stopped me
Lucas TdS
Oh, man. This is the stuff of
many of my best adolescent wet
This CD, Julie Doiron's
third solo outing, is an audio
equivalent of the attractive girl-
next-door, who's just moved
over from Quebec, and has
come over unexpectedly, just to
lie on the bed next to you to
sing in your ear. Slowly, softly
and passionately, she coos the
most alluring French-Canadian
ballads I've ever heard. It all
culminates in a mad fit of wild
lovemaking, which—I must
sadly admit—I haven't seen
much of during my waking
hours, lately.
Doiron, the soon-to-be ex-
Eric's Trip female lead and
bassist, finally honed that
sweet-pop thing with Ottawa's
Wooden Stars, climaxing in a
Juno for last year's Julie Doiron
and the Wooden Stars as Best
Alternative Album. Now, solo
Doiron has pulled an unexpected hairpin-left, right through
my dream world, along a road
paved with a very sweet and
sexy folk-pop confection, a la
Serge Gainsbourg, but with
Doiron in the girl-next-door
role, singing the wet dream-
inspiring words that Serge—
that classy ol' coot—would
have been proud of.
So as I listen to this one for
the umpteenth time, with the
headphones on, all I can say to
Julie is: "I don't know what the
hell you're singing about, but
thank you for adding a little
reality to my fantasy."
This review comes a bit late seeing as Vice has already written
on the actor, director, writer, b-
boy, and musician's new album.
However, their summary of
Gallo's album consisted of but
one word: surprising. The fact
that Gallo has put out another
album doesn't seem surprising
at all when in fact it only seems
natural that he would follow up
on the underground success of
Bufallo 66's soundtrack that he
scored (with the exception of
some tracks by King Crimson,
Yes, and his father Vincent
Gallo Sr.). On When Vincent
writes, produces, arrange, and
performs everything, making
this album like a diary on life,
love and alienation. The content
of the songs along with the
stripped down guitar pluckings
and shrill vocal tones give this
work a similar feel and sound
to Bufallo 66. The music is a perfect soundtrack for a lovesick
cad lamenting about past, present and future love. The album
also delves into dark down-
tempo drumloops and the occasional sloppy jazz instrumental
making it all the more like
Bufallo 66. This may be only for
fans of Vincent's work but it
also retains a fuzzy sentimental
quality that most indie rock
kids would love and maybe
even some hip hop heads too.
For those that wish to hear
more check out his early '80s
band Grey, with John Lurie
and JM Basquiat.
Morgan Tanner
(Genetically Enriched)
The cover is perfect, white
bunny against a pink background, splash-pink CD inside
a bright yellow case. Lollipop
pink, fuzzy bunnies, soft. The
music inside tastes sweet, flows
like burlesque cabaret on the
tongue, this light voice, sexy,
breathy, in a dress of pink
sequins a slit up the thigh, this
is for sure. But this performance
is in a space bar, neon lights
flashing, disco ball spinning circles on the moon floor, the band
on echoing silver synths, trumpet riffs, violin strings quivering, music machines of pretty
plastic, the light side of
Bladerunner, smoke slowly rising through the haze, mysterious. Beautiful girls and boys
flutter eyes at each other in the
semi-darkness,  bodies move
^WIIM!* Mondays @ Mesa Luna.  Se slowly, utopia of Goldfrapp,
Drum'n'Bass Mix
This is a stock D&B compilation
with a few outstanding tracks
and—the real strength—little to
no filler. For those not in the
know, a stock D&B compilation
is still outstanding against most
other compilations kickin'
around these days because the
genre is young and vital
enough that producers still
have the energy to make swell
music. Although this one doesn't always have the knock-the-
wind-out-of-you quality that
would characterize a damn good
D&B compilation, J Majik
clearly knows what he's doing
and keeps good company. As
for the liner notes, come on
guys—since when was Goldie
"reigning don of jungle"? Sorry,
Mixer Magazine—send your
lies elsewhere, but keep the
compilations coming.
Everynight Fire Works
Well, the cover art and layout
are real nice. Cover art can't
save an album that is this boring. This album takes all the O
out of EMO and adds a lot of R
which gets us REM. Not the
Atlanta, Georgia REM, but
Rapid Eye Movement, ex-
members of Braid. On the same
note, the Get Up Kids want
your lunch money so they put
out this CD full of songs that
they put out already. Exciting.
Jay Douillard
(Sub Pop)
The fourth song on this album
is so beautiful. But for some reason Migala put in samples of
screeching tires and crashing.
Well you see I was driving
along in Cloverdale after the
dog show when I had to pull a
called a U-
Cat Power, Destroyer, Pedro the
Lion, Mogwai, The Fucking
Champs, The Vue, Sigur Ros,
Apples in Stereo, The Beatles,
Marine Research, Saves the Day,
Dub Narcotic Sound System,
Love as Laughter, Oysterhead,
Belle and Sebastian, Bardo
Pond, Godspeed You Black
Emperor, The Strokes, Daniel
Johnston, and Bis.
The Rock*a*Teens are better than all those bands combined, which is like putting all
the garbage on your block into a
big pile. So the Rock*a*Teens
are a little better than that.
driving n
turn. This w
ate U-turn
screeching n
song. We v
a pretty moder-
?r the
;, did
all ii
screech with my very conservative U-turn? Then there was a
crash. We were all fine. It was
just the CD. Take my advice:
buy this CD, but don't drive to
the fourth song—it's hard on
the nerves.
Jay Douillard
Noon Under the Trees
The following bands suck:
Stereolab, For Stars, Sublime,
Bob Marley and the Wailers,
Bluetip, Bratmobile, Shannon
Wright, Death Cab for Cutie,
Call and Response, Unwound,
Quasi, Zeke, The Promise Ring,
(Web of Mimicry)
This recalls painful memories of
Persian weddings I attended as
a child, and of depressed
teenage months when my penchant for industrial music only
dug me deeper. Somehow, Book
M still manages to be a happy
and entertaining listen.
Naben Ruthnum
Bright Flight
(Drag City)
Here is a series of unbroken
statements written at the
request and behest of she who
can no longer tolerate binary
language. It begins with this
joke that was probably passed
around through the circles of
bitter, wealthy men for decades
before it slipped into the wrong
demographic. It goes: How
about instead of getting married, you buy a house and give
it to someone you hate?
Here are some town names:
Forest Hills, Oak Hill,
Brentwood, Scottsboro,
rtown, Mt.
Columbia, Sur
Pleasant, Ch:
Rockvale, Pleasant Vie
Juliet. Bon Aqua, Marrowbone,
Sugar Grove, Water Valley,
Cumberland Furnace, Loretto,
Minor Hill. That very last one
spent 80 years to get their
Baptist church from the blueprint to the corner of Main and
Templeton. Perhaps if the idiot
who founded the place had
decided to give his name further west, nearer the Natchez
Trace, there would have been a
greater urgency, what with all
the traders taking the long walk
home from New Orleans, where
they'd have sold their river
barge for enough to cover prostitutes, typhus, and the hackney
shit that they would have written off as provisions if they had
had a chance to file income tax.
By the time Minor Hill came by,
there would be a real need to
confess—what with Nashville
looming not 10 days away. A
trader could confess feeding
sap to little babies, or at least to
taking that sap, firing it up until
it got soft, putting a mosquito in
it and then selling it hard as fossilized amber to some suck at
Colbert Ferry. But the town
wasn't there, and neither was
the church. All those bad people
got really guilty and ended up
in Nashville, where their worries went quiet but stayed resident in all the mounting
sentiments that would eventually bring us Alan Jackson
singing "I'm crazy 'bout a
Mercury." What of this hell? To
make exceptions only makes it
worse. The Silver Jews are
going for the gold at the irony
games and it really hurts. It is
David Berman playing with
some of Lambchop and some of
the Royal Trux and it sounds
like Nashville. What is the
accomplishment here? Sounds
like Vince Gill? Check. Sounds
like it was sung by a real living,
breathing desperate drunk?
Check. Features forcefully bad
similes ("The sky is low and
gray like a Japanese table/ and
my horse's legs look like four
brown shotguns")? Check.
This Bright Flight is supposed to make people grin with
a great degree of self-satisfaction in knowing that the whole
thing is a joke. If that plan doesn't work, at least someone else
can smirk knowing that other
people don't get it, whatever
that particular it might be.
Meriwether Leiois
Born Into Trouble As The
Sparks Fly Upward
I always feel ill-equipped to
review anything out of the
Godspeed You, Black Emperor!
camp. I always, always enjoy
the music, but I never feel like I
fully understand the message.
All I ever seem to get is that life
is terrible. This album seems to
have a similar aim, even going
so far as to include a long diatribe entitled "On the Failure of
One Small Community in
Achieving its Own Ill-Defined
Dreams and/or Goals..." The
last Silver Mt. Zion album was
unbelievable but it always left
me feeling down. This new
album, though, doesn't leave
me sad at all. In fact, strangely-
enough, it fills me with a sense
of hope. Maybe it's the beautiful last track "The Triumph of
Our Tired Eyes" that features
the lyrics "There's beauty in this
land but I don't often feel it..."
Maybe it's the kid in the opening of "Built Then Burnt
(Hurrah! Hurrah!)" whose
breathless, colourful reciting
always brings a smile to my
face because he is so passionate.
Maybe it's the way the album
begins as it slowly fades from a
quiet sound in the distance into
a grand, loud melody. Or
maybe it's simply the bird on
the back cover carrying a sign
that says simply "Please
Believe." Highly recommended,
maybe as much or even more
than any other Godspeed-related album ever.
Grand Opening and Closing
One of my rare impulse
buys. According to the liner
notes, many of the songs arose
"out of group improvisation,"
and were then carefully
revised. Godspeed fans
rejoice! No, don't, you'll hate
this. Despite the similar
approach, this group of
Californians produces something completely different from
what that painfully overrated
Montreal band churns
out. Metal, funk, and ambient
all find a place on this album,
with varying degrees of success. The homemade instruments and "found" percussion
pieces that accompany the traditional rock instrumentation provide for some
interesting sounds in the hands
and mouths of these very able
musicians. There are some great
songs in the Sleepytime Gorilla
Museum, along with some
failed musical experiments and
a cool package.
Naben Ruthnum
Rain on Lens
(Drag City)
Before listening to Smog's
newest release Rain on Lens,
you'll want to set the mood just
right. First, buy a brush and
some paint, then soak your
walls in a thick coat of black.
