Discorder CITR-FM (Radio station : Vancouver, B.C.) 1996-11-01

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   FRI, 25th
FRI,  1st
miko hoffman
art director
ken paul
ad rep
kevin pendergraft
production manager
barb yamazakt
graphic design/layout
jules d, nicofe manes,
ken paul, barb y
reuben copley, chris eng,
erin hodge, rob nickel^
jesse proudfoot,
tristan winch
barb, michael chouinard1,
cobalt, andrew denniso*(,
darren hull, lori kiessli
suki smith
andrea, barbara a, [01™^
michael c. sean c, |ulie c,
christina, bryce d. glen d,
jason d, jules d, kevin d,
Jovian f, karen f. frank?, brie
gn, pieter h, sophie h, thomas
h, jono. jonny p, colLlin k,
anthony k, kellie k. namiko k,
lloyd, natasha I, adam m, janis
bmc, siobahn mc, dj noah,
norman, nardwuar, |esse p,
ken p, kevin p, brian r, sara s,
suki s, dave s, tyson s, Caroline
t, dave t, jim v, brian w
program guide
namiko kunimoto
megan Im, barb y
SAT, 26th
SAT,  16th
matt steftich
us distribution
krista peters
discorder on-line
ben lai
linda scholten
"DiSCORD-H" 1996 by th* Student Radio Society of the
University of British Columbia. All rights reserved. Circulation 17,500.
Subscriptions, pay able in advance, to Ci
aro $15 for ono yoar, to residents of tho USA are $15
USD; $24 CDN elsewhere. Single copies aro $2.00 (lo cover
postage, of course). Please make checks or money orders payable to DiSCORDER Magazine.
DEADUNES: Copy deadline for the December issue is November 8th. Ad space is available until November 15th
and can be booked by calling Kevin at (604) 822-3017
ext. 3. Our rates are available upon request. DiSCORDER
is not responsible for loss, damage, or any other injury
to unsolicited manuscripts, unsolicited artwork (including
but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can
be submitted on disc (Mac, preferably) or in type. As always, English is preferred.
From UK to Langley and Squamish to Bellingham, CiTR
can be heard at 101.9 fM as well as through all major
cable systems in the lower Mainland, except Shaw in
White Rock. Cal ihe CiTR DJ fate at 822-2487, our office at
822-3017 ext. 0, or our now* aid sports Bnes at 822-3017
•xt. 2. Fax us at 822-9364, e-mail us at GTMUNIXG.UBCCA,
visit our web site at http://www.ams.ubc.ca/dlT or just pick
up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T 1 Zl.
EVERY  SUNDAY  (e pm-,2 am)
^Printed    In    Canada
$1.99  MON-FRI,  4PM  -6PM Vancouver
Local CD Reviews!
Well, hello again!
Since I wrote
last, I've gotten
married, had my stereo and
VCR stolen (and, sob, a lot of
CDs), and been away in Scotland and London. I'm back
now, though, bravely listening
to CDs on my Mac in glorious lo-fi, which can't possibly
do justice to this month's crop
of well-produced beauties ...
The Electrosonics EP
Yes, they are from Vancouver,
and have appeared on the
recent, very tasty, local
Tiddlywinks compilation, although this EP is co-released
by two labels in Michigan.
Swirly and dreamy, these
three songs — which are a
little reminiscent of Stereolab,
a little of Perfume Tree,
with both boy and (sweet,
sweet) girl vocals, an Acetone
organ, and abstract, trippy
lyrics — are just right for the
fast-approaching rainy season. And although there are
only three songs here, there is a
total of almost 18 minutes worth
of trance-inducing sounds.
leap Year
In this first CD from Lindi
Coyne, who has already released a couple of 7"s and
tapes, you can hear both the
familiar pared-down cheesy-
drum-machine-and-guitars of
Wandering Lucy past and
the full-band sound of Wandering Lucy present, which
is (or just was) touring the
US. Three of the songs were
recorded on her own 4-track
and are tossed in amongst
twelve others, which were recorded with other musicians
at Dub Narcotic and produced by indie god Calvin
Johnson. As always, the vocals are quite small, with a
unique combination of vulnerable tone and world-weary,
sometimes biting lyrics, but in
the full-band songs Lindi's
guitar really shines. She has
always been great live (who
else swears at her roommates
from the stage, anyway?), but
her unusually quirky sound
has scared a lot of folb off
her earlier recordings — I
hope that this one finally
brings her the attention she
Psychomania was the name
of a schlocky '70s motorcy-
cle thriller in which dead bikers terrorized a town with
their mighty British machines
(if I remember correctly), and
Psychomania is also the
name of a local glam-tinged
rawk super-group, seen from
time to time at such atmospheric venues as the Penthouse. Marc (formerly Manhattan) Godfrey, once of The
Outrageous Valentinos
(who did, I assure you, live
up to the description), sings,
plays guitar, and writes the
songs, and his photo appears
next to those of local punk
heroes Jimmy Sigmund
(Death Sentence, rides a
Triumph), Mike Davies (Enigmas, Earthling, etc. etc.,
rides all kinds of cool British
bikes), and Zippy Pinhead
(too many bands to name)
inside the sleeve, although
these three don't appear to
have much to do with the actual contents of the CD. Never
mind. For trashy, straight-
ahead rock with songs about
mad scientists, robot sex monsters, and other twisted,
cheesy movie themes,
Psychomania can't be beat.
It doesn't hurt that Marc has
an appealing radio-friendly
voice, either.*
233-6138 SUB BLVD
PETER JEFFRIES -- Eievafor Marfness (local Je^enrf.'J—.9J7 tf $u.9J CD
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FUXA Very Well Organized (space rock.') $u.9_ CD
EVERGREEN   seMlM (ex-SSttij $10.96 LP
SECRET CHIEFS 3   Ike Iiem*/ of % htntf Ilk. Bif»gl44M.9_ CD
DIRECTIONS IN MUSIC  by Bundy K Brown (Jorinul^MlVf MiMCD
UMAX GOLDEN TWINS lijieHal Housed. Orcfcesfrs \rt* ifdHM 1193 tt
RACHELS The Se. ui fte Mi fserJw »mlr...... $15.79 UP/CD
Lei us know your E-mail address and
receive weekly catalogs and info about all
the newest releases before your hip
friends! Save money! Shop from tbe comforts of your computer chair! Send a
mesage to scratch@deepcove.com
Comeback releases from two of Vancouver's most important bands.
6000 HORSIY - Emporor Mkk 7*» $3.50
COPYRIGHT . Honey 7W $3.50      m _c_
cowshead chronicles
nicies J
"and you're thinkin'
what could have been
and you're thinkin'
what ehould have been
and you're wishing
you didn't act that way"
— skydiggers
just when it's all falling apart It sometimes all seems to come together, maybe life's
killing me now just to make me stronger for the future, whatever it may hold, the
cruelty of fate, never before have i taken life's lesson so seriously, the life you're dealt,
be it cruel and unusual or so full of passion that you almost pass out from the joy of
it all, is yours and yours alone, and for better or for worse, we are sentenced to live
with it. i have been, at least as far as my friends and even the odd voyeuristic onlookers are concerned, blessed with a good life, a family that, regardless of internal strife,
longs for and cares for one another, friends who, by my own assessment, care for me
and accept me for who i am, why, sometimes, i do not know — but i am thankful
everyday, so it is, at this time, as i hide beneath the blankets and wander the streets
in search for something, that i worry about myself and why, despite all the good, that
i feel like shit, the drive of my heart, the power it has over me and my actions because
of it. my thoughts of others around me and what they mean to me. friends, i thank
who's ever up here, if anyone or anything, for them everyday, a friend who will drop
everything to be by my side when i needed someone the most, i find comfort in others.
usually female companionship, i have been tragically in love with women, i have fought
with yet loved with a heart so large at times it seems to barely fit my chest, i need
them, women, pain and all their skin, their smell, the feelings of them late at night as
they lay their backs towards me. the love of a good woman, it's a cliche i can live with.
one i want to live with, even for a minute, an hour, a lifetime, drinks, dinner, a drive in
the car. darkness, a good pair of shoes set outside my door until morning, it's not too
much to ask? a good pair of shoes?
V .th-
Black Sheep Books Reading Series Schedule:
November 1st Benet Davetian and Howard Richler
November 8th Barry Coull and Diane Raewazny
November 15th Wes Hartley
November 22nd Hope Anderson
November 29th The Ducktape Platypus Poets Coalition
Natural disasters aside...that missed call could wreak total havoc
on your plans for the evening. So find out who it was with *69
CALL RETURN. Get the number of who just called by simply pressing
*69. You don't need to sign up because it's already on your line.
Because it's no fun sending out an SOS (SAVE OUR SOCIAL LIFE).
$gg°m& Who are you? (names, ages, instrument
Terry Russell: Whips, chains and hand grenades.
Mighty Pounder of Heads.
Gerry Jenn: Vocals, telecaster, Tura Satana's
understudy, franchise bowler for the Sockamagee
Mike Davies: Curator of the most extensive collection of useless motorcycle parts this side of Delta,
smokin' guitar dude.
What does it feel like to be on Tom
Harrison's indie playlist?!
Mike: Warm and squishy.
Jenn: I'll drink to that!
It's been TEN years since you disrobed in
Slow, Hamm. Will Against the Glass
finally be reissued since Copyright has
signed to BMG?
Terry: As far as I know it won't be released until
Copyright outsells Thriller.
And HEY, Mike Davies, what about the
unreleased Enigmas album?
Mike: It's interesting lhat you should ask, but the
tapes were stolen by the KGB in retaliation for our
song "Rush Hour In Russia." It's too bad, because
it was probably the most legendary garage-rock
album never released.
To the best of JP54 knowledge, b it redl/ true
a member of Death Sentence stapled his
balls to a picnic bench? What's yer best
Death Sentence story?
Hamm: As Death Sentence was driving down the
Trans Canada Highway, Doug Donut stuck a
wine bottle up his butt. Pete said, "I can do better lhan lhat!" So, at the next rest stop, Pete got
out of the bus and stapled his nutsack to a picnic
bench! It's true!
Jenn: Pete Cleaver was our roadie for JP5's first
gig oul in Chilliwack with D.O.A. Pete and I
ended up at this guy's house who turned out to be
a superfreak! He kept demanding that I defecate
on him! Pete came to the rescue and offered to do
the deed himself, which got rid of him instantly!
Thanks Pete!
Terry, what did you learn from playing
drums with BUM on their tour to Spain?
How have these experiences help
shape JP5?
"Yo est Terry, yo tocco el Battariea por BUM; uno
gineca con tonico double por favor" is the only
phrase I needed to know. I also learned to keep
my hand on my wallet when painted women get
overly affectionate in Madrid alleys at 4am.
TERRY? One other thing: what is the OFFICIAL account of you spending a night in
jail as a result of a CiTR interview gone
bad? Please set the record straight.
Terry: I wasn't really there.
Hamm: But I was. After liberally imbibing tequila
at C.T.'s house we proceeded to Thunderbird
Radio Hell. We did the interview, but it was cut
short due to your station's particularly anal practice of discontinuing interviews if the participants
are extremely drunk, abusive, and uncooperative.
We were hanging out downstairs when Terry
decided to protest this affront to free speech by
kicking out a glass door. A diligent janitor ran to
ihe scene, knocked Terry to the ground, and called
the RCMP.
Terry: All I know was I woke up the next day with
the Mother of All Hangovers, and got a phone call
from the RC's requesting me to visit the station for
mugshols and fingerprinting; apparently I was not
in suitable shape for the rigmarole the previous
evening. I wound up getting charged wilh gross
misconduct. I had to gel a lawyer from Legal Aid,
and go to court in Richmond. She arranged to
have the charges stayed in exchange for my paying for the broken glass. I gave her an 'I Broke
the Circle" single for her trouble.
Jenn, you've been involved in an amazing array of Vancouver bandsl Could you
please make some brief comments on
your FORMER combos listed below:
CaneToads — It happened 4 years ago. There
was a full moon that night.
Moby Grape broke up on a full moon, we wanted to loo.
Spank Machine — People would tell us it's violent, it was grotesque, it was perverted. We said,
"What are you talking about? It's fun!"
Black Eyed Buddah — "2 pathetic"
Muscle Bitches — Squealin'NippleTwistin'-
Pande-F uckin-monium!!
The Worst — In this band, the roadies got all
the birds!
Anyone we've missed?
Jenn: Yeah! 48 Crash (Suzi Quatro tribute band),
Full Leather Jacket (fuck band wilh Zippy Pinhead),
Block Market Babies, Bevo (devo tribute), and I've
recently been asked to play in an all grrrl Who
tribute band colled "Ho!"
Can you assure us, Jenn, that JP5 won't
go "pffff" like some OTHER of your
Jenn: You obviously haven't heard Hamm after a
sizeable meal at Ombres! It ain't no prissy little
"pfff"! Fishin' Jim (our #1 fan) asked me the same
question, and the way I see it, as long as there's
meat, bun, and cheese, a case of Hi-Test in the
trunk, and swell fans like Fishin' Jim, there will
Extreme Wattage, and we've been hooked ever
since. That's why you must care about his roots.
Ask yourself TWO questions and answer
What? Well you slumped us on lhat one, so we
asked A.B., our illustrious room mate al the beautiful and spacious Dunbar Gardens. If he had to
ask himself two questions they would be:
Question #1: Why am I here, and how the fuck
did I get here?
Terry: I'm here just long enough to get a ton and
then I'm out of here. I'm also here to consume meat
Hamm: Help me! ZIRA! CORNELIUS!
Jenn: To listen to K-Tel records, drink martinis, and
to cruise the astral plains.