(Take care about the corners).
Next, draw the blinds shut,
close your door tight, and cover
your table with old pictures of
an ex-partner. There it is, you're
done. Now lay back, hit play on
your stereo, and keep the
Prozac flowing like wine.
With Rain on Lens, Bill
Callahan has produced a slightly depressing recording.
Slightly, that is, in the way
Vancouver is a slightly wet city.
Both literally and figuratively,
there is rain on the lens in this
album; "the boom is in frame."
Our view is obstructed and
something is askew.
Indeed, this LP is drenched
in conflict. Songs like "Dirty
Pants" feature Callahan droning lines like, "Then I walk out
to your house/And I let myself
in/Back you into the corner/ And
I multiply/I could toll endlessly/into the bottomless night."
In "Short Drive" the singer's
venom seethes through the
verses as he steers us through a
tour of his foes.
The interesting portraits of
strife on this release, however,
emerge when Callahan turns
his sardonic eye inward. "Song,"
one of the best on the album, is
a mounting paradox in which
the singer laconically dise-
quates himself to a soldier, "In
the way I wear no uniform /And
choose not to fight/And fight
all night/For some other
cause." A snapshot of "beauty"
is tersely explored in "Dirty
Pants" which brings us to a
home where, "I dance in dirty
pants/A drink in my hand/No
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and beaming."
optimism on this album as well.
Meditations on companionship,
for instance, surface on songs
like "Keep Some Steady Friends
Around,"  A sweet, romantic
drops merge/Then there is the
in the
1 Rain on Lens is
words, words.
And in
that wc
nderfully weird
horn s
do at
he end of the
Tlie Cor
neback EP
(Le Gra
nd Magistery/Darla)
Take   t
ie   bet
t   elements   of
and kev
ab's Ei
ro-techno beats
the Beatles' best
ballads written
he Britpop new
ind yi
u get  tins,  the
third EI
and fo
HIS    M
irth album from
ly brazenly cut-
ting-edge in th
>ir genre-blend-
mil In
Of five
songs, Stars tip-
toe the
both s
•dge of love and
with im
stifyingly grand results.
' could
not only be the
e to t
but al
0 me^Onadlan
id   am
smarts  about
Private Radio
(Lost Highway)
My girlfriend and I had a go<
time laughing at the terriblene
Billy-Bob    Thornton's    fir
undeniable genius i
spheres—the swoon o
one fast-living, tomb
Alive To Even/ Smile
(Sub Pop)
Trembling Blue Stars' previous
albums of 2000, mainly because
it included the incomparable
i Alice
disappoint me. A wee bit more
on the upbeat side than its predecessor, Alive To Every Smile is
no less beautiful. The entire
album is chock full of songs
about lost love, unrequited
love, and any other form of love
that just leaves you going
"What the...?" From the friends
unwilling and unable to pursue
a further relationship in "Until
the Dream Gets Broken" to the
couple who just can't make the
connection in "Little
Gunshots,"   Trembling    Blue
,' Iron
Khingly bea,
sounding "Broken
Whispers."   The
er, fuller sound and songs
that seem more epic and important. There is no better way to
spend a lonely, rainy e\
than curling up in bed with a lo,
of blankets and headphones
playing Alive To Every Smile
while you dream of a less heartbreaking day.
Her Appeal
(Bloody Banner)
Hailing from Austin, Texas, the
Wontons play fuzzed-out freak-
out pre-punk garage rock and
roll. While this in itself is noth-
,, the\
what thev do, judg-
fact that they wear
964-era Beatles style
rive a vintage white
the   Im
tough sell short of Billy-Bob
and roll guns. Not being a hardcore garage rock fan myself, 1
have a hard time seeing this
record becoming part of my
more purist garage fans out
printing naked pictures of his
wife in the liner notes. Anybody
hoping to take ir) Thornton's
there might really dig it,
though. The Wontons might not
be original enough (or commercial enough, depending how
cynical you are) to break out of
their Austin hometown scene
they sound like they'd be pretty
fun to see live. If they ever
appear on a bill locally, I'll probably go see them. As far as actually buying the record goes,
mgh, I think that I'll pass.
bip-hopgeneration lv.4]
Experimental techno derives its
essence from several different
foundations: Detroit techno and
house, Jamaican dub, electro,
contemporary minimalism,
musique concrete, electro-
music, John Cage, etc. and etc.
Bip-Hop is a label that recognizes the diversity of influences
and sounds possible from the
furtive junctures between these
musical worlds, and their
Generation series has spotlighted the extremes and experiments of this aural strain, lv.4]
features the work of a host of
talented artists, including mira
calix,   whose   abstract   drum
, and
eerie, distanced chorus sets the
tone for the productive weird-
ness that follows, from si-
cut.db's FSOL-esque tracks of
cave-echoing beats and rain-
soaked, compacted grooves to
twine's rhythmic cascade of
harmonic clicks and drones.
"Experimental" often means
"barely listenable" but, with
this compilation, this is certain-
moves along the plane of challenging the ears and the mind
without challenging the limits
of musical engagement or frequency comprehension, at
times warm and supple, such as
in the case of si-cut.db and Vs^
Price's granular dub broken
beats, and other times complex
and difficult, such as datach'i's
scythe-like frequency-beats and
Cray's crackling, popping,
abstract sonic landscapes. In the
compilations, this one really
stands out from the pack in its
quality,  scope,  and   breadth.
[undansathfinliou88 tattoo]
Vancouver, n.c.
NEW STORE HOURS! mon-sat:11-6/sun: 124
in store now.
• Mitt hops conspiracy
tte htsmatjonai noise conspiracy
^T^'newinorninf ed
plus hundreds of mora titles
the blackjacks ;    me witness protection program
"s/r cdep     3*| "the revolution-." cd
three inches of blood "battle cry inter a winter sun" fuIMengtti
billy and the lost boys, & teenage rampagae comp [20023
24 jancember 2001 real live
Thursday, October 25
Wednesday, November 7
Friday, November 30
Commodore Ballroom
Wow, what a way to finish off a
year of rock gods. Three bands
that have reached cult status
over the past decade all hit
Vancouver recently and drew
capacity   (or   near  capacity)
crowds   on   their   respective
nights. Five years ago these
would have been dream gigs,
and for the most part these
bands have aged well. Except
for the Revs.
Chronological order of
shows coincided with the qualitative order. They ranged from
nice job indeed (Stereolab), surprisingly good (Spiritualized),
and mediocre crap (Mercury
Rev). But how do I really feel
about these shows? Mmmmm.
I'm a fan of Stereolab, and having seen them on their last tour
I expected more greatness. I
was not disappointed. In fact,
this tour was superior compared to their last one, due to
two things: The Lab's latest full
length, Sound Dust is the best
work they've done in a while,
and technically, they've improved since two years past.
Drawing primarily from their
'post-transitional' work (post
Emperor Tomato Ketchup), their
latest tracks mixed seamlessly
with the rest of the play list. So
seamlessly, that at times they
turned into medleys. In the
forefront, Laetitia Sadier and
Mary Hanson sang in angelic
tones, while Tim Gane shook
his head to his guitar rhythms.
Laetitia even brought out the
trombone, much to the audience's pleasure. Regrettably,
"French Disco" was their only
older track, but with such an
industrious group as the Lab I
could see why they wouldn't
want to play older material. If
you missed them, don't fret,
they're bound to be back soon.
Like Mercury Rev, Spirit-
ualized's latest release doesn't
really make my peanut brittle.
Jay Spaceman seems, in my
humble opinion, to have gotten
progressively worse since the
fantastic, Lazer Guided Melodies
album. However, my faith in
Spiritualized was definitely
restored by their performance
that night. Boasting way too
many members on stage,
Spiritualized was defiantly
sonic. A few tracks lasted more
than 20 minutes—with the distinctive organ drown from the,
Pure Phase album bridging
tracks. Some audience members
seemed a bit befuddled by the
band's tendency to revert to
their past drone-jam rock style,
but this is the exact "druggy"
sound that I wanted to hear.
Even their newer material
sounded good that night.
I wish I could say the same
about Mercury Rev, but I can't.
The band has often reinvented
their sound (they sound drastically different from when they
first started) and have managed
to stay interesting over the
years. Unfortunately, their live
show was anything but.
Jonathan Donahue's rock posturing (complete with bird flutters and Jesus Christ poses)
completely distracted me from
their sound. However, the
Commodore was mostly filled
with aging hipsters who
seemed happily fooled by the
band's Tea Party-like display.
The sound was good, and
sounded like their CDs, but
shouldn't we expect just a little
bit more? Plus, I thought
Donahue's copying of former
band mate David (Shady)
Baker's vocals on older tracks
was shameful.
Robert Robot
Thursday, October 25
Starfish Room
One good thing about loaded
bills is that the music usually
has to start earlier than if the
show were simply a double-bill.
It means you don't have to stare
into your beer, as your friend
attempts to "talk" to you over
the din of (usually bad) canned
music. When I arrived at this
quadruple-bill, the first band
Starfly who I was curious to
check out had finished and follow-up act, Davey's Locker
were two songs away from the
end of their set. Davey's Locker
had uninspiring cock rock glam
wannabe written all over them,
but it sounded like they
brought their own following, as
cheers for them were more than
modest. John Ford doesn't need
to bring their own following, as
everyone in Vancou-ver seems
to love their infectious brand of
Beatles-inspired     blues-rock.
One bad thing about seeing
a solo gig by someone who was
once in a band you used to love,
is that one brings with them all
the high expectations that had
been nurtured by years of following that band. Thrush
Hermit was one of my all-time
favourite Halifax bas-ed bands,
next to Plumtree and Hardship Post. Clayton Park is one of
my top 10 all-time greatest
Canadian rock albums of all
time. Smart Bomb is somewhere
in my top 50. The Hermit's live
gigs, though not always consistent as far as musicianship was
concerned, were always solid.
On this night, former Hermit
songwriter and co-frontman,
Joel Plaskett, delivered his
soulful brand of rock to a fairly
full house that materialized
from out of nowhere following
the numerous openers' sets.
The lanky Plaskett interwove quirky road stories and
banter with his backing band,
the Emergency (which included
former Thrush Hermit bassist,
Ian McGettigan). The songs
were almost exclusively from
his second solo effort Down at
the Khyber, which I found a little
disappointing. He hadn't hit
Vancouver while touring his
solo debut In Need of Medical
Attention and we got almost no
content from that album...
except for a couple of songs,
which luckily included a personal fave "When I Have My
Despite the fact that
Plaskett threw a couple of
Clayton Park tracks into the mix,
including the anthemic "Oh My
Soul!", it did not make up the
fact that this was not a Thrush
Hermit gig. Gone was the
quirky chemistry and jokester-
ism shared between Plaskett
and co-lead Rob Benvie. It was
an absence that was made
much plainer during the awkward between-song pauses,
when Plaskett was left looking
a little intimidated by the
throng hanging onto his every
word. There was simply silence
while Plaskett tuned his guitar,
or while McGettigan struggled
for something witty (not) to say.
Although the music was solid,
the complete package that was
Thrush Hermit had me longing
for those Hermit gigs I saw in
late '96, when the late great
Founder and Composer
and the
Golden Breed
At fhe Picadilly Pub
60 w. pender Vancouver
w. Guests
t^#S' *
25E^gSSEtgB band was at the top of its game.
Thursday, October 25
Element Sound Lounge
At  around  nine o'clock the
People's Bizzare string trio took
the stage. People's Bizzare consists of a cellist, violinist, and
upright bass player and they
play   what   one   could   only
arrangements; a perfect compliment to Halou's own experimental electronic arrangements.
They started with a fast piece
between the violin and cello,
which at times verged on highspeed fiddle. They continued to
roll through a number of slower
ending with a song that
n the
a cat playing with a ball of viola
strings. You cannot clap until
the Kronos Quartet bend their
spines and untie their bows.
It sounded like a CD; crisp
and contained except I couldn't
turn it up. I wished it were
louder. It felt like 1 was sitting
on the CD while it spun, and if I
had moved, it would've
skipped. It would have been
ruined. But, really, there wasn't
much to ruin. The best piece
was Arvo Part's "Pari Inter-
vallo." The worst was the suite
from Requiem for a Dream.
Somewhere in the curves of the
walls or the gold plates of the
ceiling fixture hid the Quartet's
Sunday, October 28
Norman   Rothstein   Theatre
Three renowned  improvisers
from   the  American   creative
music scene Fred Anderson,
William  Parker and  Hamid
Drake jointly displayed their
musical talents in the highly
engaging     performance     on
October 28.
in, enhanced by the live
of the People's Bizarre.
usic was totally immer-
nd lead singer Rebecca
Offl's voice swam beau-
through  the dramatic
ive other
really enhanced the music, and
the audience's enjoyment.
Actually, if not for the visualizations projected behind the band,
a melange of video clips and
sections of lyrics currently
being sung, I may have suc-
ed n
drift c
Nevertheless, Halou proved to
be a fresh electronic band with
creative, moving music that has
definite pop potential. Now if
only they could get a live show
Paul Lambert
Sunday, October 28
Chan Centre
When you see a show at the
Chan Centre, you have to hold
your breath. The venue is
designed like the hollow of a
cello. If you breathe, the fibers
of your sweater will move, the
cilia in your nostrils will
vibrate. Everyone will hear it.
You can only hold vour breath
for so long. When your lungs
ir mouth open, a cough
will c
that c
Ugl,    V
. The
ill s
mg n
of the Ass
Musicians (AACM),
J a thick tenor sound
with a buoyant melodic sense.
He performed brilliantly,
encompassing his capability of
merging the contemporary with
the traditional. Bassist and composer, William Parker presented
himself as a formidable improvising musician and an inventive bassist. His ability as a
composer was felt throughout
the show. Drummer Hamid
Drake incorporated pattern-
based drumming through reggae to world music to free jazz.
The highlights of the performance were the numbers
"Joyous Dance," "In Praise of
the One," and "Spirit Rejoice"
arousing heavy applause from
the audience. The performance
that evening at the Norman
Rothstein Theatre was sheer
Raj Endra Matluir
Tuesday, October 30
Not that I particularly like jazz
or jazz with "Latin influences"
or both of them blended togeth-
in doi
French Dj/lionime dope Kid
Loco pulled it off so well that
I'm gonna give him a good
review anyway. Otaku was all
right, a little sparse on the stvle,
but the smoky rhythms combined with Sonar's impressive
Halloween decorations brought
me back to my boyhood days -
jellyfish barbecues on the
beaches of Doom Island. Then
Kid Loco's tropical techno style
brought the whole crowd to its
feet. Someone behind me described the beats as "slammin"'
and, despite a ridiculous
"pump up the volume" vocal
sample (for the Dance Mix fans
in the house), Loco managed to
pull off more than a few awesome tracks that were intelligent and danceable. There was
a healthy lack of barking, fitted
cap-wearing meatheads around
a rare and impressive feat for a
Vancouver nightclub. Kudos
Sonar. Particularly successful
were the female vocal tracks
Loco spliced in: they were well-
matched to the rhythm, neatly
avoiding the trap so many other
DJ's fall into in creating little
better than insipid R&B songs
with an original beat. My friend
who's in the know told me the
studio tracks - especially on his
Sunday, November 4
Starfish Room
Monday, November 5
Sugar Refinery
Remember this show? I heard
you jaded folks talk. "Oh yeah,
the second reunion tour," they
said. Wrong. Thev never made
it here the first time. To nu horror they cancelled due to injury.
"It's not fair!" I yelled.
Thankfully I had seen them
once already. But guess what?
All was not lost. They did not
forget us. They came back and
there was much rejoicing. I
would purposely forget just so
uld i
r again.
But enough of my pre-show
iu want to know
about how they did. Maturity
suits them well. They played all
the favourites including some
of Julie's angry songs.
Personally I was hoping for
some of Julie's softer stuff
backed up by the magnitude
that is known as Eric's Trip, but
I was far from disappointed. I
bounced around the room; I
belted out the tunes. The 18-
my fists pounded the air. There
was even a mosh pit, but I wasn't ready to digress that much.
The only complaint I did
have was their lack of the trippy
experimental stuff a la "Purple
Blue." It seemed that they were
really trying to get somewhere,
stretch their boundaries of
noise. But it was a reunion tour.
I love this band and I'm completely fascinated by their history and dynamic. It was
wonderful to see them talking
to each other. It was wonderful
to see them looking out at the
less what was happening
<t day? Julie Doiron was
g a two-show set at the
Refinery. Unfortunately, I
only attend one. But it
terly amazing. The place
SEE YOU IN 2002!!!
.-*s_ chart flfa^ $0OTi
nnne ra ms:r
northbynortheast        •••*:      ffiHJ^PAci
UHlilfiitt-'fr'- STUDIC
111 ''^ -
j)[^   Not Just Another Music Shop  BeatStreet
i Seaside Studios AMS Events
1   blGRock    ^"murf
Renegade Productions 7    . ^^ wwtrebas.com
26 jancember 2001 oughly intimate. I didn't pay
much attention to the opening
act, but she had a good trumpet
player. You have to understand,
Julie is my rock goddess. She
screams her anger, she sings her
tears, she admits her weaknesses, and she sings about the various forms of love.
The show was her and her
guitar, absolutely beautiful. She
made me cry as it was so heart-
breakingly simple. She was
there to support her new French
CD, Desormais. She didn't play
much from it though I still had
to have it. She played a lot of
old songs and some really, really new ones. She talked about a
lot of things and then chastised
herself for talking too much. It
was the whole Julie package. It
was the icing on the cake of an
Eric's Trip weekend. She even
took requests, stayed for
awhile, played different versions and covers. And did you
know she has a record?
Could there be anything
more perfect? Sitting at home
wrapped up in a huge blanket,
hot chocolate in hand, snow
outside, and listening to Julie
over the hum, buzz, and snap of
your record playei
Norman   Rockwell
Robin F
Monday, November 5
Starfish Room
For what it's worth I have to
begin by stating my credentials
as a Momus fan. I've interviewed Nick Currie, a.k.a.
Momus, three times, turned at
least a dozen friends into
admirers, and have studied his
lyrics backwards and forwards
for about 12 years now. Nick's
place alongside the greatest of
lyricists seemed assured to me;
it was just that nobody had
heard of him yet. It wasn't a
mere matter of clever rhymes,
though those are abundant. It
included skilful metaphors, an
impeccable knowledge of history, and his advanced education
in literature.
In the early Momus albums
Nick leaned much more on the
acoustic guitar and classical
structures, creating the effect of
a timeless masterpiece. Somewhere in the '90s Momus
gained respect and had a hand
in erecting (teehee) Japan's
Shibuya-kei movement. He
then began to exploit his controversial perverse lyrics and
took the easier road often traveled by idiotic sitcoms. He dove
deep into irony, chance and parody until even the instruments
he used became as cheap and
dirty as his subject matter. Now
he's fairly well known and
sought after as a collaborator
but he's tossed out his invitation at God's table next to
Leonard Cohen, Dylan, Weill,
and Gainsbourg. In some
bizarre way I will always love
Nick Currie like an uncle, and
this is not to say that the show
stunk, no. The show was plenty
entertaining. I just can't help
but bring to mind a majestic
wild beast of the jungle riding a
tricycle in a 3-ring circus.
Stereo Total was Stereo
Total and that's a beautiful
thing. Somewhere along the
way they lost a couple of members but not the wonderfully
campy, slightly wavy, International pop they make. Brezel
Goring and Francoise Cactus
alone now, on stage and looking
like a couple of exotic European
artists. Sometimes ridiculous,
often inspired and a couple
times, downright sexy.
Bleek Prospect
Friday, November 9
Croatian Cultural Centre
First off, I have to say that even
though I love that this venue is
located so close to where I live, I
hate that the large room has no
atmosphere, bad sound and,
when filled with 50 or more
concert-goers, becomes a veritable steambox of flop-sweat and
dope smoke.
Secondly, I should say that
Vancouver needs more all-ages
gigs like this because, apparently, the kids wanna rock. The
sold-out all-ages throng showered their love this night on
Halifax's biggest export, Sloan
and their most up-and-coming
export, the Flashing Lights. It
did not seem to matter to them
that Sloan was here just this last
August to co-headline Snow
Jam. Even ol' Nardwuar was
seen mugging for the cameras
with frontman Chris Murphy at
the Snow Jam gig. While all-
ages gigs are usually more exu-
absolutely years since I last saw
Sloan. I last saw them when
they last played in Victoria,
before they broke up in '94.