Mike: There are two kinds of men: those who
come through the door, and those who come in
through the window.
Question #2-Where the fuck are the rollies?!
Chuck: They're up on the mantlepeice by the
Any other JP5 lore to add?
Well, we can't finish the interview without tipping
our hats to immortal Kevin Keating AKA the turd
man. The man who would show up lo practice
smelling of "iron horse" only to rip his shirt off, run
face firs! into his drum kit, all the while screaming
"death to Sammy Hagar!" We had many a practice like this until eventually, we had to say "OK
buddy, now get a grip on yourself," to which he
would reply, "I hate you, I'm going back to
Burnaby!" He never returned, so we had to get
Terry to take over the drumming position. His
favourite pastime is going to Keychain Toker gigs,
eating all their "happy cookies," and running
around the club shirtless trying to disrobe Rob
Dayton; who coincidentolly we have yet to thank
for his stunning performance ot 1010 where he
accompanied Jerry Jenn on an inspired rendition
of "Somebody's Gonna Get Their Head Kicked
In." He octually did get his head kicked right on
stage, and had to attend his Emily Can* graduation
Who is in your band and what do you
josh Cudmore: Drums, bananas and sprinkles.
Jack Duckworth: Guitars, vocals, burritos.
Adrian Nelson: Bass, vocals, graveyard shift.
Chloe Ziner: Guitar, vocals, wiHessness.
Describe your sound in 25 words or less.
Jack: We sound like you.
Chloe: Put all your favourite bands in a blender,
add sprinkles and fry at high temperature, let cool
and cut into bite-size pieces.
Josh: A really long car ride.
What is emo music to you?
Jack: A medley of medleys.
Chloe: Emo music.
Josh: Elephant escapism.
Adrian: Consists solely of a single 90 minute mix
lope Jack made for me.
Some of you are from other bands. Give
us the scoop.
Jack: I be from Forgotten, a punk band lhat existed for two and a half years. Twos fun but the lime
had comelh.
Chloe: I play boss in a folk bond called ...
Rhubarb Rhubarb ... it's not as bitter as it sounds
Josh: I was in a folky jumble band wilh little aspirations bul loads of enthusiasm.
Adrian: I was in The Risen. Fun, but it took all my
best lyrics.
What is the Courtney/Comox update?
Jack: We had a pleasant concert last week with
Warp (Nanaimo), us, Stittskin (Duncan), Molly
(Nanaimo). A good time was had by all.
Chloe: The alternative population is flourishing —
all those scary-looking teenagers.
Josh: One big smoke-up, but I didn't say that.
Again, Jen, what does it take to be the
Geezuz Magazine "Playbore" pin-up?
Were there any other worthy candidates?
Jenn: You have to be a saucy, manically depressed
alcoholic wilh a nun fetish and a hankering for 5-
pin bowling! Art Bergman, Hamm, Jules (Lick the
Pole), Rob Dayton, and my hound-dog Joke were
other likely "playsaviour" candidates!
Who was THAT GUY, you know THAT
GUY who played with you on CiTR. Why
should people care about his OGRE roots?
Terry: So your hairdresser doesn't make the same
mistake on you ... har har. But seriously. Chuck
got his start in showbiz fronting the legendary
Chuck and the Sucks which was also Hamm and
mine's first punk band. We played our first show
playing "Pretty Vacant" at the Lord Byng High
School Gong Show. We won the trophy, and rode
the momentum of this triumph by boooking a gig
at Queen Mary Elementary, our Alma Mater. The
show was held in the auditorium (gym) and the
students were arranged in the traditional assembly fashion with the kindergarteners up front and
the grade 7'% at the back. We opened up with
D.O.A.'s "Ihe Prisoner", and by the Hme the first
verse was over, everyone from kindergarten to
grade 6 had fled the building with their hands
over their ears, neglecting their previous fire drill
training. Il was our first taste of the power of
ceremonies the next day hung over, covered in
duct tape and missing his front teeth.
3 Day Bender (Six song cassette)
Contact name and address
c/o The Dunbar Gardens
3403 W. 41st Ave, Vancouver, BC, V6L 3E5
Adrian: Getting n
e big-city all the
What is it like to work on a potato farm,
Jack: I'm constantly surrounded by the exotic
odours of propane fumes and rotten spuds. My
hands ache with furious passion as I load dem ten
and five pound bags. Oh, the tragedy.
In your knowledge of vegetables, is a
tomato a fruit, vegetable or something
from the X-Files?
Jack: The tomato ... er, is an oppressed thing lhat
is red wilh anger.
Chloe: I like tomatoes, but not the seeds when they
get stuck in your teeth.
Josh: I'm not sure, but there's something fishy
about the whole concept.
6 .   noysinber ,,1996 How much do you like vegetarian chilli?
Jack: Oh ... give me the buckets full! I could eat
the stuff for eons. Oh yes — yum!
Josh: V.c. is rockin' kick-ass — no more, no less.
Adrian: Very cool, just the thing after a show.
Chloe: Wondrousfy.
What are your future plans for the band?
Jack: To ride the wind.
Josh: To tour Afghanistan in a pink limo.
Adrian: To prove my Grandma wrong.
Chloe: Well, well, skyrocket into stardom, then one
of us has to kill ourselves (we haven't decided who
yet). Suddenly, we'll be immensely popular, hailed
as "ihe band lhat changed everything in music."
Then the remaining members will fade away wilh
their solo careers.
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Have any doughnut stories?
Jock: Uh ... ay! ... Crullers remind me of sucking
on a wet sponge. Not prime.
Josh: So I said, "Run for il, man!"
Adrian: Great story, Josh!
Chloe: So there was this guy, and he ate like, 20
doughnuts, but they were really small so he was
okay. I didn't really know him though.
Ask two questions and answer them.
Jack: Are you a figurehead in Tahsis, BC? No, yes,
but, can't say. Nylon or plastic picks? Nylons are
oh so durable.
Josh: Where do you keep your Kraft Dinner?
Under the bathroom sink. Is it a spandex thing? I
don't understand the question.
Adrian: Were you ever involved in "punk rock
mayhem?" At the mighty fallen Alders Hall. Is it
true you're known as the "Mac's Bouncer?"
Unfortunately, yes. I don'l like to stress it though.
Chloe: Do I need to be witty? No. Why not?
Because I can't think.*
We decided (since Nardwuar insisted on the
answers being "chunky")  that each  member
answer the questions individually and that the fine
editorial staff at DiSCORDER sort out what goes
where. Enjoy!
Who are you?
Giselle: Vocals and guitar.
Terry: Guitar.
Rich: Bass ond tongue waggling.
Scolt: Drums.
Why did Wretched Ethyl end after 2 CDs
and 4 years?
Rich: Personal and personnel reasons.
Giselle: Wasn't my band.
What is the genetic difference between
WE and Hissy Fit?
Giselle: Wasn't my bond!
Rich: Based on standard taxonomy: Phylum
Chordala, Subphylum Vertebrate, Class
Mammalia, Order Primates, Family Hominidae,
us; different bands, duh!
What about the other WE and the mayoral bid?
Giselle: I don't want to hear about WE, it wasn't
my fucking band!
Rich: Hey! This is supposed to be an interview wilh
Hissy Fit, not a defunct band!
Terry: (in response to the last 3 questions) First, I
don't think it's fair to the others in HF to start off an
interview wilh questions about WE. It was a completely different bond with different people, totally
different music and very much a different agenda
(HF doesn't have one). I also don't want people to
think this is some kind of offshoot or pet project
we put together. Giselle put this band together.
She asked Rich and Scott first and I liked them a
lot and I asked if I could join. WE was getting too
depressing ond there was far too much silliness
going on and it got to be too much to take. We
went to LA in May and Rich and I didn't make it
bock. We left the band in Portland (which made
for an interesting ride home!).
Would Hissy Fit wear suits?
Terry: Yes, but they would have to be Star Trek
suils. Classic Trek: they got to wear velour,
allhough   when   their   budget   got   cut   and
Roddenbeiry quit, they became polyester.
Giselle: Yes, absolutely. Especially Star Trek suits,
it Ihe occasion called for them.
Rich: No. "We're a garage band (ah, ah, ah), we
come from garage-land (ah, ah, ah)"
Scott I guess if we were a corporate band, we'd
have to wear suits but we're indie so we wear
untucked t-shirts, jeans and no gonch!
Take us through a typical gig night at the
Scott. You pull up to the garbage-filled alley ond
Iry not to run over the passed-out junkie leaning
up against the dumpster ... Actually, you arrive,
via limo, to a screaming mob of genetically perfect
scenesters ond follow a beautiful, plush red carpet to a magnificent stage where all your instruments are shiny and polished and ready to go ...
Actually, ihe reality lies somewhere between; it's a
yin/yang thing, man.
Giselle: Load in (I hate lhat peri hen writ forever for
something to happen 'cause we're early, we're
always early, it's sad. Then we drink and scream
and get peoples' hearlrates up.
Terry: We show up on time (ie way too early), but
then again, we did put the 'punk' in 'punkuality.'
Canada vs USA: which side would you
fight on?
Rich: Canada: guerrilla tactics within the ruse of
being US prisoners (a la 'Hogan's Heroes': I'd be
Richard Dawson).
Scott. I would be like Mario Lemieux and declore
dual status so lhat I could play golf until someon
won and then go party wilh them.
Terry: Canada. We beat them in 1812 and w
can still kick ass!
Giselle: Canada. The US can be hard on peopt
and I don't like lhal.
Any shout-outs to the unsung heroes of
the Vancouver scene?
Giselle: There are so many (most of whom aren't in
bands) lhal are responsible for keeping the scene
going. It's impossible to single out someone.
Terry: Vancouver has some awesomely talented
bands wilh people like Jason Scheurs who work
iheir asses off ihe get bands exposure who wouldn't
normally get any.
Scott: There's lots, but I can't remember any
name or anything (honestly!). I think one day of
the year should be declared "Unsung Hero Day"
where all of them are granted a free McDonalds
'All Canadian Meal' or $1 off a fillet o' fish ...
Their choice!
Rich: One shoutout to Art Bergman's roadie, who
works far too hard for his money. Also, a big hoot
and holler to them boys in Facepuller for providing
a reason for the continued funding of the vorious
universities' Audiology departments.
Whafs the largest thing you stole?
Giselle: A package of false nails. Itwas this huge
thing from a dimeslore.
Scolt My phone. It's clear plastic so you can see
all ihe inner working and stuff. One time I stole a
watermelon, so I guess lhat could be technically
considered larger lhan a phone, although a watermelon is 99% water.
Rich: A box of condoms (exlro-large, of course;
they make killer water balloons!)
Terry: I stole a record, Black Market Clash, and it
was hard to fit under my shirt. I used to steal a lot;
I even stole Atari "Asteroids" 'cause they were
$60. Stealing sucks ihough, it is not a victimless
crime. People who steal suck.
Ask yourself a question and answer it:
Giselle: Q: What impact do you think Star Trek's
Copt. Jane will hove on female artists and punk
rock?/ A: She'll be tremendous influence for
strength and leadership but they need to work
on her holodeck programs so we can see her
Scott Q: Now that you have rejected yourself,
what will you do?/ A: I'm going lo go into my
room, lie down on my bed and repeat the montra,
"I'm OK, you're OK" until I feel lighter. Then I'm
going for super expensive herbal from a naturopathic doctor so my wallet feels lighter.
Rich: Q: Why not "Richard"?/ A: Too formal
sounding. I don't like the sound of "Rick* either
and "Dick" ... well, /know, it kinda sucks. "Rich"
is a good compromise.
Terry: Q: Give three unorthodox uses of high E
guitar string: A: 1) Dental floss (Giselle's done it!)
2) Mistress Gigi also thinks it makes good binding wire.
3) They make great drying lines in the van for
damp undies.
Hissy Fit hove a 6 song tape, Rude Like Me,
Xioe from HDhonderbird
Itadio full can bt heard
'Chorsdap from 9 - n pm
onlH on CiTR 101.9 JfH
NOVEMBER 7,  8,  3
SSICA   ROSE   from Santa Cruz
WOOD   formerly of TATTLE TALE
JLISA    DEWEY   from Santa Cruz
k   nOFF-5'
^^T'Tg^SSu* Phat Nat (Pisces) spoke to Yuka
(Sagittarius) and Miho (Aries) of
New York supergroup Butter 08
on the eve of their show in
Vancouver. You probably know
these two hipsters from their
musical output in Cibo Matto
(hip-hop-pop transplants from
Japan), but that ain't the only
musical offering they have for
you! Butter 08, consisting of
Miho (vocals), Yuka (keyboards),
Russell Simins (drums, vocals).
Rick Lee (guitar) and Mike Mills
(bass), are a group of prolific
artists with enough talent to
share with whoever's willing to
let 'em: as Cibo Matto, Miho and
Yuka have collaborated with
members of the Beastie Boys
and Jon Spencer Blues Explosion
(see next page, y'hear!), and
Yuka has a solo album released
on John Zorn's Tzadik label;
Russell Simins is also the drummer of JSBX; and Mike Mills is a
prestigious graphic designer.
DiSCORDER: If you weren't doing music what
would you guys like to do?
Miho: I don't know. Maybe bakery or something. I don't know, maybe movie. I would also
like to be a maid.
Like a house maid?
Miho: I like to wash tiles.
Yeah, Van Halen hasn't been the same since
he left
Miho: He's back though, right?
He's bade? They got rid of the other Sammy guy?
Yuka: I think so. It's hard to follow in David Lee
Roth's footsteps.
The two of you seem to live in a very kind of
Cosmopolitan way. How do you identify yourselves? Do you feel rooted in one particular
place or do you like to move around?
Yuka: I don't really like being tied down. I
think we all have things in common, it's not
about where you grow up or where you were
born or what language you speak, but it's all
about what you are doing now and how you
feel now and how open you are. Every culture
gives me an extra dimension and make me see
things more and more.
Miho: Yeah, basically Japanese culture now is
very high tech. I feel so much difference from
Japanese culture here, like education or what-
Yuka: We probably brought up Japan
[because] we see it there, but it should be happening everywhere.
Miho: It is so different from regular talking. If
I said, 'Yes, I love you.' No, if I sing, 'I love you,'
it's so different. The melody and the sound
makes the word more strong.
Yuka: The sound is a language that we cannot
define in a dictionary but it has a language
element to it. I think you definitely communicate with sound.
f^Yuka describes how when she first
came to New York she was living
with a musician boyfriend who was
always going off to rehearse in his
band. She wanted to make music
too, so she started playing around
with his keyboards while he was out.
It's pretty Intimate too, like when you're
cleaning someone's house. You get to see
what they have in their medicine cabinet
Miho: Oh, I have a job I want to try. Dogsitter.
Dogsittin' in the city?
Yuka: Since you mentioned it, I wouldn't mind
becoming a country housekeeper. It's nice I
think. I'd like to go in country and be quiet for
five years.
You [two] don't seem to have a real band
mentality. You can just work with people that
you want to work with and it could be one
CD, it could be a couple.
Yuka: In New York it's pretty common that
people are in a couple bands. And you
would have solo project or you would do
different project all the time. I have a lot of
things in me and it seems natural to do it.
You get inspired by working with different
people, you know. And they give you something and hopefully, you give them something. I think we are all, actually, the kind
of person who doesn't just build a fence
around you and want to stay there. It's all
about growing up and I hope to keep
So who would you absolutely love to work
with? And this could be fantasy — they could
be dead or alive.
Miho: Too many people. I can't just choose one
people ... one person.
Okay, you can say a couple of people.
Miho: It's not couple. It's so many people. I
need a dictionary. [A] musician dictionary or
Yuka: David Lee Roth.
David Lee Roth? Why?
ever, religion, maybe a lot of things. But I'm
very happy to know it and to have kind of like
a 180 degrees difference.
Yuka: I think there's a saying in Japanese that
says if you love your child, let your child travel.
I think it's very important.
Has New York been a good place to experience all those different cultural things? 'Cause
it's very mixed in New York.
Yuka: New York is very comfortable because
there's a lot of people [who] kind of basically
understand that we all are different.
I sort of imagine New York as being like a city
of all those people who didn't fit In. You
know. In finding non-biological families.
Yuka: Non-biological family is where it's at. We
really feel like friends are family and we really
love each other and we go through things like
a family. It's really beautiful. Also, I sometimes
feel like New York is filled with people who
don't want to grow up.
So you guys like kids?
Yuka: I love kids, yeah.
Do you find that you have much time to hang
out with kids, being so busy and stuff?
Yuka: It seems like everybody we hang out are
our kids. We all have a lot of kid's mind. That's
the best thing when you have kid's mind but
maybe like, adult consideration.
I was reading about the big concert for freeing Tibet that was organized by Adam Yauch
from the Beastie Boys. One of you said how
it would be really cool if something like that
was happening in Japan and that music was
one of the best ways to sort of further that
kind of universal communication. Why did
you bring up Japan and how music works
Has the process of making music changed for
you guys?
Yuka: It now has an element of something I
have to do all the time.
Like the contract part of it?
Yuka: No, because you may think like, OK I
wanna go home and sit around for the next
month but you probably have to go on tour in
five days.
Miho: Actually, it's changing because when I
was totally a normal person — I mean, before
I didn't think about melody or whatever — I
just did humming with my feelings. But now
we are doing band and I started [to] think that
note might be cool. I can communicate myself
with sound right now.
So do you hum and then tape It? Like you're
humming it for two days and you're like,
'Maybe I should use this.'
Yuka: We jam with a lot of different people all
the time. We're used to playing music all the
That really comes out in your music.
Yuka: It's just more fun that way. I wanted to
go back to that question you said about what
we don't like about the music industry: deadlines and photoshoots. That's something that I
didn't know is that you have to do photo-
shoots when you do an album.
That's the thing, too, about the music Industry.
I think it's better for the money side of things
if they can market you as having one sound
that doesn't change and thafs so sad.
Yuka: I would call it McDonald's thinking.
Like, if you always want to get the same
thing from one place, that's like McDonald's.
You can get McDonald's everywhere. It's so
Musicians who don't change and develop
don't do that much for me. I appreciate the
fact that you move. 'Cause life is like that
Yuka: Some people want to do the same
things over and over. I would definitely appreciate that. I think some people like to do the
same thing over and over and that's beautiful
Miho: I think it's a tough thing to continue
Yuka: Like Keith Richards, I think is great. He's
king of the Keith Richards. It's all about who
you are. As long as you are true to who you
are, music is gonna be good.
Have you guys been able to get some good
food here in Vancouver?
Miho: Not yet Can you recommend a restaurant?
There's some yummy restaurants in the East
side by Chinatown. And [there's] a really good
tapas bar — Spanish food — on Commercial
Drive. Ifs kinda your style 'cause you can get a
lot of little dishes, thafs what tapas are right?
Yuka: Tapas is the way we like it. Tapas is a
great word. I want to use it for our new album.
Miho: Japan home cooking is like [tapas].
Yuka: I like the beauty of sushi dining.
Sometimes you eat a lot and sometimes you
eat a little. Sometimes you eat tuna, sometimes you eat rolls. That's really great to me.
That's really about knowing yourself.
Miho: It depends on your tummy's situation.
What are your experiences with deja vu? Have
you ever had one?
Yuka: Doesn't everybody have a lot of deja vu?
Some people actually say no and I never
believe them. But hey, if they say no, they
say no.
Yuka: I have deja vu all the time.
Miho: Me too.
What do you think a deja vu is? How does it
Yuka: Well, some people say that you think
you've seen it before but there's a brain information function that makes you think that
way. Your memory slides to what you think is
happening right now and you think you have
seen it before. But I definitely believe that you
do see it before. It actually happens a lot with
your dreams that you see it in your dream and
it happens. It doesn't really matter to me how
real that is. It is happening to me and we experience it and it's cool. And I feel that's all we
need to know.|
Yuka: Well, it's for obvious reasons. He's great.      that way? boring to me.
november 1996 You weren't there with the Blues Explosion,
were you?
No. I went there with some friends several
years ago.
They've got totally good bread there, TUrkish
Great! The best! And the best
olives too! If you're a girl, all the
men stare at you if you show
any flesh.
Oh my God! A question I wanted to ask you:
the Demolition Doll Rods opened for you
[and] I read somewhere that the drummer was
legally blind. Is that true?
Yeah. But that doesnt mean she's totally blind,
but she's legally blind.
Your press kit mentions that the albums prior
to Orange were quite spontaneous, but that
Orange was more thought out the new
album, was it thought out or a more spontaneous process?
We try not to think too much about anything
we're doing. Most of what we do is pretty
spontaneous [in] the way we write songs. We
worked hard on it [but] we didn't, like, think
too hard about anything. If things worked and
sounded good then we'd go in that direction.
We sort of follow our instincts a lot.
It wasn't what I expected. I expected it to be
really slick sounding, but it sounds dirtier
and noisier.
Were you  upset  about
No, I liked it
of a stripped
them out with some stuff on "Cibo Cibo
Matto." And then Butter was formed. Butter
became a serious band and we wanted to
make a record and we made a record We went
on tour and we're going to go to Japan soon.
So you do Butter and Jon Spencer does Boss
Hog. Do you have to plan out everything and
Blues Explosion is all of our main priority, thafs
our main thing. So we do what we have to do
for Blues Explosion and when there's time to
do other stuff, if we want we can devote it to
other things. I've got it down to the point
where I'm just doing two things now. I do
some production stuff. I've done remixes for
Luscious Jackson, I like going into the studio,
but as far as writing music, I write with the
Blues Explosion and with Butter. I enjoy doing
both bands a lot.
said they expected it to sound like Beck,
[laughs] But you know, I think in a way it captures a part of the spirit of the Blues
Explosion like the other albums haven't. But
it's not any different in terms of where we're
coming from ... We're looking to capture the
spirit of our band. I think all our records do in
different ways.
[Thursday morning] I got up early, on short notice, to do an interview with Jon
Spencer Blues Explosion/Butter 08 drummer Russell Simins. While he did not
prove to be an asshole — on the contrary, he was very nice — there was something (I'm not quite sure what) left to be desired in the interview. But then
again, what can one ask a member ofthe Blues Explosion that has not already
been said or done? And this was my dilemma. The symbolic moment of the
interview came near the beginning of our conversation when the phone (or
perhaps the UBC phone system — those budget cuts, ya know) went completely dead. No dial tone, no nothing. I finally got the phone to work and
called him back demanding, "Did you hang up on me?!?" He assured me he
had not. Our conversation unfolded with stops and starts as his other line
kept ringing. However, there was a thread of coincidence throughout the
conversation which made me think we were not operating in entirely different spheres. So, Ladies and Gentlemen, I present to you the raw, unedited
version ofthe Blues Explosion. Thapk-ya'    .
by Miss LaLa Twin Stars   ___*_L_.!?.^j_r!fc
How many Interviews are you doing today?
Doesn't that get boring?
No. Yeah. I mean, sometimes it's boring but I'm
happy to do it. We gotta do our interviews.
We've gotten to that point now where ifs just
part of the job.
Were you born in New York?
Isn't that weird? I thought practically everybody in New York was from somewhere else.
Or is that a myth?
We're the last of a dying breed. It's not weird
to me. I know a lot of people who are originally from New York. But ifs a melting pot;
native New Yorkers are few and far between.
Is living in New York City an integral part of
the Blues Explosion?
Definitely. I call New York City the fourth
member of the band. New York is just in us so
intensely, all of us. We have a lot of shared
respect for this place. It kind of stimulates you
and fucks with you and turns you on and stuff.
I noticed in your promo picture you're wearing
gorilla suits — whafs the significance of that?
Those aren't suits, we were just letting our hair
hang out that day. [laughs]
'Cause I guess it was just a coinddence but I
just saw New York's Guerrilla Girls. Ever heard
of them?
Yeah, yeah! [starts to say something, then the
phone dies]
What bands were you in before the Blues
I was in a band called The Honeymoon Killers,
[which is] where I met Jon. I was doing other
stuff, but nothing worth mentioning.
Could you tell me about Judah Bauer? He
seems kind of mysterious.
He's a big mystery to me too. Why, do you like
him? [laughs]
NO! I was looking through your press kit and
there Just wasn't any information. Interviews
or anything.
He gives interviews, but you were just unlucky
and got me.
Yeah, unlucky. You played with Cibo Matto on
one of their singles ... how did you hook up
with them?
I met them in Japan when Blues
Explosion were playing. They opened
up for us. And we just developed a
very fast friendship and then I helped
Is there any concept for the first [video] single
from the album?
"2 Kindsa Love" has been made and done.
Who did It?
Mike Mills.
From Butter. Tell me more about him.
[dick — that damn phone.]
Hold on ... Sorry, that was Mike Mills.
That was?
Amazing! Another personal call, but it could
be considered a business call. Mike Mills, he's
the man. He's a really talented graphic
designer and he made a really good video for
us too. And he's a really good bass player.
[I ask whether or not the Blues Explosion
would ever make the leap to a major label, as
opposed to their associated major label status
with Matador]
We like Matador even though ... [click]... um ...
Ah shit! Please hold on again ... [pause] Hello?
We're happy with Matador and the fact that
we can be with Matador and Capitol is one of
the reasons we are even on Capitol, because
we get to still deal with Matador. We're happy
with the people there. Matador/Capitol seems
to be the deal, the situation.
Winding up here, are there any really great
New York bands people in Vancouver should
know about?
You mean other than Blues Explosion and
Butter? [laughs] Nah, there are none, [laughs]
Jon Spencer Blues Explosion
Jon Spencer Blues Explosi
I guess you'll [the Blues Explosion] be touring.
Do you have a spedal supporting band you're
bringing with you?
On the West Coast we're probably going to
have R.L. Burnside open up for us.
I was wondering about him; how did you
guys meet him?
We were just fans and we contacted his management and asked if he wanted to do some
shows with us, and they said yeah. It was that
simple. And then we got to doing shows with
him and it went really well. We got along
really well and he knew he wanted us to do a
record with him. So we did, in a day! [laughs]
That was how the album was made. The R.L.
Burnside record — you know that record?
No. I was away In the summer.
Where were you?
I was in Europe.
What were you doing in Europe?
I was travelling around for over three months.
Did you like it?
Yeah it was fun. I went to Turkey. That was
Turkey is very cool, I've been to Turkey.
Then, are there any New York bands you
I don't get feelings of despise. There are a lot
bands that just suck. I don't really like any
bands from New York. I like Cat Power.
I just saw her last night!
Chan's a really great singer. How was the
Who was playing with her?
She just sang with her guitar. A band called
Guv*ner — they weren't good — and Smog.
I'm not particularly interested in much of the
stuff thafs going on in New York. I'm trying to
think, there must be something that I like here.
But you do listen to lots of contemporary stuff
at home?
Yeah of course. As a matter of fact, tonight I'm
going to see Dub Narcotic. They're playing
with The Make-Up.
Do you go out to lots of shows, or you don't
have time?
I don't really go out to lots of shows, only
shows I really want to see. I'm not going out
every night. I do that enough when I'm on
tour playing shows every night. But when
there's a band like Dub Narcotic I'll make an
effort to see them. Beck and Money Mark
were here, I'm friends with those guys, that
was a really good show.