Back then they were still playing small clubs, like the legendary Harpo's Cabaret, over in
the city of newlywed and nearly dead. Their pseudo-arena
rock antics played well in those
small clubs such as Murphy
jumping off the speaker stacks
and holding his fist in the air,
mid-riff. That stage persona
worked back then because it
was somewhere between send-
up and tribute. This time
around, they were playing the
part because they were the
arena rock stars. Their previous
stage persona charm was lost
somewhere in the enormous
self-aggrandizement. That is
where Murph's brother's band
Even though I missed the
first half of the Flashing Lights
set—damn Croatian Cultural
Centre gigs always start too
early and on time - all I can say
is that they simply upstaged
Sloan. Former Superfriendz
frontman, Matt Murphy had the
audience chanting not once, but
twice "Flashing Lights, Flashing
Lights!" in time to the music
while clapping along. Their set
was the embodiment of what I
imagine real Canadian stadium
rock shows in the 70s must've
(or should have) been like.
Their brand of '60s-influenced
British garage music was so
infectious that kids who I
would imagine had never even
heard of this band before that
night, were dancing and cheering at the top of their lungs to
managed to cram "Money City
Maniacs," "Underwhelmed"
and "Marcus Said" into their
nearly 2-hour long set. But
notably absent was such gems
as "500 Up" and "People of the
Sky" (the songs which Andrew
composed and sang on)
although drummer Andrew did
come up to sing a couple of
nameless non-singles from one
of the generic post-T:vice
Removed albums.
Then for the encore, Sloan
brought out the Flashing Lights
boys to join them on the
Flashing Lights tune "Eleva-
ture" and wrapped it up with
one more of their own before
sending the kids home for a
good night's sleep with visions
of Chris Murphy's rock poses
dancing in their heads.
Sunday, November 11
Jazz Cellar
Being that Metalwood is the
pride of Vancouver's contem-
berant and energetic than many
of-age shows in this city, of late,
I do hate the fact that I feel more
and more like I'm getting too
old when I'm surrounded by
more jailbait in tube tops than
you can shake a stick at. And
what the hell is the deal with
mainstream rock DJs, who are
emceeing the show, saying
dumb-ass things like "you guys
rock" multiple times, just to get
the audience cheering for them?
I   will   admit:   it's   been
:t pop.
porary jazz scene, I was somewhat embarrassed to be seeing
them for the first time, especially in such an intimate setting.
The Cellar is a venue where jazz
enthusiasts might spend a
night, devoid of conversation
and flash photography, warming themselves in a musical
form of intellect. Pretensions are
visible in black wool turtlenecks
and 60 dollar bottles of wine.
Cursing myself for wearing
white socks, I ambled over to a
table directly behind the keyboard set-up of my chief interest in Metalwood.
Vancouverite Brad Turner is
the unofficial leader of this
fusion-ish jazz group, and a
prominent member of the
Vancouver music scene. I had,
in the past, seen him perform as
a trumpeter, pianist, adjudicator, and even drummer for a bitter folk-rock band. But tonight,
behind an old Rhodes and an
intricate Korg, I was to see
Turner in his true element. The
set kicked off with an elongat
ed, bouncy intro that showed
off the gorgeous possibilities of
the Rhodes in a Chick Corea
like fashion. Soon enough the
rest of the quartet kicked into
the floating notes with a simple,
heavy groove made artful only
through the sax work of Mike
Murley and one or two elaborate changes. From here on in
the band powered their way
through a range of tunes off
their last four albums, which
left more than enough room for
each member to show off his
chops. The all-out style of
drummer Ian Froman was
always quick to bring back a
wandering mind as he pushed
himself through triplets and
time changes that seemed to
occur to him then and there, but
never took away from the
music. This was due partly to
the solid presence of bassist
Chris Tarry whose thick tone
alone was enough to support
the antics of Turner and Murley
and power some intricate solos.
The driving  groove  and
Sloan had a hard act to follow. But they had volume and
an impressive light show, one
that even dazzled the non-ston-
ers in the audience, to make up
for their slight shortcomings.
They performed songs from
most of their albums, and even
played chunks of Joy Division,
Thrush Hermit and Danko
Jones in the middles of some of
their lesser-known songs. I was
particularly happy that they
8:00 PM
&   £\iL?Ar ossv^^      ZULA@TELUS.NET      604.879.4990
Ponga: improvising free-jazz-rock-funk groove supergroup bringing free-jazz
ferocity to high-speed jungle fusion, subsonic bass and space-age synth blares.
Like Plastikman trapped in the body of Sun Ra  -   A Knitting Factory jam
session where Painkiller takes shots at the Grassy Knoll   -   The ghost of
Coltrane blowing through Goldie like a
hurricane    -   Think Photek as performed by Miles' Bitches Brew   -
Grooverider lovingly deconstructed by the Art Ensemble of Chicago   -
Coldcut as performed by John Zorn's Naked City   -    DJ Shadow broken
down by David Murray at a
New York loft show.
27 EtF\££5®iffi explorative attitude of Metalwood could just as easily speak
to a crowded Commodore
dance floor as it did to a
demure restaurant scene. The
enjoyment these guys get out of
playing music that embodies
skill, spontaneity and personality is something that will only
facilitate their movement in the
jazz scene. Just ask guitar giant
John Scofield. Next time you
get a chance, it is worth your
while to go out and support this
groove-heavy Canadian force.
Wednesday, November 14
UBC School of Music Recital
You know, the University of
British Columbia's School of
Music hosts some of the best
n the c
ml II
i. Mayb.
mse I go
to UBC and sometimes when
stuff is going on right in your
own back yard you take it for
granted. But when I watched
Mike Allen, one of Canada's
premier tenor sax players, do
his thing this month at UBC's
Recital Hall, 1 must say I was
sorry to think how many other
The concert took place on a
Friday, at noon, in front of a
crowd of 150, mostly music students or local residents. Not the
most appealing conditions
under which to rock tha house.
But it didn't seem to bother Mr.
Allen. He and his crew (Darren
Radkey on bass, and Dave
Robbins on drums) cooked up a
solid set, ending with a version
of "Airegon" that featured one
of the loudest, fastest, coolest
lile. I iv
of old and to bring a fresh
sound of the style to the floor.
The floor was having a
blast and Scruff kept people on
it. Even the cougars and owl-
bears did not sneak off to the
edges. As usual the show ended
at a lame 12:30, but I think the
boos to the bouncer for cutting
off the last song were only halfhearted, everyone was tired
from shakin' and wigglin' for
the almost three hour set. That
was a lot of music!
The next time this fellow
from Manchester travels to
Vancouver, take your significant
other, they will love you for it.
The Commodore could have
been a more appropriate venue
though, as Sonar's dance floor
(also known as the shortcut to
the loo) was too cramped, but
that's me being picky. Great
time... imagine if it had been a
live funk band!
Cyrus B
Friday, November 23
1 was really wondering how
this show was going to be, the
music and the crowd. Was he
going to have live musicians (as
he does on his work)? Was it
going to be more funk or more
Vinyl Richie warmed it up
like he always does with his
trademark "big sexy funk"
sound with MCs LP and Shy-
lox. He said that he really liked
the crowd that came out and
thev hked him.
Before DJ Krush came on,
lelv   i
Sunday, November 18
He had the whole place hopping except maybe some of the
drum n' bass Sunday session
regulars, who didn't know that
their weekly was bumped to the
upstairs room. Honest, funky
schtuff. Mr. Scruff's set was like
a snowfall in Vancouver, a rare
treat. I don't think that too
many people really knew what
to expect from this Ninjatune
junkie. As a DJ he might be a bit
of a turntable trickster, though
as a producer he is more low
key. But his show had minimal
tricks and as for dj'ing, he's not
one to waste tracks on two
Mr. Scruff 's can of mixed
nuts spanned tech-funk (as in
techno synths + bass guitar +
horns), Latin carnival music
(you know that stuff with the
steel drums, bongos and whistles), even reggae (luckily only
one track). However the push of
the night was to present music
to dance to, to rediscover funk
28 jancember 2001
house to represent for Krush.
And the moment Krush laid
down his first record, the
description of putting down
different sounds to beats was
literally on. Where Vinyl Richie
had just funked up the crowd,
Krush was there to bring us out
to the "abstract." Dark and
moody but organic and jazzy,
Krush laid down some really
rd a
hip hop beats and even the odd
jungle beat.
It was cool to see people
come out for a show like this
where it ain't about overwhelming the crowd with over
the top energy, or about giving
us the type of funk-soul-breaks
set that is cool, but available
here. With unorthodox turntable techniques to match his
unorthodox sounds, Krush
gave the city something that I
have never experienced. The
other thing that I had never
experienced was talking to the
DJ in my second language.
Boon Rondo
Saturday, November 24
Seylynn Hall
Small venue, small bands, small
crowd good times? Maybe.
Sadly,    we   missed    openers
Marlinspike, but the Langley
punk band has a talented vocalist and polished sound worth
listening to. Appearing on this
year's Calgary Warped Tour,
the group has gained some critical acclaim and their upbeat,
lyrical style certainly gives
them a leg up on other young
bands. Ska-punk is rarely done
well; these guys pull it off successfully, and have a talented
lead singer to boot.
that I'd seen before, I seem to
remember North Vancouver's
Mr. Solid with more fondness
than how they played at their
latest show. Although they were
the most well received act of the
evening, I think that they were
lacking something in vocals that
night, devoid of the sparkle
with which I recall them. With
some good solos and interesting
guitar riffs that proved their
musicianship,   they  could've
Ovation and a microphone, he
might become horrible. But as
he is, he's good even if no one
will clap or look him in the eye.
Christa Min
EMPHYSEMA (A Love Story)
Dir: Katrina Dunn
ended November 25
Vancouver     East     Cultural
I have been a HUGE fan of the
silent    film    actress    Louise
Glu was next. Comprised
of a trio of somewhat angsty
pubescent boys; they made up
in sound what they lacked in
height. I'm guessing that
they're influenced by the likes
of Nirvana and maybe even
Bush X—they've got that "alte-
native," neo-grunge feel to
them. They seemed to gel well
as a band, as their onstage
chemistry made for a very tight
sound with powerful grounding. Their many solos showcased the impressive musical
talent of all band members.
Give 'em a little while for the
lead singer's voice to finish
changing. With the poise that
they've shown already, Glu has
lots of potential.
Despite the candles, plastic
skulls, big hair, and head banging groupies, Typhus was,
arguably, the weakest link. This
North Van death metal band
was probably three times Glu's
age, but even their comparative
geriatry did little for their overall talent. Their generic sound
had no solos and was basically
nothing but power chords,
which made their short set
seem to drag on forever as one
long,.nightmarish, run-of-the-
mill metal song. It was definitely an experience that I would
not wish to endure a second
As the only band playing
done more to fully showcase
their talent as a fast skate-punk
band. Loyal fans, nevertheless,
pushed their way to the front
wielding Mr. Solid memorabilia. Their stage show was fast
paced and fun with the smoke
machine, multi-coloured disco
ball, and guitarists jumping off
the stage.
Jackie Wong
Waterfront Seabus Terminal
Tuesday Nights
There's this Mexican guy who
plays guitar and sings. He's
very small, and he has a pony-
tail underneath his Budweiser
cap. He looks gray because I
think he smokes a lot and
because the shadow on his face
appears before noon.
He sings songs in Mexican,
so I don't know what he's saying, which is probably for the
better. I don't even know if he
writes the songs or if they're in
the public domain. But he's sure
as hell better than some guy
playing Eagles covers with his
capo and fucking Yam-aha.
This Mexican guy plays the
shittiest classical guitar ever
made. It can't stay in tune if the
strings are plucked more than
once. He's not much of a guitar
player, it seems, but maybe it's
because of his guitar. Who
knows.  If you gave him  an
Brooks ever since I witnessed
her unforgettable features on a
video box for Pandora's Box
about six years ago at the foreign film store I worked at in
Kelowna. I have since moved to
Vancouver to work at yet another foreign film store. Recently I
noticed that every Louise
Brooks film was going out at
once and decided to ask one of
the women who was renting
one what all the sudden hype
was. Of course, she told me she
needed to study up for an audition for the new Louise Brooks
play coming up. OH MY GOD!
Awesome stuff indeed that
there was another group of people in the area that have enough
and produce a play! I hoped to
hell that it was not some person
trying to profit off the trendi-
ness of the Brooksie haircut just
to be saluted for knowing about
such an "obscure" actress.
I was wrong. Written by
playwright Janet Muslin, longtime fan of Louise Brooks and
the man Kenneth Tynan who
"re-discovered" Brooks; the
washed up elusive, drunk,
intellectual. She crafted up quite
an effective piece based on the
age-old theme of "Lulu" (the
part that Brooks plays in her
most popular film: Pabst's
Pandora's Box) and her
inevitable destructive effect on
men. The character of Tynan (a
little overplayed by Donald
Adams) is obsessed with the
idea of Lulu—or the themes
that she embodies: seduction,
playfulness, intellect, all basics
of the Vamp, of which Brooks
was queen (amongst other
names such as Theda Bara,
Garbo, Dietrich, Clara Bow,
Evelyn Brent, etc.). The high
point of the play was the excellent, realistic portrayal of an
elderly Brooks played by Sheila
Paterson. After watching many
live interviews with Brooks
before her death in the 1980's, it
was a joy that an actress could
embody Brooks' abrupt, outspoken personality. Being of the
male species I have to admit
Erin Wells, the woman who is
playing the fantasized Lulu
character who keeps popping
up in Tynan's head, had all the
flapper shiftiness intact. Erin
Wells' portrayal of Louise
Brooks in the LULU character
became altogether haunting as
the character leapt in and out of
Tynan's obsessive personality.
I thought the relationship
between Tynan and Brooks was
exaggerated: I doubt Tynan
doted on Brooks as was portrayed. I always thought the
relationship between Brooks
and Tynan was not as passionate, but rather that she was a
forgotten actress that he just
wanted to re-expose to the
world. I have a few criticisms of
the play: primarily, the German
director Pabst was portrayed as
a man who didn't do anything
of value other than Pandora's
Box. Contrary to this notion is
that his most important films
came before Brooks such as his
realist masterpiece The Joyless
Street. Also, after his other film
with Brooks: Diary of a Lost Girl,
he directed a talkie starring the
goddess Brigitte Helm in The
Mistress of Atlantis - another
masterpiece of art direction,
camera play and lighting.
I also hoped that the original theme of Lulu would be at
least mentioned. The character
Lulu was a product of the
Weimar "Lustmord" art period;
Pandora's Box was originally
written as a play by Frank
Wedekind. The vamp theme
was carried in play form long
before Louise Brooks came onto
the screen. The obsession of
prostitute murder for the artists
of the Weimar period is interestingly not really touched on by
the play. The play was an excellent experience and yet another
look into the abrupt and "literary" mind of the now legendary
Louise Brooks.
Sam McKiulay  Syndicate-T/iP DaysofW,
The Be Good Tanyas-B/ur Horse
Jerk with a Bomb-T/ie OM Note
Stars-The Cmu-rut*
V/A-Maximum )azz Presents Live til Ihe Cellar
The Buttless Chaps-Dffl/n Sarin / // //(
Rheostatics-NixW of the Shooting Slurs
The Planet Smashers-No Self Control
DJ Serious-Dim Sum
Swollen Members-iM Drama
SoiarbabyAnother Suit-Milks Blmlu Dmwi
Hennessey-Life on AM Radio
Pacific Pickin'
Tuesdays, 6:30-8AM
V/A-0 Brother. Where An Thou'
Ralph Stanley ,md l-m-nd-i imh Mountain Siveelht
Karl Mullet! and HigC'ountrv Show-In FullColor
Cinny Hawker-Letters/rom My Father
Slowdrag-Wou.v/im' if Ki.v'" lolhf Feme
Doyle Law-son and Qui. k-.ilv er-CinspW Canute
Rhonda Vincent-The Storm Hull Rages
Caught m the Red
Fridays 8-10AM
Zen Cuerilla-S/iiu/reiis of the Sun
The White Stripes- While bloo.1 Cells
Mickey and the Salty Sea Dogs-Ssft W
V/A-DW Thai Uranium Rat!
"'     krCity Devils-T/iWenui
Hit List Magazine
Saturday Night Routine: Picadilly Pu:
Folk Oasis
Wednesdays. 9-10:30PM
Ten Best Local Roots Bands I Saw Li
Ray Condo and his Ricochets
Zubot & Dawson
Bocephus King
Bughouse Five       g
Pete Turland Band
The Red £yt
Alternating Saturdays. 1-4AM
Top 10 UK Oarage Classics
GabneUe-"Roy Davis )R"
Marcus Intalex-Taking Over Me"
Horse Power-Triple 7"
Bis Project-Girls Like Us"
Luck and Neet-'Bit of Luck"
Raiwa-'Walk Right Through"
Mr. Maiic- A Deep Thing-
Herb 1 i- Cool Down-
Mi Cole-'S.ncere"
el RL Phelps and the Downe
Mevision, Joel RL Phelps and
\ellac-Live at the Knitting Fa
ie 5 of the ALDS at Safec(
African Rhythms
Alternating Fridays, 6-:00-9:00PM
V/A-The jazz Dance sessions
Marcos Valle-Online/Bar Ingles"
Mondo Grosso-4
The Silent Poets-"Pris.
4 Hero-Crrotinj; Puller
ie Funk Back Out"
Wednesdays 1-2PM
Top 10 Culinary Delights
Rack of Lamb-Ui Cutiiin
Top 10 Local CDs reviewed in Vancouver
Graham Brown-Gwti 'n Broke
Coal-Beautiful Afterbum
Papillomas-W/ra Years Were Bee Stings
Pepper Sands-Wi'/come to... Pepper Sands
Ralph-T/lis is for Ihe Night People
Readymade-On Point and Red
Swank-Puppy's Corn Squeeze's
Transvestimentals-D<#icu/I Loves
V/A-Team Mint Vol. 2!
Replica Reject
Wednesdays, 7:30-9PM
The Faint-Dnnsc Mmufirc
Le Tigre-Ffmin/sl Sioeepslakes
Kevin Blechdom-T/ic InsiuV Story
Unwound-Lraws Turn Inside You
Of Montreal-Coijui'/itot, Asleep in the
Tori Amos-Strange Utile Cirls
Puffy Ami Yumi-Spite
Whte Stripes- While Blood Sells
Four Corners-Suy Vou'n? il Scream
Kaito-You'w Seen Us... You Musi'veSeen Us
Wigftux Radio
Mondays, 7:30-9rtOPM
Johnny Clarke-"Age is Growing"
Uton Green- "Jah Jah Question"
Prince Alia, Iration Steppas vs Ki
Damian Marley-'More Justice-
Keith Rowe-"Groovy Situation"
Delroy Wilson-"Don't Give Up"
Tanya Stephens-'Hang Ups"
Freddie Mcgregor-Get Involved"
Mondays at Midnight
Rise Againsl-T/ie Unraveling
Propagandhi-TouViy's Empires. Tomoni
Thrice-Identity Crisis
Ensign-Thc Price of Progression
Randy-THf Human Atom Bombs
Gamits-/4 Small Price lo Pay
Real McKenzies-Lixh'it and Loaded
Tiger Army-The Poxoer of Moonlight
Bigwig-An Invitation lo Tragedy
Zeke-Death Alley
[,ip,mi-1 •Pufferfish C lenome Decoded " Brenri
13th Inter
Sequencing and Analyst
"Roll Your Own Nantubes." Schmidt. O. Kberl.
d Supports Global VI
arming " Sagar
n, R and M
F. Science,
October 26, 2001.
"Bacteria Mate with M
mmal Cells." Water
December, 2001.
"Pigs Expressing Saliva
y Phytase Produce
s Manure
an, SP et
4, p. 741-745, 2001.
"Taming Lake Nyos Killer C02, Cameroon
" Halbwachs,
A. et al. Sa
France. February 7, 2(W1
"Land Size Limits Body
Size of Biggest Anim
and P
Proceedings of the Naliona
Academy of Sciences
27. 2001.
"Nitrogen Cycling by
Soft-rot Fungi
g Mid
s Tomb,'
Gordion, Turkey." Filley,
T.etal. Proceedings of
I ' ',.,'.,-,,    '   t-:!<   ;:,■  '
,'S 48.
. 123-321,
"Desert Beetles Stand o
n Head .0 Collect W
Iter on Backs."