Well, my last question.
Thafs it?
Yeah. It wasn't too painful, was it?
Nah, it was fun.
Whafs the best place in New York to eat?
There used to be a restaurant, very expensive
unfortunately, called Voulet [sic] but they're
closed for a while. But for people who don't
want to spend a lot of money, the best place
to eat [is] The Odessa. Ifs on Avenue A
between seventh and eighth. We actually
thanked them on the Butter record.
Jon Spencer Blues Explosion
I noticed a bunch of people playing on this
album, like the [one of the] guy[s] from Doo
Rag. Did that have any impact on the sound?
No. He was just there. We were in Tucson and
we had ... [phone clicks] Ahhhh. Just hold on a
sec. ... [big pause] Hello? That was Rick Lee
from Butter.
Oh, a personal call.
Believe it or not, I still get them.
One thing I've noticed is that your CDs don't
come In jewel boxes, which I like. Is that
Have you seen the Butter CD? Thafs all paper.
Yeah it looks great I can't stand jewel boxes,
they really annoy me.
I hate them too. Digipacks is what Blues
Explosion have always done. I was really into
doing the whole paper thing for Butter. Which       .
I was very happy to get done. I mean jewel      time yOUTe in  New York City,
boxes just suck, there's no character, they      drop  by The OdeSSa  and find
break, they're a pain in the ass, you       .    -r    _...-,«n    r; :~-    ,„~M..
can't carry them around. °Ut    if    RUSSell    SimmS    really
[Boring talk about the album cover]      knOWS his food.*
So there you have it, the
mystique of the Blues
Explosion laid bare. And next
9   E^gsn®^ You Can't Have Enough Drums:
An Interview
with Loop Guru
Live photos by Cobalt
oop Guru is well known for their distinctive blends
of urban beats, ethnic rhythms and samples in
addition to their riveting live shows. Loop Guru
consists of only two members but on tour, the original member, Sam, is accompanied by at least four
other musicians. We were fortunate enough to be
able to interview Sam, the front man, and Jim, who
has been with the band for several years and is
one of the two percussionists.
Karen: Did you grow up in England?
Sam: Yes.
Jim: No, he hasn't grown up yell
M-path: You grow up by Portobello Road, a rather rich
cultural area, didn't you?
Sam: Yeah, there a lot of reggae stores and psychedelic shops.
t/his ftiaf how you got your mosaic sound?
Sam: To me, lhal was where the collaging bit came in, where you'd
be standing in between Iwo stores and they'd be playing two different records and ihe bit in between was the most interesting. One of
the Loop Guru ideas is the bit in between.
Jim: That's where I've been living for the past five years, down in the
Portobello zone, sort of squalling shops and doing art exhibitions
ond parties and all sorts of stuff.
Noah: Does religion play a part in your music as well
as in your lives, 'cause you got a definite flavour in your
music samples of chanting ... Middle Eastern, African,
very ethnic ...
S: The religion thing is somelhing we're working against! Religion is
a block to truth. It's a way of oppressing people. It's a way of controlling people; if you're part Df one religion and therefore you think
you've got the answer, if the answer actually came along and
smacked you in the face, you wouldn't see it becouse it's not within
/our beliefs   Yo*.* si* nything.
M: Do you think there is a difference between religion
and spirituality?
J: Everyone's gol their own spiritual validity already and religions
come along and tell you they've gol il. They have got the answer.
Look to them and not to yourself and they lake away the power
from the individual and they take away their ability to find their
own spirituality.
S: It's just like a barrier; religion is a barrier lo truth. Certain religions can have certain little arrows, but as soon as you organize it
M: So you have taken all the samples from a range of
different cultures. Do you think that you've taken some
of their spirituality and incorporated it inside yourself?
S: We take spirituality from sampled music and then we add our
own, so it's like a blending of spirituality.
J: It's the mix os well, you don'l get trapped into it. One of the singers,
Bob, uses chants from all sorts of religions all mashed up. He doesn't
even sit down ond consciously say I'll take a bit from here and there.
That's the way to do it, not get trapped into a tunnel reality.
K: Do you have any favourite films?
J: Yeah, Groundhog Day. Thai's a very spiritually advanced, modern
day pointer to the spiritual enlightenment that an individual can achieve
by himself. You see the loop he set up for himself until he advances
enough to break it. I foink lhal is a fantastic, modern day film.
S: It's a great message, a great film.
M: I was expecting some obscure film that I've never
heard of, not a Hollywood blockbuster!
J: Thotis the surprising thing obout spirituality. It can be found anywhere, in a pile of crisps, in a funny movie.
S: It is all so funny. It's a God joke. The other one for me would be
Yellow Submorine; the scene "Seo of Holes" is a kind of spiritual
movement, [laughs] It's really out there.
K: Do you hold any strong economic, philosophical,
social points of view on what you see happening around
you in the world or in Europe?
10    november  1996
S: Of course. Don'l listen to your politicians.
They're all liars. They are there for the purposes of iheir own egos. They are not there to
make the world a better place; lhat is our job.
J: On economics, we like the idea if all the
money was spread out among all the people
on ihe planet; every man, woman and child
would have a million pounds. Controllers [ore]    .
putting blocks on the flow of money.
S: For no reason, other lhan personal greed,    *
you don't need any more than a million
pounds. There are these people wilh millions     .
and millions of pounds and they are jusl sit-  ]  -
ling on il making bombs. Sigh! V.;
K: So are you activists in any areas?
S: No, we are musicians!
J: We are activists in the sense that we go oul
and we try to ignite that kind of energy and way of seeing things all
around (he place when we do our gigs.
S: It's a question of making your own reality and going for it and
shedding off all the bullshit.
J: Don'l be afraid of listening to yourself.
S: But don't listen to us loo much, 'cause we don't know.
M: Do you believe in life by design?
S: I don'l believe in anything.
J: We believe in not believing in anything. Belief is imprisonment
N: Your live shows are about the livest you can get with
a studio band. You have drum kits up there. Three or
four. You have other people playing other instruments.
Is that because of the feeling that the actual instrument
can give off as opposed to sampling that instrument into
the computer?
S: I ihink you can put passion into a sampler. Because it is just on instrument Bul when it actually comes down to live, it's great to hit stuff and
you can't have enough drums, and it is just like basically, it's jusf dance.
Nt The combination of sight and sounds is much more
than somebody just pushing a button and sound
comes out.
S: In England, a lot of the dance bands, lhat is what it is. And you
come away thinking well, you might as well have stayed al home
and listened to the record. Whereas our shows are performances.
N: Is there spontaneity in your shows?
S: Yeah, we never know what is going on.
N: So it is not completely choreographed ...
S: It is different every night And Bob doesn't know what he is doing
at all!
K: Do you have any dreams or visions of the future?
J: The survival of humanity, for a start, would be interesting. Bul yeah,
just a more open sorl of world where everyone realizes they are just
part of rhe same tribe, same species, and just start getting a bit more
of a better purpose on the planet.
Kt And how would you describe the general mood of
people in England or in Europe. The young, the old?
S: Oppressed.
j: There are some Unbelievable laws going on, [like] this repetitive
beats law, where ypu are no! allowed to listen to music with repetitive beats if there are more lhan fen people listening to it. It is
beyond crazy and people still believe in the government when they
are saying this.
S: The only power you have is the power to vole. But you don't get
the choice of anyone decent to vote for. And lhat means there is no
power. Il doesn't matter who is in power. The same shit happens
whether you are Labour, Liberal, Conservative or — whatever you
are here — Democrat, Republican. The people with fhe money are
the people in power and lhat is the one thing lhat has lo change
and you can't vote to change that
K: Is there any hope, then ...?
S: There is always hope.
K: But if you feel that politicians are only those that want
S: I do wonder if one day there will be an election ond nobody goes
out and votes. Everyone stays at home and says fuck you — what
will happen?
Mt Are there avenues besides this political franchising ...
If voting isn't going to do any good, what will?
S: Al ihe end of the day, every human is completely capable of looking after himself and doesn't need laws. We do no! need to be governed. What do we need to be governed for?
J: The actual purpose of government is [lo] be like your own digestive system, lo take care of certain needs that we all have. It should
be just a functional thing and then we can leave it to do its thing. And
we can just leave [and] do somelhing interesting. We are just spending all our power fighting this crap.
S: I think lhat the only route al this moment is [for] everyone [to] just
change themselves. Thot is ihe starting
point. Then it will spread away because
we are just a reflection of society. So if
we change ourselves, the reflection will
change also.
Kt Do you sense that happening?
S: I hope it is, because you have to live
in a little bit of hope.
J: Governments are really trying to
clamp down and, if they keep doing
thai, it should make everyone realize
lhat they are desperately trying to hold
onto power and I think they are jusl
going to show themselves up as the
bunch of idiots lhal they are.
Fact: Loop Guru doesn't believe in anything, yet they say you must still hope.
Fact: Sam still retains the anarchistic
punk roots of his early musical career.
His view that we don't need laws, that
every man can lake care of himself on his own is idealistic. It could
be a possibility if every human was well nourished, well educated
and willing to learn everything he possibly could aboul survival and
limit himself to bare essentials,
Factt Live show. Although ihey stated their shows are "live," the
entire rhythm section, the bass and the drums, were prerecorded.
As for ihe female vocalist, she was virtually superfluous. She did
dance nicely. The only live material were the drum overlays by Jim,
vocals by Bob, guitar by Sam ond perhaps some bass.
Factt Instead of paying 16 dollars to see a prerecorded show and
stand in a crowd of high-fiving white guys with sweat coming out of
every pore on my body, you might as well have stayed at home
and listened to ihe record.*
The latest Loop Guru offering:
"Soulus" b/w "Yayli" \%"
(World Domination)
This record contains Iwo versions of each song. These versions are
more up-tempo than the originals that appear on their current full-
length release. Amnio. The fantastic ethnic samples retain their
trancelike power lhat captivates the listener ond sends them down the
river Morpheos on a euphoric journey. It is good. Buy it. Stay home
and listen to ill
M-poth and Karen
Check out Karen's show, Esoterik, and Thomas', Solid
State, on Wednesdays 6-7s30pm (on CITR, don't cha
_PLm~f!_-_F_K> .           1
LJlll  Dave
D  o  u  g 1
by  Michael  Chouinard  and/Sean  Casey
Dave Douglas is currently one
of the most important trumpeters on the jazz/new music
scene. Born and raised in
Montclair, New Jersey, he
moved in 1984 to nearby —
surprise — New York City, at
which point he began playing
^0m in a group called Doctor
M Nerve. As with many jazz
m     ^tf players, Douglas has an abun-
^^^m   m^       dance of ideas and over the
^^^^m   m years has worked with numer-
M      _P_^V ous groups, such as the Tiny
m   J^^M Bell Trio, New and Used,
M   Mm   m and recently, John Zorn's prc-
Hf^B*W Mic Masada quartet. He has
^^UA] also been arranging tunes by
^—S^^ fiooicer   Little   and   Wayne
^^   ^^ Shorter in his sextet and in
other projects. DiSCORDER
had a chance to speak with
Douglas, who was in town as
a part of the Dave Douglas
String Group, during sound
check at his Vancouver show
at fhe Glass Slipper.
DiSCORDER: When did you first get involved with
the [New York] downtown scene?
Well, that's really hard to say because I don't really identify
anything as being the downtown scene.
Does the term "jazz" have any real meaning to
I think thai words operate on many different levels. And people use the word "jazz" in many different ways. And it can
mean somelhing specific to certain people or something very
broad to other people. But I think that music is not made of
words. It's more that there are certain recognizable symbols
that you use in music. And the problem with defining music
nowadays is that we're mixing up all the symbols. You may
use a symbol that once meant something specific in a certain way. And now composers and improvisers are working
on scrambling up those symbols and coming up with new
meanings and formulations. On a certain level — yes — it's
still jazz. On another level, maybe it's not.
Alex Varty from the [Georgia] Straight was talking
to you. I guess there was some quote about the
neo-bop scene now.
Yeah, actually, I saw that article, and I feel a little bad. I said
that when people say "bebop" and talk about jazz, they
mean Wynton Marsalis or James Carter or Joshua Redman.
What I really meant to say was that those guys are all totally
different. They all have their own thing to say which is totally
valid. And you couldn't put on a Wynton Marsalis record, follow it with a James Carter or a Josh Redman record, and flatly say this is the same music. I think that's an oversimplification
that happens when people try and talk about putting
down this jazz conservatism.
12    november  1996
Do you find it frustrating that the statements you
— or some of the people you've worked with —
are making don't get more exposure?
I don't find it frustrating. No. I don't know what else to
say. I'm working as hard as I can. And I'm working on my
music. And it's a very interior process. And I'm also aware
that it has to get out there. But at this point, I'm touring
half the year. And I'm making records that people can find
if they really want to find them. You can't force someone to
be curious or to inquire into the nature of what's going on
culturally and socially. I feel like that's a reality of the world
we live in.
Do you think in the past ten years it's gotten easier?
Well, for me it has. My situation has changed. And I've gotten more focused as to what I want to do.
How has your situation changed?
It just seems like I'm more assured of having work now.
Whereas maybe five years ago, my compositions were, you
know ... it was hard to even get them played in New York.
Whafs going on right now that interests you, outside of your own bands?
The reissue movement is quite an amazing opportunity for
people to hear music that they may have missed the first
time ... The most amazing thing about the neo-conservative
phenomenon is the composers that are getting overlooked.