Parker, A a
id Law
rence, C.
Rhymes and Reasons
Thursdays, 3-SPM
Awol-One and Daddy K
Daddy Key and Mikkah
9-"First Things Last'
Atmosphere-The Worn
Marz III--Raw Material'
Isosceles-"Sign Language"
Nobody f/Freestyle Fel
Living Legends f/Slug-
Apani B Fly Emcee-"A V
Asheru and Blue Black-
Elevator Music"
Thursdays, 2-3PM
Robin's Top 5 Cartoons
for Girls
lent and the Holograms
iu Chao-Prou'mn Estacion Esper
Rocket from the Crypt-Group Sounds
Scared of Chaka-Crossme with Sa'ikhhladrs
Les Sexareenos-H Frrnzifii Sliakers
Buffy,he Vampire Slayer
Red Planet-Let's Degenerate
White Stripes-W/iite Blood Cells
Old skool Spidernum cartoons on Teletoon
New Town Animals-Is Your Radio Active?
Black Halos-T/ie Violent Years
Dirtbombs-Ultraglide in Black
?u Don't Stand t\-
ve 0 Paradox Theati
ET.A.-No Failh
f-Minus-Suburban Blight
Holier than Thou?-Tfif Hating of the Cuts
Reserve 34-Knin City Cumes
What Happens Next?/Life's Halt/Tear It Up/Fast Tim.
>x Theatre, Seattle
Fridays, 10-12PM
Mondays, 8-11 AM
Tuesdays, 5:00-6:OOPM
Top Five Albums
Choice Reading Material
Chris Murray-4-Tracty<;iinzi?
A Scries of Unfortunate Events by Lemony Snicket
TheSlackers-Wusti'ii Duys
B«roi(Kf-/4-Noiw by Kevin Chong
Planet Smashers-No Self Control
VerbrilK Sound-Mimy Coloured Butterflies
Coming Home by jada Gabriel Pape
Mad Bomber Society-zWnmuM-Go-Go
V/A-Barcfeat Present's
Tlie Door ft Open by Bart Campbell
NY Ska Jazz Ensemble-L/tv in Europe
House oftttsh. House ofSlor.e by E. Morgen Jahnke
Top Five Events
Makeout Club ill: Morning Glory by Trish Kelly
Ska-T's 30th Birthday Bash
Poets of Rhythm-Discmt/De/jne
Skylab by Htiabeth Bchinsky
Planet Smashers, Peacocks, Subb at the Pic-P
Stereolab-Sounir Dust
Tlie Tom Skirt by Rebecca Godfrey
Geared to Go-Go
Silver Mt. Zion...-Born into Trouble...
Turf Bedside Companion by Bonny Day Press
Festering Octoberscoot (Seattle)
Twilight Suites by Erin Peck
NY Ska Jazz Ensemble Show at Maritime Lat
our Centre
30 jancember 2001 what's being played at citr
Jancember Long Vinyl
Jancember Short Vinyl
Jancember Indie Home Jobs
riff randalls
how 'bout romance
1 tennesse twin
these thoughts are occcupied
1  langley schools...
innocence and despair
bar none
the vultures
alcoholic lady
2 six block radius
kill to hide
2 radio berlin
the selection drone     youi
- best guess
3 tijuana bibles
mexican courage
3 deadcats
3 dears
orchestral pop noir...
new town anima
Is     lose that girl
4 ming
15  beers
4 einsturzende neubauten 111:1991 -2001
the flash express
who stole the soul
5 hummer
latest thing
5 various artisfs
better than the beatles    a i
nimal world
common rider
am i on my own
6 three inches of blood
6 downway
defeat songs
the spinoffs
7 mister nobu
c'mon wid your c'mon
7 julie doiron
animal world
8 soressa gardner
dear   liza
8 music for mapmakers
the cleats
save yourself
9 ether's void
9 various artists
lookout freakout
the evaporators
honk the horn
10 the epoxies
need more time
10 sweaters
kick me generation      i
where r we
11 the radio
la dolce vita
11 le tigre
feminist sweepstakes
mr. lady
the horizontalist
twenty feet behind
12 the organ
we've got to meet
12 fugazi
the locust
13 askmasters
13 operation makeout
the exploders
what's what and...
teenage usa
14 too hectic
slaves   like   us
14 strokes
is this it
victims family
calling dr...
alt. tentacles
15 red hot lovers
fuck   or   fight
15 hayden
skyscraper national park
red hot lovers
16 frihaven
blues musik
16 beat happening
crashing through sampl
er              k
clem snide
song for bob crane
self starter
1 7 Victorian pork
i just wanna beer
17 leonard cohen
ten new songs
the lollies
channel heaven
evil world
18 cheerleader
turn it on
18 wontons
hex appeal               bloody banner
19 the triggers
jonny cat
19 z28
rope you down
19 shikasta
gold                            ir
neafy deads/black rebels split
jonny cat
20 three inches of blood
tonight we rejoice
20 international noise...
a new morning, changing.
21 bis
return to central
spin art
22 Horca
new comer
23 other people pbce
24 dj spooky
lifestyles of laptop cafe
under the influence
six degrees
25 soundtrack
songs for Cassavetes    1
Defter looking
26 set fire to flames
sings reigns rebuilder
27 bebel gilberto
28 death cab for cutie
tanto tempo remixes
the photo album
six degrees
drag city
The monthly charts
are compiled based on the number of times a CD/LP
("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie home jobs") on
29 silver jews
CiTR's playlist was
played by
our DJs during the previous month (ie,
30 various artists
team mint vol. 2
"Jancember" chart:
^ reflect airnl
av over Novemberl. W?
^eklv charts can be
received via email. Send mail to "majordomo@unixg.ubc.ca" with the
command: "subscribe citr-charts"»
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3lE^§2aHSffi SUNDAY
9:00AM-12:00PM   All of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
3:00PM Reggae inna all styles
and fashion.
3:00-5:00PM   Real-cowshit-
caught-in-yer-boots country.
alt. 5:00-6:00PM British pop
mus.c from all decades.
SAINT   TROPEZ   alt.    5:00-
6:00PM    International    pop
(Japanese,   French,   Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your jet
set holiday now!
QUEER   FM      6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, background on current issues and
great music
10:00PM Rhythm India features a wide range of music from
India, including popular music
from Indian movies from the
1930's to the present, classical
music, semi-classical music such
as Ghazals and Bhajans, and
also Quawwalis, pop and
regional   language   numbers.
THE     SHOW 10:00PM-
12:00 AM Strictly Hip Hop-
Strictly Underground-Strictly
Vinyl. With your hosts Mr.
Rumble on the 1 & 2's.
2:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to
propel us into the domain of the
mystical. <trancendance@hot-
FILL-IN 2:00-6:00AM
8:00AM (Temporarily moved to
Tues. 8-9PM.)
BROWNS 8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
alt. 11:00-1:00PM
GIRLFOOD ah. 11:00-1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt wants you to put
your fist to the wrist—you know
5:00PM A chance for new
CiTR DJs to flex their musical
muscle. Surprises galore.
6:00PM Join the sports dept.
for their coverage of the T-Birds.
EVIL VS. GOOD alt. 6:00-
7:30PM Who will triumph?
Hardcore/punk from beyond the
REEL   TO   REEL   alt.   6:00-
Movie reviews and criticism.
7:30PM Music and poetry for
Since we can't go into advertising, we thought we'd go into
radio. Our blurb sux, but our
show don't. Tune into Wigflux
Radio with your hosts Vyb and
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 11.
Dec. 10: "The Mingus Big
Band"... even though Mingus is
gone, his great legacy lives in
today's "Big Band."
Dec. 17: The last show of 2001
will pay tribute to Christmas with
some seasonal jazz plus the
famous Christmas Eve session
with Miles Davis, Milt Jackson
and Thelonius Monk. Best wishes for the holiday season from
The Jazz Show\
Jan. 7: Happy New Year! Our
first show of 2002 kicks off with
the Montgomery Brothers, Wes
(guitar), Buddy (piano), and
Monk (acoustic bass) along with
drum legend Larance Marable
in a program of swinging standards and originals.
Jan. 14: Tenor titan Sonny Rollins
with Oliver Nelson's orchestra
and Rollins' musical score for the
Michael Caine classic "Alfie."
Jan. 21: Young piano star Jason
Moran leads an adventurous
quartet date with the ever-modern veteran multi-instrumentalist
Sam Rivers. "Black Stars."
Jan. 28: Our theme song is "Soul
Stirrin" by Trombonist Bennie
Green... Tonight the whole
album; Green with tenorists
Gene Ammons and Billy Rot and
piano giant Sonny Clark...
cookin' jazz!
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
derivatives with Arthur and "The
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
An old punk rock heart considers the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
9:30-1 1:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier
than the most dangerous criminal!
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Re= reggae • Rr= rock • Rts= roots
32 jancember 2001 BLUE MONDAY ah. 11:30 AM-
1:00PM Vancouver's only indus-
triaklectronic-retro-goth program.
Music to schtomp to, hosted by
alt. 11:30 AM- 1:00PM
PARTICLE 1:00-2:00PM
Incorporated into the soul are the
remnants of digital sound.
Unleashed, cryptic economies
accelerate the sound particles
through states of Becoming,
breaking the flesh, whirling,
hydra-head, rhizomatic sky.
CPR 2:00-3:30PM
buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
FILL-IN 3:30-4:30PM
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a special focus on
people with special needs and
10,000 VOICES   5:00-6:00PM
Poetry,   spoken   word,   perfor-
8:00PM Up the punx, down
the emo! Keepin' it real since 1989,
9:00PM Greek radio.
(On hiatus 'til further notice.)
9:00-10:00PM (On hiatus 'til
mid January.)
alt. 10:00PM-12:00AM
alt. 10:00PM- 12:00AM Phat
platter, slim chatter.
6:00AM It could be punk, ethno,
global, trance, spoken word,
rock, the unusual and the weird,
or it could be something something  different.   Hosted   by  DJ
7:00 AM
9:00AM Bringing you an entertaining and eclectic mix of new
and old music live from the Jungle
Room with your irreverent hosts
Jack Velvet and Nick The Greek.
R&B, disco, techno, soundtracks,
Americana, Latin jazz, news, and
gossip. A real gem!
10:00AM Japanese music and
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local artists.
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended  for the  strong.