Old masters: Ornette Coleman, Cecil Taylor, Anthony
Braxton, Paul Bley. And then you've got a younger generation: Steve Coleman, Don Byron, Geri Allen, Zorn, Frisell,
Tim Berne, Mark Dresser, Gerry Hemingway, Marilyn
Crisped. And then you look at the trumpet. People say it's in
this dead period where it's hibernating. But you know, like,
think about it: Herb Robertson, Graham Haynes, Tim
Hagens, James Zollar, Frank Lacy, Paul Smoker. That's what
I want to say when people ask me about the neo-conservative movement.
It seems like a pointless fight.
I just think it's the positive way to answer it, to say: look,
you know there really is an incredible, creative, music
movement happening right now, in our midst. And if you
would just check it out, we wouldn't have to be talking
about this at all. You wouldn't be bringing up Wynton
Marsalis every time.
After Dave Douglas' tour which brought him to Vancouver, his
plans include a three week tour to Europe with Tiny Bell,
some work with the sextet (also in Europe), ond a tour of the
states with Zorn's Masada. Look out for a new Tiny Bell CD
(Live in Europe on Arabesque Records) to be released soon.
Dave Douglas Selected Discography:
Tiny Bell Trio (Songlines/1993)
John Zorn's Masada: (I) Alef, (II) Beit, (III) Gimel (Disk
New & Used Consensus (Knitting Factory Works/1995)
Dave Douglas Five (Soul Note/1995)
Listen to Sean and Mike's programme, Naked
Radio, on alternating Tuesdays 10pm-12am (on CiTR
101.9fM — duh l) for the newest in jazz, avant-garde,
and new classical music. •
Wednesday, September 25
The Glass Slipper
The Glass Slipper is a great experimental jazz venue; my
anticlerical inclinations are well tuned to the enjoyment of
iconoclastic music in an old converted church painted purple. And on this night the assembled congregation seemed
unconsciously to sense the building's ecclesiastical heritage,
for as Douglas and his group came out on stage, a reverential hush fell over the audience. The Dave Douglas
String Group is composed of five luminaries of the New
York jazz scene: Mark Feldman on violin, Eric
Friedlander on cello, Drew Gress on double bass,
Michael Sarin on drums, and, of course, Dave Douglas
himself, on trumpet. These guys' credentials are astounding: Douglas and Feldman have both played with Don
Byron Plays the Music of Mikey Katz, and, with Eric
Friedlander, are mainstays of John Zorn's Masada
Chamber Ensemble. They're at the creative core of modern
East Coast jazz and their performance demonstrated in no
uncertain terms why that is.
How does one write about music like this? As Hugo Ball
and Tristan Tzara pointed out, there are things that just cannot be expressed in words. Their two sets were composed of
a wonderful variety of musical forms, from a fusion of jazz
and chamber music well within the bounds of tradition, to
experimental work blending order with chaos, always seeming dangerously close to shaking itself to pieces but maintaining its coherence. It was all lovely. Feldman's violin work
moved from klezmer doyne to classical concerto, lingering
along the way at country and western hoe-down; the cello
playing by Friedlander was sonorous and sweet. Douglas'
trumpet playing is thrilling. He can make it squeak or squawk
or sing. Each piece left the audience gob-smacked with wonder. Sometimes, they even made them laugh. In particular,
the last work of the first set was an irreverent tribute to big-
band era jazz with a Latin touch. It started with a five minute
trumpet solo and built and grew, collapsed upon itself, was
crumpled into a ball and torched, and emerged phoenixlike from the ashes, twenty minutes after it had begun. The
second set was over an hour long and consisted of only
three works, each different, each wonderful. I was still reeling as I left after the obligatory encore. (For more info on
local Jazz events, contact the Coastal Jazz & Blues Society
at 682.0706)*
Adam Monahan •7
Jf-A-    SV*.AVAV^.
Hamm: Go and get two bicycle-wheels.
Clav: There are no more bicycle-wheels.
Hamm: What have you done with your bicycle?
Gov: I never had a bicycle.
(Samuel Beckett, €ndgame)
I Interviewed Bill Callahan of
Smog on the front steps of
the Starfish Room.  It
was dark ond loud and
he was quiet.
DlSCORD€R: Because
you are, for the most
part, a solo artist, do
you find It difficult to
progress stylistically from
album to album?
Bill Callahan: That's interesting, no one's ever asked me
that. I've never even thought
about it. No, there's so much I
want to de.   I've got tons of
ideas that I haven't even started
to use up.
UUhat are some of the major influences that have helped to progress the Smog sound?
Rll sorts ot things.
How about, let's say, as far as another artist. I was thinking mostly of Brian €no because you've mode reference to
him before, find I was wondering if there was even a connection between "Barometric Pressure"
from your forgotten Foundation album
and "Rising Thermal," which is a song
from a Brian €no collaboration with
Jon Hasseil.
I've never heard it, but €no Is one of
my favourites.
Do you have a favourite album?
Rll the early vocal ones like "Here
Come the Worm Jets" and "Tiger
There seems to be a fairly close tie
between the title track on UJarm
Jets and the all cello track
["One Less Star"] on your
Julius  Caesar album.   Is
there something happening there?
Not on purpose. I actually
hadn't heard Warm Jets
until after Julius Caesar.
Do you write your lyrics       *
first, or your music? They    ||
seem to be Intimately tied.
Usually lyrics. '
Probably even more so on the
later stuff?
I once read an interview     with     Steve
Malkmus where he
said that he could
never write a totally
personal song
because it would be    ]
too difficult to perform night after night.
Vour     songs     seem
intensely personal. Do
you ever find performing
them difficult?
Um, or ore you fooling us by writing about somebody else?
I'm fooling you.
spSuO-J-sO-Ar    -    J2lo-A~JL   kjuLAjJ&i~*%r     ^A^ufxSU^C*^.
So a song like "Vour New Friend" Is
R story.
It sounds real enough to be a true story.
It's kind of a blend of everything.
Have you ever had problems with people who don't get
the irony of your songs? I'm thinking especially of the song
"Be Hit" from the Wild Love Album.
Like people-in-your-face,
defend-yourself-Bi I l-Cal lahan
type problems?
People like throwing things if
play it live.
So you're a little tentative
while ploying it live now?
It only really happened in
San Francisco.  It's supposed
to be a liberal place, but it
goes too far sometimes.
Carly reviews of Smog connect
your sound to that of Royal Trux
— another Drag City band whose
sound developed from abrasive to
clean production. Could you see
yourself making a move to a major
label in the same ironical way that
Royal Trux did on Virgin Records with
Thank You?
I don't think I would ever do that. There's too many legal
things ond too many people Involved. Right now nobody
really bothers me or asks what I'm doing.
Is that also why you do collaborations but keep Smog to
Pretty much. I hate to be with five other people
and be forced to make group decisions about
music or where to go to eat or anything.
So nothing permanent will come of your collaborations? Like, will the Sundowners [a band that
I believe has Bill Smog and Will Oldham of
Palace in it] be putting out a full length album
faou time soon?
Id    "
don't know who they are.
That isn't your voice on the latest 7" singing "The
Summer Song?"
No, they're from Canada somewhere, I think.
It sure sounds like you.
[OH, ot this point the impenetrable     Bill     Callahan
slipped        up. The
Sundowners are on a
label called Sea Note    ____■____■_■_■_____■
and the stuff put out on
this label can be found in
the   Drag   Cltu   catalogue.
Surprisingly enough, the onlu
other Sea Note entry In the
catalogue is The Drag City
Hour which Smog performs on
along with Roual Trux, and
Palace. In addition, a musteri-
ous outfit called the 'Sea Note
Players' perform. I challenge
anuone to listen to "the Girl
with the Thing in Her Hair"
Sundowners 7", and tell
me that this band is "from
Canada somewhere."]
Do you ever want to give
up touring and just record
I don't plan on stopping but I
can't predict what's going to
Have you been touring a lot?
Veah, I've been in Curope a
lot lately.
Have you ever had a really bad experience while touring?
Veoh, mostly like personal things. Relationships tend to
get pushed to the hilt when you're on the road together.
Where do you like playing?
I like Paris a lot; there's a good crowd there.
Why did you choose to go almost totally vocal on the
latest €P?
I really wanted to make a live studio record without
The last two times you've been through Vancouver you
have had two different band setups, one large and one
small. How do you make the decision as to what you're
going to do with a live show?
Vou have to predict the mood you're going to be in. I
used to always tour with a band, but I got really sick of
having bad sound and sound-checks that didn't go anywhere.
It's really hard to find an interview with you in any publication, but there must be interest out there for one, I
mean, you were in Details Magazine.
I don't think they're interested, and I don't know how the
Details thing happened.
What do you read?
Mostly fiction.
Anything that comes into your hands?
Veah, everything. I like Henry James and D. H. Lawrence.
They're two of my favourites.
Do you have any post-Smog plans?
Bill performed alone that night, and I noticed something
interesting at the end of his song "Back in School." He
sang: "R kiss was not the answer, find that tour was not
the answer. R drunken kiss was not the answer." His
solo performance of songs about "everything" and "anything" answered all of my questions better than any
interview could.*
Sewn to the Sky, forgotten foundation, Julius Caesar, "R
Hit" 7", Burning Kingdom €P, Wild Love, The Doctor Came
ot Dawn.
(all of these ore on Drag City Records)*
With a jewelfry purchase
you receive a free piercing by
Canada's most experienced piercers
1043 GRANVILLE STREET 688-6225
13  U^^rsum ^X'   I£   = — mi    jJ^Sk
The guerrilla girls LIVE at the Vogue Theatre, September 2 2, 1996.
by Caroline Twiss
I elieve it or not, during the Guerrilla Girls
| lecture at the Vogue theatre, I was dedi-
" eating an amount of my brain space
towards articulating a connection between the industrial revolution and the lecture I was listening to. The
lecture, given by two women sporting the latest in
gorilla masks, was focused on sexism and racism in the
art world. The industrial revolution thoughts were,
until that moment, a dormant side-effect of both
grade seven and grade eleven social studies (Hmm,
interesting coincidence, n'est pas?... Grade seven,
grade eleven, seven eleven, 7-11...). Nonetheless, the
dormancy ended during that lecture in light of an article I had recently read by Nancy Fraser, "Struggle over
Needs: Outline of a Socialist-Feminist Critical Theory
of Late Capitalist Culture."
Fraser discusses political, economic, and domestic spheres within which we contextualize our lives. I
imagine that these spheres evolved with the industrial revolution, when increasing amounts of men
went to work in "public" spaces, while the women
remained working in "private" spaces. To make a
long story short, all that public space is now occupied by economics and politics and the majority of people who run that
space are male, though I am happy to say that this has been
slowly but surely changing over the past few decades.
Likewise, all that private space is still private — and now also
domestic — and the majority of people running that space
are female. The Guerrilla Girls point out that the art world
has not been very accepting of women and people of
colour into its economic and political spheres. In fact, statistics show that some people think women artists and
artists of colour should stay home and do whatever it is
they've been doing because they probably do it better than
they do fine art. Of course, such opinions are held exclusively by the people who do not see a problem with the current situation in the art world; people who don't
understand what "but we have been doing fine art" means.
Recognizing that some sort of mechanism would be needed in order to be heard by those people, the Guerrilla Girls
chose humour as a vice. Humour was used in poster campaigns to show the distributions of who is — and is not —
getting paid for their work; which museums are condoning
— and which condemn — such an uneven distribution; which
buyers are buying, which sellers are selling, which reviewers
are reviewing ... all stats show that white males in the art
world are far more likely to make a buck than white women,
men of colour, and especially women of colour, who are the
least likely of all of the above to make a living in the art world.
Initially, the posters appeared in Soho, NY and eventually
appeared in places all over the world in all different languages.
The 'Girls succeeded in pushing the issues of the people in
private spheres out into the public spheres. As the posters filtered into public places all over the globe, so did discussion
about the message the Guerrilla Girls had: sexism and
racism are prevalent in the art world, so what are you
doing about it?
1 , A/
r-:- yMV.\A
<: *^**ml-*-*wi*« »••.-*»»•*• w
Neale Hurston responds: "We're exploding stereotypes here, like when we use the word 'girl.'" Alma
Thomas responds: "I would have preferred pink ski
masks." Irregardless of Alma Thomas' gender and
race, we can safely conclude that at least one
Guerrilla Girl feels that the gorilla imagery is problematic enough that she would prefer not to use it.
I think that, at best, the afternoon lecture at the
Vogue did not provide an adequate response to this
question. At worst, the Guerrilla Girls pushed the
question into a private space isolated from their
recently established public space.
At this point, I realize that it is the current structure
of the art world which allows sexism and racism to
exist within it. The Guerrilla Girls have provided the
information needed to recognize that immediate
change is needed. A structure in which the dominant
group is at an advantage over everyone else involved
cannot embrace equal rights. A structure like this needs
change, so what are you doing about it?
Graphics from Confessions of the
Guerilla Girls
The lecture, which was complemented by a slide show
showing lots of posters and activities of the Guerrilla Girls,
was followed by a question and answer period which
revealed that the audience had done their homework. One
woman asked how the women of colour in the group felt
about wearing gorilla masks, considering the connections
which have been made between gorillas and people of
colour. The response? The 'Girls said that they love gorillas
and they find it to be Homo Sapien-centric to think of gorillas as inferior to humans. Either the 'Girls didn't do their
homework on this one, or they didn't understand the question. Be that as it may, their book Confessions of the Guerrilla
Girls reveals that a difference in opinion exists within the
group on this issue (and other issues). An in-depth interview
with the Guerrilla Girls asks, "Has anyone said your masks
are racist, that they conjure up images of lower forms of jungle life that have been used to humiliate black people?" Zora
14    november 1996 POP
movie nights.
one on one peer suport.
wiuJt mmtMffiev/ie to &zve a coffee aMt/fay6m%A
freedinner!  *        *>
™ 3 day retreat
free oAAorttwcte fy <aef out efme a'fa anavreafAe JomedrejA,
sounds interesting?
OUR     PRIVATE   ft   ANNONYMOUS    PAGER    becausfi we,re ^ fa ^j. logether,
hell, we might even go bowling!
a special day of broadcasting to
celebrate queer voices
& to protest censorship.
with a special focus on SEX-fM
Wednesday, November 13th
well be ALL GAY, ALL DAY
featuring lesbionic kick-ass interviews,
discussion, activism, erotica,
& the best of homo-core tunes
to get involved, to contribute, or for more
info call Namiko at 822.1242
July 6, 1993:
ckdu radio (Halifax) receives a complaint during their
"all day all gay" programme, the complainant felt it was
"disgraceful and tasteless"
march 24, 1994:
the crtc renews ckdu's license subject to  a number of
conditions, one of which is that, using the
complaint as an example, ckdu must air repeated
warnings during "sexually explicit programming"
October 27, 1994:
majority of member stations of the national campus/
community radio association (NCRA) produce "SEX-fM"
to protest the crtc's decision
October 27, 1995:
2nd annual sex-fM, cuz nothing's changed; ckdu must
still abide by the crtc guidelines, vague as they may be
november 13, 1996:
3rd annual national sex-fM
A by Suki and Kellie
photo by Suki
The four guys in Santa Cruz's Good
Riddance describe their sound as old
school punk mixed wilh melodic hardcore. They came to town on September
14 and played a wicked all-ages gig
with Trigger Happy and Jughead's
Revenge. We spoke wilh lead singer
Russ and he shared his insights wilh us,
on topics like veganism, straight-edge
and their new album, A Comprehensive
Guide to Moderne Rebellion.
DiSCORDER-. Are all of you
Russ: No. I am and the bass player.
Chuck, is. The other two are beer-swilling dirt-bags. I take that back. They're
nice guys.
Is there any conflict in the band?
Yeah, there is a little bit. We try to
make sure it doesn't get out of hand
because we have to work together
and try to get along wilh each olher.
As a band, we are definitely not a
straight-edge band. We don't try to
come across as one. We're a
punk/hardcore band [but we do]
have a lot of ideals that some straightedge bands have.
"We don't need to
prove to anybody
how tough we are or
how tough we aren't.
To me that's just a
waste of time."
Mint Records. Inc. • PO Bo» 3613, WO, Vancouver, BC Canada V6B 3Y6
Have you always been straightedge?
No, I'm a recovering alcoholic and I've
been sober for almost nine years. I was
just getting sober right around the time
when the second wave of straight-edge
coming around, like in '87, '88. I
live near Gilman Street. Every Sunday
there was a matinee; I got to see Youlh
of Today like, five or six times. Judge,
Bold, Insted, No for an Answer, so
iy great bands. The straight-edge
shows then, as opposed to now, were
a lot more positive. Some of those
shows were the best times of my life,
and I've just been straight-edge ever
since. I listen to a lot of music, but my
heart's still in straightedge.
In your lyrics you don't talk
about straight-edge.
Someone once saw us play and said,
'You guys remind me of everything
lhat's good about straight-edge bands
and nothing that's bad.' I think lhat's
pretty cool, as far as the style of our
music and some of the lyrical content. It
would be misrepresenting the olher two
guys in the band if I did lhat lyrically. A
lot of straight-edge kids come to the
shows, and lhat's really cool. I like the
fact lhat we get a diverse crowd. I'd
encourage hardcore kids, straightedge
kids, anybody to come to our shows.
Our shows tend to be a lot more varied
as far ai audience goes.
I guess you guys are breaking
down some walls.
We learned a lot going to Europe,
because it's so much different. Here —
in the States — if Lagwagon plays, all
Ihe Fat Wreck Chords kids are gonna
go, whereas if Earth Crisis or Strife
plays, it's going to be all hardcore kids.
And nobody will go to each other's
shows, even ihough ihe music's really
good. Our whole plan is to get punk
and hardcore back together. This summer, we've played a lot with hardcore
bands. We played wilh Ignite [and] "his
really good band called Ensign, from
New Jersey. In Europe, [at] every show
we play there's straight-edge kids,
hardcore kids, Epitaph, Fat Wreck
Chords kinda kids. They all just like ihe
music, ihey realize lhat the barriers are
ones lhat we've all set up. They weren't
there before. My goal is to have a
show where everybody feels welcome,
gels somelhing out of it, and gels along.
Was that the idea behind the
split 7" with Ignite?
We did a tour with ihem lhat only lasted six days before they cancelled. They
were supposed to come to Canada
with us. The idea was that we would
sell the 7" at ihe shows, plus we really
wanted to have something on
Revelation [Records], because someone
who buys stuff on Rev wouldn't normally buy somelhing on Fat. And vice-versa
for Ignite. A lot of people would go,
'Good Riddance has a new thing [out],
who is this other band? Wow, these
guys are really good!' It's all about
breaking down the walls, like you said,
and get people to be more accepting. I
always side wilh the straight-edge kids
because I'm a straight-edge kid, but
I've seen straight-edge kids act just as
close-minded and intolerant as anybody else. We just need to come
together more.
So you guys try to maintain a
positive attitude instead of having a mean attitude.
In my opinion, that does nobody any
good. We don't need to prove to
anybody how tough we are or how
tough we aren't. To me that's just a
waste of time.
What brought on the heavier
tunes for the second album?
Well, the guys from Ensign were saying that we're a punk band with a
hardcore band on the inside trying to
get out. The reason why some of our
songs might sound heavier is because
our influences are so varied. We're all
old and we were all into punk before
ihe melodic thing came along. On any
given day we could listen to the
Descendants to Born Against or somelhing like that. We're just as comfortable playing "Trophy" or "West End
Memorial," or a complete emo cheese
song. Our drummer was in Downcast
before and was influenced by old Los
Angeles bands.
Any last words?
I'd just like to thonk anybody that supports our band [and] encourage people to check out veganism. Anyone
who has any questions about the lies
we're told as a kid about what to eat
and what not to eat, read the book Diet
for a New America. And Iry not to buy
our stuff at chain stores.*
16 , november 1996 2eh( seVa
makG a fistful of V<l& mak% a fistful of yan.
Oh, the sordid life of a rock 'n' roll visionary:
some get to push the sonic envelope, while
others get to lick the stomps. Zeni Geva resident nice-guy Mitsuru Tabata got stuck holding the
bag and licked stomps with me at their show while
his bandmates rocked all night in a local strip bar.
The fine folks at Alternative Tentacles had
informed me lhat ZG's English was laboured and,
since my Japanese consists of "Ichiban," I was prepared for a rough time. I can now safely say that
if anyone Iries to tell you lhat music is the universal
language, you should ignore ihem. Trying to discuss Japanese social structure with a shared vocabulary of about a hundred words, loud opening
bands, and only the Niagara [club]'s neon "Bud"
signs to light your notebook is not an easy task.
Despite our linguistic difficulties, we managed to
plow through a fair number of my questions, in
part due ta Tabata's good nature and also due to
our mutual ability to explain complex issues
through elaborate hand gestures.
Example: Jesse: So-i how do these
pressures! (wave arms) pres-
sures-t affect the scene? (air
guitar and more arm waving)
Mitsuru: Punku rocku. (air guitar i waves arms)
Zeni Geva has been on the road for only a
few weeks now and they have almost ihree months
of European and American touring ahead of them,
which is standard for a band who practically lives
on ihe road. Tabata explains lhat despite their staying power and worldwide recognition, ZG can still
hardly get paid in Japanese clubs. "Rent is so high
in Tokyo lhat clubs can't offord to pay bands much,
if anything," fie says. Combine this with their
aggressive sound and underground popularity and
you've got a tough time trying to turn a buck.
In Japan, Mitsuru tells me, the social structure is
so rigidly defined that any rebellion at all entails
completely dropping out of mainstream culture,
which accounts for the phenomenally high rate of
high school dropouts in the music scene. Unlike
North American bands, Japanese groups are
forced by the culture they live in to "go hard or go
home." Though it's only a guess, I've always
thought this is why Japan produces more "hard"
bands per capita than in North America. Mitsuru
points to Japanese television as a barometer for
the culture: "TV in Japan is some of the most inane
television around; it serves as a release from ihe
overwhelming pressure in the country. Also, Japan
has been known for years as the 'Alcohol Country,'
which stems from same pressure, you can see business people who command a great deal of respect
and power walking from the office after work and
then later see ihem reeling along the sidewalk,
drunken, rushing for the last train home." To illustrate the point further, remember that in Japan
drunkenness can be, under certain circumstances,
a defence for a car accident.
In North America, Zeni Geya are regarded as
one of the seminal Japanese noise bands
ihe same lines as Tabata's earlier band and recent
Warner signings, The Boredoms, and eleclrcnioise
guru, Merzbow. Despite a collaborative effort
between Zeni Geva's K.K. Null and Masami Akira
of Merzbow, Tabata says the scenes remain small
and divided: "We're hardcore progrock," he says,
"Masami is more formal prog-rock."
Seventies prog is where Mitsuru claims ta take
most of his influence, from bands like King
Crimson as well as earlier bands like Capt.
Beefheart and late '70s industrial such at SPK and
Throbbing Gristle.
The latest effort from the Irio, Freedom Bondage
was recorded in the south of France at Black Box
studios wilh ihe ubiquitous Steve Albini. Allhough I
promised myself I wouldn't mention ihe S-word in
the artide, Mitsuru just laughed and proceeded to
discuss him at length. "Steve is microphone maniac, he's kind of scary in lhat way," he says, "but
the studios were beautiful, and so completely isolated, it was exactly what we were looking for."
On stage, Zeni Geva dispelled any apprehension I felt about their new album. I may
not be one for the dealh-melal growls of K.K.
Null, but the sheer assault (there's those cliche
'noise-terrorist' allusions again) of their sound is
impossible to ignore. Incredibly intricate guitar
work on Mitsuru's part and deft, tight, rhythmic
structure make them an amazing live act. The
Niagara's usual beer-swilling crowd were there en
moss, despite the eight dollar cover charge and
were trying to do that "mosh" dance throughout
the show. Accompanied to the door by the fear-
inspiring deafness lhat is the norm at their shows,
I commended Mitsuru on a fine show and talked
rock with him for a while more. It's amazing that
all you need to talk about bands is their name and
a single positive or negative descriptor. Music may
not be the universal language, but perhaps nightclub hobnobbing is.*
%   1%
locky Horror f icture Show
9       A.     Will
by Jesse P*   - photos .- Darren Hull,
-^ iT-i_sg§®3_ai_ Fourteen angry guitar-crazed,
heart-pumping, metai-funk-punk-r
tracks, too honest, too controversial,
and too heavy for the majority of society...
ae wm ©sea ©aKKBgu- wxs
museums® ©asaas -&© a
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advertising thafs
built to last
m-30\7 ItxtVforbfiT^ V-ancouv
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Reviews by Kevin Pender-
graft, Kevin Dimples,
and    Barb    Yamazaki
Two trailers entertained us before the main features. The first,
produced by Federal Express,
mimicked hit Hollywood movies
by Arnold Schwartzeneggar,
Tom Cruise, and Demi Moore by-
using toy action figures. These
skits were funny the first time
around, but grew tiresome in
their smugness. Itwas somewhat
ironic that this corporate giant
is bashing another establishment
icon — Hollywood cinema.
The second trailer was from
Air Canada and featured various cliche cinematic styles while
reminding us to vote for best
film, in the categories of film
noir, romantic, or gothic. (/CP)
(dir: various)
From the series on Canadian images comes five experimental
films. Although I never understood the meanings behind all
the images, these screenings remained hypnotising in their
visual appeal and use of language and sound.
(dir: Mike Hoolboom) accurately
portrays the lack of a voice in
Canadian cinema. This short
progresses from an empty
screen with narration to an assault of various images of violence and pornographic sex
from American cinema.
SENSES (Cineworks Coop):
Six short films that examine lesbian sensuality through one of
the senses (sight, touch, smell,
taste, hearing, and the sixth
sense). Mary Daniels' "This
Missing You" (taste) stood out
for its humour and use of language with images, as did Bo
Myers' "Tiny Bubbles" (touch),
for its definition of people close
to her in an honest and forthright manner.
Steven Haworth) is a very experimental film which details the
positive and negative images of
an atomic bomb that never
dropped. I never understood all
the images, but it sure was interesting and kinetic in its own way.
YORK (dir: Roy Cross). Sure it
looked cool, but why did it have
to drag on so long?
LODELA (dir: Philippe
Baylnucq). An experimental
dance piece with the backing
ofthe National Film Board. Hey,
the curtains even parted revealing more screen! Interesting images. \Kf\
(dir: Bob Connolly, Robin
This documentary centres on the
political machinations involved
in the annual mayoral elections
in Leichhardt, near Sydney, Australia. High drama and comedy
is maintained throughout as we
are treated to the backroom
deals which lead up to election
day. The directors leave out
broader political issues and instead concentrate on the pettiness of personal politics. While
this does shed light on 'politics
for polities' sake, the motives of
some of the players were not
dearly revealed through this approach. Despite this, Rats in the
Rank was enjoyable. (KP)
(dir: Lara Lee)
A lot of the moral issues of technology are raised in this fast-
paced, cinematic road trip,
which ventured towards the future in the four areas of environments, bodies, identities, and
perspectives. The film's overall
tone was upbeat, a tone which
thereby delineated some of the
harder issues, namely that humankind now has the ability to
rely solely on technological devices as entertainment. Considering all the corporate backing
for this film, however, this hardly
seems surprising. Interesting
stuff, but hordly worth the fare. (KP)
(dir: Fridrik Thor Fridriksson)
Cold Fever romanticizes and imbues the winter of Iceland with
magic and mysticism in all its
volcanic glory. This quirky road
movie charts the course of Japanese star Masatoshi Nagase as
he journeys to Iceland to perform traditional burial rites for
his deceased parents. Along the
way, he encounters friendly Icelanders and ugly Americans (a
nice comedic turn by Fisher
Stevens and Lily Taylor). A feel
good movie that made me want
to visit Iceland! (/CP)
(dir: Oliver Hockenhull)
Huxley was a sage for our times,
who first postulated that we are
amusing ourselves to death.