THE SHAKE 1:00-2:00PM
3:00PM Zines are dead! Long
e the zi
MOTORDADDY   3:00-5:00PM
"Eat,    sleep,    ride,    listen   to
Motordaddy, repeat."
Socio-political, environmental
activist news and spoken
word with some music too.
(First    Wednesday    of    every
REPLICA   REJECT   alt.   7:30-
9:00PM Indie, new wave, punk,
noise, and other.
FOLK OASIS   9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-song-
rldbeat,  alt.  country
s. Not a
HAR 10:30PM-12:00AM Let
DJs Jindwa and Bindwa immerse
you in radioactive Bhungra!
"Chakkh de phutay."
12:00-3:00 AM
3:00-6:00 AM
8:00 AM
8:00- 10:00 AM
11:30AM Music inspired by
Chocolate Thunder, Robert Robot
drops electro past and present,
hip hop and intergalactic
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (hardcore).
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! http://www.sus-
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Cnris B.
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1942-1962 with your snap-
pily-attired host Gary Olsen.
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
1:00 AM
6:00AM    Loops,  layers, and
oddities.   Naked   phone   staff.
Resident haitchc with guest DJs
and performers.
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
10:00AM- 12:00PM
Email requests to <djska_t@hot-
12:00-2:00PM Top notch crate
diggers DJ Avi Shack and Promo
: the underground hip hop, old
6:00PM (On hiatus 'til January.)
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
Hosted by DJ Noah: techno, but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
HEAD 12:00-2:00AM
FILL-IN 2:00-6:00AM
7:00 AM
7:00AM-8:00AM   Old   and
new radio theatre productions of I
all genres. We begin with sci-fi I
episodes from the bizarre world
of Bill Lizard, and the old-time
7:00AM-8:00AM From the
roaring '20s to the coked-up '80s
and beyond, come aboard and
, in this dis<
if the <
underworld of Hollywood, per
sive tales of the Golden years ot
Movieland. Also featuring special
guests, exploring the realm of
independent film both nationally
and around he world, and the latest news from the world of movie
making.(Once a month.)
12:00PM Studio guests, new
releases, British comedy sketches,
folk music calendar, and ticket
8-9AM: African/World roots.
9AM-12PM: Celtic music and
POWERCHORD   1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
CODE BLUE 3:O0-5:00PM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
(On hiatus 'til further notice.)
SOUL TREE alt. 10:00-1:00AM
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond the
call    of    gospel    and    takes
PIPEDREAMS     alt.      10:00-
THE RED EYE alt. 1:00-4:30AM
EARWAX   alt.   1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.
—Guy Smiley
Hardcore dancehall reggae that
will make your mitochondria
quake. Hosted by Sister B.
from IncUcL, htdudtttf fitfi&i;
<)«dte* moote* from tAe i$30x4.
putent, ctsMfad tK44tc. temt-doMfad
mmic 4uc& 04 $4afa& and S&t^***, <utd
fit**, 604-?22 0/7*
epU*W l°o-o -dtc*ib«/ loo\
9* f KttM—
a mvi $tdry rn '02. FRI DECEMBER 7
fun/da/mental@anza club; ember swift, cherry bomb@wise hall; jp
carter@sugar refinery; atlas strategic, moons, shark force, regional
hats (oxfam benefit)@ms t's cabaret; soul brains@commodore; m
mccollum's hybrid@blinding light ('til wed); threat from outer
space@pic pub
international noise conspiracy, hives, smugglers@richards; green
room@wise hall; frog eyes@sugar refinery; angels of light, virgil
shaw@graceland (seattle); me infecto@indusrial coffee (seattle); kip-
pur, xac/osn@cinematheque
angels of light, virgil shaw and the killer views@pic pub; snailhouse,
aaron booth@sugar refinery; x-mas off the streets@wise hall; pu-san,
woman who touched /egs@cinematheque; nazi germany macbeth@st.
James hall (held over 1 night only); vnv nation, icon of coil, urceus
MON 10
■ yom yom, <;/ppur@cinematheque; tinka's new dress@cultch; alexander
: rodchenko photography@presentation house gallery ('til sun)
mix master mike@action sports expo; leaky heaven circus@chan centre ('til sat)
WED 12
dj fin-s@sonar; ford pier, david p smith@sugar refinery; Christopher
lawrence@wett bar
team lounge vs 2guerilla x-mas parry@sonar; spotted boy,   x-mas
play@sugar    refinery;    sailesh:    hypnotika@arts   club    review;
ponga@anza club; naked for jesus@purple onion; wfien two won't
do@blinding light ('til sun); kippur, field d/'ary@cinematheque
FRI 14
man or astroman?, zero zero@richards; birthday machine, getter
flash, trail vs russia@ms. t's cabaret; golden wedding, xmas
play@sugar refinery; ponga@anza club; wire tap, new luck toy,
charming snakes@industrial coffee (seattle); animation from the hin-
SAT 15
janajana@richards on richards; dj heather@sonar; mad dash, x-mas
play@sugar refinery; burlesque@wise hall; animation from the hin-
SUN 16
chris tarry's collective conscience@norman rothstein theatre; unre-
fined@sugar   refinery;   dj   tiesto@commodore;   kippur,   berlin-
/'erusa/em@cinematheque; joe trio@vancouver east cultural centre
MON 17
arena of murder,valley of wupper/name of duce@cinematheque;
maren ord@commodore
cinematica electronica@richard's; paralela tuesdays@sugar refinery;
leaky heaven circus@van east cultural centre (to dec. 30)
WED 19
richards x-mas party@richard's; ken vandermark/torsten muller@the
cellar; ford pier, andreas jones@sugar refinery; berlin-jerusalem, wadi
ten years /ater@cinematheque
francois houle/torsten muller/dylan van der schyff@the cellar; audi-
olava@sugar refinery; power ballad, winks, mr. plow, shone koy-
czan@ms. t's cabaret; devarim, esther@cinematheque; san pedro
circus@rock bottom brewery (seattle)
FRI 21
jp carter@sugar refinery; yom yom, c/evar/m@cinematheque; TAG
seasonal exhibit@third avenue gallery (on going)
SAT 22
secret three x-mas show@sugar refinery; golem-spirit of exile,
SUN 23
esther, golem-spirit of exile@cinematheque; san pedro circus, nat king
tentacole@the flame (seattle)
MON 24
gingerbread vs shortbread
rickey henderson (greatest self-proclaimed baseball player of all time)
born this day, 1958
WED 26
blockhead vs meathead
blackalicious@commodore; human hilite reel@sugar refinery
FRI 28
jazzmatic@sugar refinery
SAT 29
jp carter@sugar refinery
SUN 30
sam petite@sugar refinery; mulholland drive, elephant man@ridge
MON 31
colorifics@sugar refinery; kinnie starr, the molestics, diez, ana bon
bon@waldorf hotel; kent 3, rc5@comet tavern (seattle); famous players
new year's@commodore; ray condo & cousin harley@wise ha!l;new
year's sonic 2002: 12djs@lotus
parallela jazz@sugar refinery; frankie and johnny@arts club theatre
('til sat)
jazz for robots@sugar refinery; a clockwork orange, monty python and
the holy gra/l@ridge
ambulanza@sugar refinery; a clockwork orange, monty python and
the holy grai/@ridge
SUB PARTYROOM; deniz tek and the golden breed, new town ani-
mals@pic pub; parlour steps@sugar refinery
infrequency co-op radio@sugar refinery; TAG seasonal exhibir@third
avenue gallery (on going)
andy ross@sugar refinery
manic mondays w/ fryer tuck@sugar refinery
parallela jazz@sugar refinery
wesley willis, grand buffet, custom cult@richard's
machine head, dope@commodore; a.v. lodge@sugar refinery
FRI 11
dave carter and tracey grammer@wise hall; ben wolfinsohn's friends
forever@blinding light ('til sun); new old jass band@sugar refinery
SAT 12
brundlefly@sugar refinery; long John baldry@commodore
SUN 13
rupix kube@sugar refinery
MON 14
manic mondays w/ fryer tuck@sugar refinery
paralella jazz@sugar refinery; small gauge wonder@blinding light ('til
WED 16
first day, assertion@sugar refinery
jp carter quartet@sugar refinery; sharon minemoto quintet@the cellar;
byo8@blinding light
FRI 18
charlatans uk, starsalior@commodore; eyelickers and blackhole@blind-
ing light; buttless chaps@sugar refinery
SAT 19
the word (medeski, randolph, no. miss. allstars)@commodore; fred
everything@sonar; catscam@blinding light; radiogram@sugar refinery
SUN 20
trial by media: the videotape@blinding light; Jessie harris' ferdanan-
dos@sugar refinery
superstar: the karen carpenter story@blinding light
WED 23
johnny wisdom@sugar refinery; beauty and the grotesque@blinding
e.o.n plays conspirators of pleasure@blinding light
FRI 25
jj72, stereophonics@commodore; radiohead vs the mafr/x@blinding
SAT 26
inner space (Vancouver new music)@first nations longhouse (ubc);
radiohead vs the matr/x@blinding light
SUN 27
xiu xiu@sugar refinery; art school confidential@b\\nd\ng light
MON 28
manic mondays@sugar refinery
rene vienet's can dialectics break bn'd<s?@blinding light; swollen mem-
bers@pontiac theatre
WED 30
kevin house@sugar refinery; rene vienet's can dialectics break
br/'db?@blinding light
baaba maal feat, daande lenol@commodore; resin (sneak pre-
view)@blinding light; springer and ducommon@sugar refinery
Special Events
ething f
1 SGOT1 & CHRISTMAS: a short line to the good times/W
'tis tfje season for our  giant
DECEMBER 26th to
will be
20% to 50% „ff/
other Hems further discounted well below cost
We will be closed December 2Stb and January 1st.
Items f>Ia«d on bold prior to th* sale will not be discounted-
The Old Noise • LP/CD     In Meorm NA* CD
Watch for the following
early 2002 releases on Scratch!
__ver, BC Canada V6B 3A4
Tel: (604) 687-0499   Fax: (604) 687-0488
BELLE & SEBASTIAN-i'm Waking Up to Us 7H/I2"/CDEP
BEULAH-The Coast is Never Clear LP/CD
CEX-Oops I Did It Again  CD
CHICKS ON SPEED-Rereleases off    '*
CIRCUS DEVILS-Ringworm Interiors (Bob Pollard/GBV)
THE CRAMPS-six new reissued classic albums LPs/CDs
THE DEARS-Nor the Dahlias: The Dears 1995-98 CD
DESTROYER-Streethawk: A Seduction   LP/CD
THE FAINT-Danse Macabre  LP/CD      '
FILTHY THIEVING BASTW!D$-A Melody of Retreads A Broken Quis LP/CD
FUGAZI-lnstrument  DVD
FUGAZI-The Argument LP/CD
THE HIVES-Barely Legal   LP/CD
JIM O'ROURKE-lnsignificance LP/CD
JULIE DOIRON-Desormais  CD (ex-Eric's Trip)
LE TIGRE-Feminist Sweepstakes LP/CD
MOGWAI-MjF father the King import CDEP (30 Dims extra!)
PAPA M-Whatever, Mortal   2LP/CD
PERNICE 8R0THERS-The World Won't End CD
PIANO MAGIC-Seasonally Affective: 1996-2000 2CD
SILVER JEWS-Bright Flight  LP/CD
SILVER MT ZION-Born Into Trouble 2x»0*7CD
STEREOLAB-Sound Dust limited edition LP/CD
THE STROKES-ls This It  irrmorr m
*"   1 Limited Edition LP/CD
Blood Celb LP/CD
m-t^o pofi etfrxniutt'
e 2
m °o
w O
If) Q.
™   9
~^%^ mm
Available at fine
stores everywhere including Apollo, Luckys, Noize!, Scratch, Teenage Rampage, Virgin Megastore, AZulu.
Nitro Records are distributed in Canada by Scratch Distribution
Budget sampler featuring non-LP
tracks from AFI, Bodyjar, The Damned,
Ensign, T.S.O.L., 3 0Footfall, Sloppy
Seconds, Son of Sam, the Vandals,
Turbo A.C.s, the Offspring, and more.
HEY. we've expanded to the building next door at 1976 West 4th Ave!
Featuring an extensive selection of vinyl (new. used & rare collectors items).
as well as extra room between both buildings to check out some amazing new
specialty CD sounds. Stop by and spend the afternoon with a record of your choice!
White Christmas CD
A fter a series of lengthy phone calls we finally managed to
Msecure some copies of this limited edition recording from
Red House Painters impresario MARK KOZELEK. Released on
Sub Pop for the holiday season, MARK gives us some acoustic
renderings of his RHP classics, plus one Christmas song — a
haunting version of White Christmas! Needless to say, his songs
are in the process of becoming timeless — don't wait for the car
commercial to discover their fragile beauty!
Available December 15th While supplies last!
CD 16.98
Taunt Me, Taunt Me, Do it Again CD
Montreal's (?) TIM HECKER - aka Jetone - releases Taunt
Me... hot on the heels of his recent Vancouver show
(which turned into quite the party, by all accounts) and his
acclaimed album Ultramarin Having released that excellent piece
of post-techno glitch mongering on Germany's fashionable Force
Tracks imprint, Hecker does his bit for Canadian content by
putting out Taunt Me on Substractif, a subsidiary of Alien8,
Canada's premier experimental music label. Simultaneously more
musical and more abstract than his previous releases, HECKER's
latest is essential listening for fans of Fennesz, Gas and Oval.
CD 16.98
The Ends Against The Middle CD
The title is instructive: The Ends Against The Middle dissects
ANTI-POP's distinctive "block-rocking avant garde hip-hop" sound into
two distinct halves in a bold attempt to
avoid crowd-pleasing homogenization.
This seven-track EP alternates between
unusually funky rap battles and
strangely whimsical electronic explorations. Low down and highbrow, cutting and concise, it's an ideal introduction to the New York trio'
vertiginous parallel universe. Black science fiction at its most
holidays for if not for spending time with oid friends? This
EP features three previously hard-to-find tracks by Vancouver's
BLACK HALOS. You get one Christmas song, one rocker, & one acoustic
ballad (!) from Hopeless & Co., as well as three others, in the same
Christmas spirit, from L.A. super group, BUBBLE.
CDEP 10.98
s/t CD
Expanding on a couple of EPs released earlier this year, BULLFROG has
squeezed in this fine full length for the year-end critics! Best known
for their work on Kid Koala's solo debut
Carpal Tunnel Syndrome, this Montreal
6-piece should by now be recognized as more
than just Eric San's other project! The proof is
the pudding - check out these cross-genre
pop tracks featuring more than just some
1200's deck wizardry!
CD 16.98
Outer Space/Inner Space CD
A duo comprising Atom Heart - aka Senor Coconut - and Burnt
MFriedman, FLANGER make pretend Latin jazz on electronical computing machines. Downtempo funk with outsize
brains, this is clever music for smart lifestyles.
The state ot the art in aural wallpaper.
CD 16.98
Svef n-g-englar CDEP
,:    I
CD 14.98
'Vice Versa' CD/LP
For many this EP served an
to the brooding dynamics of this enigmatic Icelandic quartet. Giving us the first taste of Jdnsi Birgisson's angelic vocals, the title
track Svefn-g-englar has become the new hymn for those nights spent
meditating on a steady diet of Low, Godspeed You Black Emperor, and
Slirrt! Amazing. Available early December
CDEP 14.98
The K7 label head honchos are among the most respected
producers in the field of "electronic dance music". Best
known as remixers to the stars, FUNKSTORUNG have put
Autechre-style clanks and cuts behind many an ethereal vocal
line and/or straight-up battle rhyme. Vice Versa sees them
working their digital magic on tracks by PLAID. JAY-JAY JOHNSON, SPEEDY J and more. The Harry Potters of pop perhaps?
Essential chin stroking. Available early
CD/LP 19.98
Zulu's 20th Anniversary Contest! 20YearsAtzuiu
a leather jacket with studs or a jean jacket with patches? Think back to what you were
ich year and let us know. The most entertaining list wins a $100 gift certificate! (Be proud of your
its awarded for honesty). For more details see the inside front cover of this issue of Discorder!
»particular order)
• by and check out these picks
10% off'til January 31st 2
Liliput- S/T (re-issue)
Angels Of Light-How I Loved You
Tracy & The Plastics- Musder s
Guide To Videonics
Le Tigre- Feminist Sweepstakes
COH-Vox Tinnitus
Smog- Rain On Lens
Lightning Bolt- Ride The Skies
A Luna Red- The Death Birds
Zeni6eva-10.000 Light Years
Einsturzende Neubauten- Strategies
Against Architecture 111: 1991-2001
Bonnie "Prince" Billy- Ease on the
Down the Road
Daft Punk- Discovery
Destroyer- Streethawk: A Seduction
Fennesz- Endless Summer
Fugazi-The Argument
Le Tigre- Feminist Sweepstakes
The New Year- Newness Ends
Papa M- Papa M Sings
Restiform Bodies- Restiform
The Strokes-Is This It
Ladytron- 604
Zoot Woman- Living In Magazine
Bertrand Burgalat- Bertrand
Burgaiat meets A.S. Dragon
The Clientele-Suburban Light
Black Rebel Motorcycle Club-
Simian-Chemistry Is What We Are?
The Hellacopters- Flightcase ep
Brian Jonestown Massacre-
Bravery Repetition And Noise
The Avalanches- Since I Left You
Polysics- Hey Bob! My Friend!
Various Artists- Anti NY
Mika Vaino/Noto- Wohltemperiert
The Faint- Danse Macabre
Noriko Tujiko- Shojo Toshi
Against Architecture III
Bobby Conn- The Golden Age
Dump- That Skinny Motherfucker
With the High Voice
Thee Michelle Gun Elephant-
00100- Feather Float
The Strokes- Is this It
Peaches- Teaches of Peaches
Vue- Find Your Home
David Axetrod- s/t
Tindersticks- Can Our Love...
Calexico- Even Our Sure Things Fall
Bobby Conn- The Golden Age
Smog- Rain On Lens
Joe Strummer- Global A Go-Go
Lucinda Williams- Essence
Various Artists- Nuggets 2 Box
The Strokes-Is This It
White Stripes-White Blood Cells
Vue- Find Your Home
Oneida-Anthem Of The Moon
Brian Jonestown Massacre- Bravery
Repetition And Noise
The Warlocks- Rise and Fall
Neil Hagerty- Neil Patrick Hagerty
David Axetrod- S/T
STATIONa-The Wasp Factory
Brian Jonestown Massacre- Bravery
Repetition And Noise
Wartocks- Rise And Fall
Clinic- Internal Wrangler
White Stripes-White Blood Celts
American Analog Set- Knew By
Oneida- Anthem Of The Moon
Bardo Pond- Dilate
Vue- Find Your Home
Velvet Underground- Bootleg Series
#1: The Quine Tapes
Strokes- Is This It?
Nick Cave- And No More Shall We Part
The Clientele- Suburban Light
Destroyer- Streethawk: A Seduction
Sparklehorse- What A Wonderful Life
Tindersticks- Can Our Love..
Vincent Gallo-When
0ST- In the Mood For Love
Neu!-Neu 1 (reissue)
Hood- Cold House
Piano Magic-1 Came To Your Party Dressed
As A Shadow
Fennesz- Endless Summer
The Fall- Are You Are Missing Winner
Boom Bip and Dose One- Circle
• Lucy/Ford
Kid 606-GQ on the EQ++
Cannibal Ox- The Cold Vein
Noriko Tujiko- Shojo Toshi
Restiform Bodies- Restiform Bodies
Chris T-T-The 253
Old Time Relijun- Witchcraft Rebellion
Buck 65- Man Overboard
Clinic- Internal Wrangler
The Shins- Oh. Inverted World
Jerk With A Bomb-The Old Noise
Anbbalas- Liberation Afrobeat VoL 1
Atmosphere- Lucy Ford
Tindersticks- Can Our Love...
Bonnie Prince Billy- Ease Down The Road
Oneida- Anthem Of The Moon
Derailers- Jackpot
Old 97s- Satellite Rides
Coal- Beautiful Afterburn
Calexico- Even My Sure Things Fall Through
Rocket From the Crypt- Group Sounds
BR549- This is BR549
Nick Cave and the Bad Seeds- No More
Shall We Part
Black Halos- Violent Years
Jay Farrar- Sebastopol
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
fed   10:30-700
id Fri 10:30-9:00
It 9:30-6:30 |
I Sun 12:00-1


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