One of his insights was that in
stead of political elites terrorizing us into submission, they
can do so through amusements
which lull us into compliance.
Hockenhull intercuts archival
footage of a CBC interview with
Huxley with images and skits,
whose purpose is to with collaborate Huxley's ideas. Unfortunately, the images and skits
never worked. What was the
deal with those melting ice
cream cones? The film was at
its best when Huxley did all the
talking. As one film goer said,
all the film amounted to was
"mastabatory rubbings."
Two short films opened up
the main feature. First up was
A Current Fear of Light (dir:
Alex Mackenzie) which drew its
inspiration from Huxley. This film
experimented with light on film
through etches, rubbings,
burnings and featured an ambient soundtrack. It ended with a
child's voice asking, "Can we
go home now?" I enjoyed this
short, but 1 Oam is just too early
to be under the influence.
Ttck..Tick..r.ck (dir: Paul
D. Smith) was an experimental
Wm produced in pixilated vision.
Most of the laughs came from
the characters' jerky movements
and humourous storyline of two
guys on a first date. (KP)
(dirs: Joe Berlinger, Bruce
This gripping documentary focuses on the murder trial of three
outcast youths who wear black
and listen to Metallica. They
stand accused ofthe murders of
three children in Arkansas
whose mutilated bodies convinced police that this was the
work of devil worshippers.
The filmmakers record the
families of the victims, the families of the accused, townspeople, the prosecutors, and the accused. The nature of the film suggests that the accused did not
actually commit the crime. Although we are offered no real
clues to the actual murderers, I
say that one of the victim's parents did it. The way he shot out
those pumpkins was gripping.
If anyone had the mark of "Satan," it was him! [KP\
(dir: Richard Kerr)
Huh? The concept behind this
non-linear film offers amazing
opportunities for the viewer: you
determine what happens in this
murder mystery where everything is not what it seems and
where clues are offered in multitudes. Unfortunately for the audience, it never works. I saw audience members trickle out of the
theatre at a steady pace, but I
stayed in the hopes that there
might be some hidden jewel that
would piece this jigsaw together. I never saw it. There
were some great screen shots,
but one never knew what was
really going on, so here's a film
tip for future reference: if the
guide says a film is "wonderfully
unsettling," take caution. It's the
same as saying that you wjll
leave the theatre with an immense headache.
In contrast, the opening film,
Eurydice Was Murdered
Too (dir: C. Vander Paula), kept
a similar idea short and to the
point with only two parable
story lines as opposed to a multitude. The effect was mesmerizing as she drew parallels from
the Greek myth of Orpheus
searching for Eurydice to the
modern story of Steven searching for Anya. (/CP)
(dir: Bruce La Bruce)
Hustler While is a revolutionary
film that crosses borders between pornography, documentary and comedy. Ifs about male
prostitution on Hollywood's
Santa Monica Boulevard and
contains every imaginable form
of gay sex, including the hottest
new fetish: stumping — I'm not
telling what that is, you have to
see it. Hustler While is audaciously compelling in its look at
enigmatic director Bruce's interesting perspective (who casts
himself as a charming brat/German anthropologist). This is sup
posedly his most mainstream
movie to date. The cast was ostensibly queer and male; in fact,
there were no females or straight
males in the movie. Hustler
White had its quirky moments,
as well as bizarre overdubbed
vocals and an amazing soundtrack which included Coil,
Boredoms and Glen
Meadmore There were, however, some major aspects of
the prostitute lifestyle missing
— no one in the movie did
drugs and the only condom
was an empty Wonderbread
bag. Aside from this, the movie
was very informative and I
highly recommend it to all aspiring hustlers. (/CD)
(dir: Debra Chasnoff)
This endearing documentary
lakes a look at a variety of elementary school classes in the
USA which include discussion
on issues regarding sexual
orientation in the curriculum.
Yes, this piece was presented
from a biased position, but only
in its advocacy of bridging the
topic in class. It worked so well,
however, because it basically let
the children speak for themselves, whether their opinions
were based on ignorance, religious beliefs or their own individual common sense.
Many of the children (ranging from as young as grade
three to g'rode seven) were able
to articulate their opinions better than I've heard some thirty
year-olds. Now and again, the
children slipped back into their
kiddish molds and made us either giggle or experience warm
fuzzies. Stars were the opinionated little boy who spoke and
asked to go to the bathroom in
the same sentence; the girl who
cringed in ultimate horror when
she found out that her favourites, Elton John and Melissa
Ethridge, were gay; and the girl
who didn't quite know what it
meant to be gay ... it was "just
not what mom and dad do."
The ability of these teachers
to create such a discussion and
have the kids work through their
prejudices and ignorance is exciting. Knowing that teachers
con make a difference and
show kids that "gays are people too" is reassuring and creates a positive outlook on the
future. (BY)
Featuring 1st single
Bad Time To Be Poor
The Blue Hysteria
Album available November 5th
on tour with The Tragically
Nov. 8,9,10 Pacific Coliseum
ss ^nyJMLJLIil
;itars (iftfie'World of inide
1995 release, Sleater-Kinney have been cer-
,   rxletif pop/punk. 19%'s Call the Doctor (Chainsaw)
this outing found Sleater-Kinney exploring "the sound of emo-
lys — the result was a potent combination of the
else this year has come close. Comprised of Corin
(ex-Heavens to Betsy), Carrie Brownstein (ex-Excuse 17), apd Janet Weiss (Quasi, ex-
ioesJback to the studio iaJDecember — their next
o^t^and^Q^-rMfaifil f|- l&er — Janet, about their
~%c_ in f&fi-iSrt^^fBtal politics.
toilet iUrt&uL.
■.■»iuu"»ijfou on to wanting^o form a      woman in a bandit's legitimate, its real, and
IpHm**J \ W|Ck|^^ ^r^^^oun'^I-^Jfia^fermlisten-
C*_rridFTor im, it vros ihefirst time I" saw Beat ing to, and you don't have to sit in your room and
Happening. I was still in high school, and thatwas learn your guitar riffs and your solos before you
one of the first times I sow o woman playing guitar      play a show.
(Heather) and saw it up close, not ot a y*-. Basically what we've been talk-
big concert or anything. More specifi- ffd     1      *n9 a-tM>ut nas a 'ot to ^° ^^ ^0*
colly, I think the music lhat I really iden-      J  jf * grrrl. How closely were you Hod
tified with was Bikini Kill, Heavens to jL   " *° tha,?
Betsy ond Bratmobile ... that was a com- *£&% A Corin: I was really invdved in riot grrrl, and
pletefy empowering experience and really *j^2S__PK_ Heavens to Betsy was invdved in a lot of
affected just ihe way I thought about   j&Jk&/$B$}&^    riot grrrl stuff, and it was a really impor-
music. I realized the possibilities
terms of just kind of making do
wilh what you have. They'd obviously just created a space f<
women to play music, and it was
ly inviting and I think a lot of wome
inspired by lhat, to kind of toke lhat idea
and start bands wherever ihey Ii
Do you remember a singular moment, i.e,
listening to a particular single or an
album, or something, or having been to a
concert, that was the moment where it all
made sense?
Corin:  One of them was  in  high
school, on my senior prom night, or
whatever they have in high-school. I
went and saw Mecca Normal. [They]
opened for Fugazi ... Mecca Normal just
completely blew me away.
Carrie: I had gone to shows in Seattle *f\
for years in high school, but I guess it '*£*■■'
was just the first Hme lhat it was .,:;£**
like 'Oh, I can do ihis too.' And       .;.  Jpf    SVy Xs
also, just listening to ihe Jam or the       -i^**'   ~£A,^k*»
Buzzcocks, or somelhing, it never
seemed like somelhing I could be a port
of, except for
font thing to me to be part of <
_        group  of young  women who
%jfr    were activists and who wanted
to speak out about a lot of different
kings. I think it was really important,
but I also think there were a lot of criti-
$&£*?     cisms of riot grrrl lhat were definitely valid.
Ǥr    You participated in that yourself, I
Corin: Yeah, exactly... it was just o really crazy lime
to be part of somelhing that was important to me as
a young person; you know, just sort of like figuring
out things for myself, and also creating a space
*% ihrough my own anger in music, and ihen to
ff'fj     2.        have it be *iis huge media blitz on MTV, and
/  /w * Newsweek. It was just totally insane.
I think the media influence or the
So was it the live experience that
you'd say made it really clear for you?
Carrie: I think so, [but] even just listening to the
records was inspiration enough to go out ond pick
up a guitar. I actually already played music, and
in high schod had formed an allgirl band. That
was pretty much a joke, even to the point lhat we
had to consider it a joke because otherwise ... it
was too scary to take it seriously ...
Was it a covers band, or something?
Carrie: No. I mean, we wrote our own songs, but
we were just too ... you know, there were the
'real' bands — those were the boy bands — and
we were like a novelty band, because we were
'I did.
A'd^i?ritfcvrMpg .
j they don't have to sound like
"     «Ln8t04tSn°-%bythemedi
PomFl_?>id y°u
Kv tk_  m«
media coverage really had a huge
influence in  breaking the whole
thing up to a certain extent.
Corin: I think lhat one thing that hop-
ens with the medio is that they
wont to make some kind of star
,.. they always want to have this
weird Hollywood-lype angle on the
way lhat ihey sell iheir stories to ihe public, ond I ihink it was really hard for people. Especially, Bikini Kill felt so targeted, like
they were the stars of ihis — and iheir lives were
suddenly public domain.
And they were being held accountable.
Corin: Exactly. For some stupid thing that some
14 year old girl would soy. And also, feminism is
not just this one thing. There were all these arguments in riot grrrl over what things do we want to
change, what are our goals about? I want to
encourage young women to keep struggling in different ways, and riot grrrl con be a way for some
girls, but I also think that there's a lot of different
ways lhal young women are activists within iheir
own community, and I want to encourage lhat. I
guess I dcn't always see myself as a leader, I'm
just a person who wanted to play music.
Well, that's a lot of pressure, too,
especially in a movement that was
largely about discussion. I mean, it
wasn't about issuing a riot grrrl
manifesto that held for all women.
Corin: Plus, we were so young. I mean, I
1 8, and I think that it should be taken
for what it was, but it was really exploited
a woar&ar, m
feel like you were in a
(whirlwind? Were you approached
by the media?
Corin: Yeah. This show in Bellingham
where I first met Carrie was photographed
§    by the New York Times, so there was a pic-
!|_   lure of ihe audience, and this huge article.
Skatcr-Kiriftcy i to R: Coriri
•fiickct, Curie i^towcitftcMi «id
We were totally rambunctious, and [laughs] we
were just fighting wilh people, left and right.
The Newsweek article was particularly
interesting, I think, because a lot of the
people they interviewed — I don't know
who they were — in terms of them being
spokespeople for riot grrrl, that claim
was tenuous at best.
Corin: Well, anybody could be a spokesperson for
riot grrrl. You know, my mom could be.
Do you think Clinton being elected to the presidency had anything to do with riot grrrl losing
some of its focus? In the sense
that it seemed that when Bush
was in power you had this very
obvious patriarchal government
in place. Do you think that this
move to the 'centre' [under
Clinton] had anything to do with
riot grrrl becoming decentred?
Corin: Hmm ... lhat's a really interesting question. I definitely think lhat there
was a radicalizalion of [riot grrrl] as a
women's group, and the Bush administration felt really attacked because of
abortion rights. Thatwas a really frightening thing [the Reagan/Bush attack on
Roe vs. Wade and abortion rights]. The olher thing
that I think about when it comes to riot grrrl itself is
that the people who were involved wilh it were
really, a lot of times, unsophisticated in terms of
their activism. And I think lhat a lot of the people
who were involved wilh riot grrrl really seriously
are trying to give themselves time to grow up and
to become maybe more sophisticated in their
ideas about race, class, and gender.
-fN-%**_-n-< tfefone thin*fjj
^SfljWrlhe media jjstglfnll
'mate some kjfftd tif^HL.%iey always
this weird Holly wood-
on the wa^|h%the^efr*
fories to th^^hUc^ir^kjihink^it
lHo targeted, lij^thg?
iddenly puMpllemairi/'
In terms of Sleater-Kinney's lyrics: issues
of the body, and trauma, and politics
seem to be all over the place — would
you say that these issues are a major
topic that Sleater-Kinney is dealing with?
Corin: Definitely. I think that for us, when it
comes to growing up and becoming women, a
lot of battles that women fight are wilh their bodies or about their bodies, so in terms of writing
about that, and writing about your own life, I
think those issues, for me at least, come through
again and again.
The body becomes a concrete battleground, in a sense. What about your critical reception — is it something that you
keep an eye on?
That was the catch-22, I guess, because
one of the reasons that it was all so exciting was because so many of the people
involved were so young, but at the same
time that ended up being part of the
downfall because it took more than just
enthusiasm to keep it going.
Corin: Right. The sad thing is lhat it was so easy
to feel alienated from older feminist groups lhat
were so caught up with assimilating. 'Women in
corporations — that's a great cause for women!'
That was something thot wos so alienating to
young people: to see these people that were
totally radical in the '60s, but have gotten older
and hove become more into integration and
assimilation. There are a lot of radical feminist
groups that we should hove learned a lot more
from, [such as] radical groups of women of
colour that riot grrrl wos too naive to hook up
wilh. But I'm going on and on and Carrie's looking really bored here.
Corin: [laughs] Well, Carrie, what do you think?
Carrie: In my mind the media is really fickle. So,
even though it's helped in terms of the exposure
of our band, and I'm glad lhat more people have
heard about our music through writings, I don't
ever want to count on the media or critical
reviews, because it takes the focus away from the
music. We were really proud of Call the Doctor,
even if no one had written obout it.
I've got that Interview article about you
by Greil Marcus in front of me, which I
assume you've seen?
(Bolh): Yeah.
It's a pretty glowing article. How do you
feel about articles like that being written
about you? For instance, he makes a lot
of cultural references in his article — do
those make any sense to you?
Corin: He's been really supportive of a lot of different things within the music scene, induding giHs
and women doing feminist music ... So, I ihink he's
coming from a good place, I guess is what I'm trying to say. And I ihink lhat he has a way of writing
that's really his own style. It's always interesting
for me to read what people have to say, and his
work I do respect, whereas olher writers who've
written about us I don't at all.
What about that article that's out in the
most recent Option?
Corin: Oh yeah, I really like that article ... I think
she's great, and I wos really very happy to finally
be interviewed by a woman.
Corin: No, not to dis you or anything.
Does it not happen that often?
Corin: No, it doesn't.
Thafs remarkable.
Corin: We've been interviewed by so many
men, and it's fine — there's been a lot of men
who are really supportive, but it was just a really good thing.
november 1996 I came into this [interview] thinking that
this [Sleater-Kinney being interviewed by
a man] would be a fluke.
Corin: No, it's sad, but again ond again in the
music industry and in the underground scene
women are few and hard to find.
Just briefly, back to the Marcus article:
how do you feel about yourselves being
in a magazine such as Interview, sandwiched between articles on Demi Moore
and perfume advertisements, and stuff
like that?
Carrie: I think we've definitely allowed ourselves
to be more open about doing interviews and
being written about in the mainstream media. And
whether it's Interview, which is more pop culture,
fashion type things, or it's Rolling Stone — even in
Rolling Stone or Spin you have the chance of
being next to some sexist ad. Any time you're
dealing with a music magazine or o fashion magazine you practically have an equal chance of
having the next page be by someone lhat you'd
never want to talk to or would never want to be
next to. It's just sort of a risk you toke.
Let's talk about your music: how do you
compose your songs? Do lyrics precede
music? Does music precede lyrics? Whafs
the nitty-gritty?
Carrie: I think that we took the cue from the last
record. The songs that we really loved were the
i. We always write our own
guitar ports and sing our own lyric
the songs that turn out the best, and Ihe ones wilh
the most energy and dynamics, are the ones
where Corin will write the verse, in terms of music,
and I'll come up wilh the next port, or I'll write
music and Corin will sing over it.
Corin: I think the tension of working with another
person sometimes creates better songs, because
you have more spontaneity.
Carrie: Everything we do is really cdlaborative;
it's sort of gotten to the point where we are coauthors ond the songs aren't really complete until
both of us have written somelhing. We don't just
have one songwriter thot has a song beginning to
end with lyrics.
How is that different from your previous
bands? Do you find that the dynamics
that exist in Sleater-Kinney are entirely
different from Heavens to Betsy and
Excuse 17?
Carrie: I think that in terms of me and C
we're constantly being inspired by
another, and even with Janet, too. And I
that that constant inspiration really fuel:
energy that I don't think was matched by eith<
of our other bands.
Corin: I think that the excitement lhat people get
from [us] is the excitement of Carrie and I writing
together and ploying together and lhat's ihe core
of why Sleater-Kinney just took off like it did.
Carrie: In terms of audience reaction I ihink a lot
of people were rejuvenated by us or somelhing.
And we're not a band lhat you can just sit back
and watch. We're not a bar band. It's very active
and it's very in your face — we're not cramming
anything down anyone's throat, but you have to
stand up and pay attention.
Corin: Janet's a really super-dynamic drummer,
and she's really performance-oriented, which I ihink
is just great for us because we love performing.
That, to me, is why I love performing, you know.
I'm not really satisfied unless I make people uncomfortable, or just challenge them in some way.
Personally, I'm glad to hear that you
guys use that term ['performance'],
because I think a lot of the time there's so
little attention drawn to performance, or
the power of being on stage and having
the ability to perform.
Carrie: For me, the best part of being in
Sleater-Kinney is playing live and playing in
front of people, becouse you can sit at home
and listen to a record and it's going to sound
the same every time, but playing live there's the
element of spontaneity, and there's also the
interaction, the communication between the
audience and the band. And that's the most
important thing: a connection.
How was CMJ [College Music Journal
conference]? What was your experience
like there?
Corin: Crazy.
Carrie: Yeah, itwas.
Crazy good? Crazy bad?
Corin: Crazy good.
Who were you playing with?
Carrie: Well, we actually played wilh a Kill
Rock Stars, Chainsaw, and Up records
showcase, so most of the bands we played
wilh were our friends ... Unwound and the
Cold Cdd Hearts. CMJ is just a haven for
critics and A&R people, so it was really nice
to play wilh a group of people who were
our friends.
How widely have you toured?
Carrie: We've toured across the US and
lhat's about it. Corin and I have ployed
some shows in Australia, in ihe very early
Sleater-Kinney days.
With Lora MacFarlane?
Carrie: Right.
And why was that? Why did you play in
Australia? You recorded part of the first
album there as well, is that right?
Corin: The whole first album.
Carrie: We mixed it over here, but we recorded
it over there. Corin and I were Sleater-Kinney
before we went to Australia, but it was just sort
of a project band, because we had other creative outlets. ... What we wanted to do was to
make a memoir of our trip to Australia, [so] we
recorded just every song we had even practiced. And we just brought it back to the US,
said 'OK, here is a record of our trip to
Australia,' and decided to put it out. And I ihink a
couple of those songs were inklings of what went
on to Call the Doctor, but it wos a lot different
becouse I think it wasn't really until then lhat Corin
and I started writing as if this was our creative
outlet, this is what we want to work on. We also
We were working on song dynamics, and having
energy in songs be really contained, and then be
just on the point of bursting, and then just totally
erupt into energy.
and ■
Is tug,    jfifagazine or #fasHon magazine you
m     that you'd never want to talk to or*
The first album is a great album, but it
does sound very different, and I think
that one of the major differences has to
do with the fact that the vocals aren't
really intertwined to the same extent that
they are on Call the Doctor. Were your
intertwining vocals just a natural growth
of the two of you working together, or
was there a conscious effort to head into
new territory?
Corin: I think itwas definitely conscious decisionmaking, in terms of: these are the kinds of sounds
lhat we wanted to create. Especially with a song
like 'Call the Doctor.' We wanted to have a sound
lhat would equal emotional distress and so experimenting wilh having both of us sing was something that we consciously wanted to try out.
Ifs pretty amazing how little thafs done.
Ifs something that I've never really
understood: why bands with two
singers and two guitarists don't push
that more often.
Carrie: Somelhing I've been thinking a lot about
recently is how tension is an important port of
creativity — whether it's a tension you're struggling
wilh in your own life, or a tension between Iwo
dements of a song. It creates ihis friction which can
be really jarring, but can also be really beautiful.
So is Sleater-Kinney 'about' hegelian
dialectics? [laughs] Is that what we're
talking about? Were getting pretty theoretical.
Carrie: I know, I'm the theorist in the band.
No, thafs good.
Carrie: That's one of the reasons that I like Greil
Marcus' writing. I think some people are
yed by music as theory, but I'm really fasci-
lated by
What is the new album going to be like?
Is it too early to tell?
Carrie: I think there's a lot of syncopation and a
lot of staccato rhythms. Some of the songs are
more choppy. I think that on Call the Doctor, songs
that started out choppy would naturally turn into
somelhing that flowed, but I think some of the
[new] songs have been kept really terse.
So you're not going heavy on the synths
for this album?
Corin: I want to release a donee single, personally.
Janet could not be "with us" for the
initial interview. She is currently
residing in Portland, while Corin
and Carrie currently reside in
Olympia. Historically, Carrie and
Corin have done the bulk of
Sleater-Kinney's interviews — now,
with Janet as their drummer,
they're trying to break that trend. I
reached Janet a few days after I
spoke to Corin and Carrie.
Just out of curiosity: where do you
-work [Janet was tracked down at
her place of employment]?
I work at an ad agency, we're Nike's ad
company. I work for THE MAN, basically
How do you feel about that?
Oh, it's fine.
So, how long have you been with
Sleater-Kinney, now?
About three months.
And  how long  have you  known
Corin and Carrie?
I've just met them, but it seems nKe we've
known each olher a lot longer, just because
we've travelled around a little bit and went to
New York.
How was your experience at CMJ?
It was great. It wos so much fun — we just
got along so well.
Was that the first test?
Yeah, we were all kind of like 'OK, this is
going to be the test. We're going to go to
New York and play CMJ and see how we
get along, ond then we'll see what's going
to happen after that.'
'Cause 'if you can make it there you
can make it anywhere,' right?
Well, I was in anolher bond at the time. I was
in Iwo bands already: Quasi and another
band called Junior High, with Sean who was
in Crackerbash — it's his new band. So we
went and had just the greatest, greatest time
... so I quit the olher band [laughs].
'See ya!' [laughs] Is this the first time
you've joined an established band?
This is the first time that I've ever joined a
band that's got records out, and where
you're kind of living up to the reputation of
the olher drummers, and being compared to
the olher drummers. It's kind of weird.
Have you encountered that already?
Oh yeah. It kind of helps that there were Iwo
other drummers. Most people never saw Lora
play live, they only saw Toni play live. I ihink
lhat after the next album comes out I'll definitely have my own identity os a dru
How is being separated from the rest
of the band?
They come down here, because I have a
practice space, so they come down here
more lhan I go up there, but it hasn't been
too bad and we've actually been practicing
twice a week, which is as much, if not more,
lhan I practice wilh olher bands. And we're
pretty focused. They write songs really fast,
so it's great, we can get to it and start working on the new songs.
Do you have any closing comments?
Any words of wisdom?
Nope. I'll leave lhat to Corin.
Is she the philosopher in the group?
She's definitely the philosopher, allhough
Carrie's got a bit of ihe philosopher in her too.
Yeah, it was a pretty theoretical interview that I had with them: there was
the political theory section, and there
was the music theory section. And
they kind of tag-teamed. It was fun.
Well, you can put me down as saying, That's
right, Carrie!'
We'll pretend that you were actually
there. 111 just weave your comments
into the interview. I'll add a lot of
There you go. I give you artistic license. Add
whatever you want.»
21 tfggzm^  :
by dj noah
CD will be out before Christmas. Their combination of
Roland 303 (acid) licks and
Orbital-like soundscapes are
something to be seen and
heard. Unfortunately, the
sound    at
its ambient connotations. Ideal
for chill rooms on the main
stage. Try it, You'll like it!
F.S.O.I Dead Cities
(Virgin): Scheduled for release on Oct. 29th, this CD
While it was not
around for long,
did provide us with a glimmer
of hope. The store was located at 301 W. Hastings St.
in Vancouver and carried
clothing, "rave" accessories,
as well as an alternative selection of music from that of
other import stores. The doors
officially opened on June
30th, and closed on Sept.
28th. Aya and Syrvain were
the main operators of the
store, with Adityo (Montreal
DJ) doing the music ordering.
There was a lot more trance,
techno and acid than at other
stores, even though their selection was smaller. It was a
sad day when they closed up
because it was a shop that
arose out of the heart of the
party scene. I was unable to
reach Adityo or Aya to get
their comments, but I do understand that there could be
another store opening in the
future. Perhaps the new store,
Hush (221 Abbott St.), will
be a more than adequate replacement. They have lots of
music and other goodies for
all you DJ people.
A step back from the retail music outlet would be the
artists that make the music that
ends up in the stores. Two live
shows and one party fit this
criteria form the past thirty
days. Playing his first live
performance at Ginger was
After Dark (Pat Breen). He
has been progressively getting better with each performance and did quite well at
Mars. His set was more on
the house side, but his
songwriting has improved
and he is currently engaged
in talks with a record label.
The other live show was
Michael Victory's fast show
before his two month hiatus
to Africa. As Sect, Michael
had enjoyed limited success
to this point, but with his cur
rent deal and his first full-
length due out soon, you will
be hearing a lot more from
him in the future. His set at
Mars was an insight into his
upcoming release, and was
minimal yet moving. Michael
has a lot of European influence in his sound, and thankfully he had not jumped onto
any of those boring bandwagons (house, 'West Coast'
breakbeat). His set was
wrought with the kind of energy and emotion that infects
your brain and possesses
your feet. I am looking
forward to his CD, as
should you.
On a different level of live
shows, there was the
ShockRa party on Sept.
21st which featured a performance from Synergie, an
electronic group from Montreal. This duo is destined to
become one of the biggest
artists from Canada in the
techno world, and their first
and, after
just 20 minutes of their
set, I had to
leave because the
distortion of
the system
was unbearable. On a
note, they
will hopefully be re-
soon, perhaps to do a set on New
Year's Eve.
From live to recorded
music, here are some
quick reviews of material
that has come my way recently. FUTURE LOOP
and Bass (planet Dog): This
is a brilliant exploration of the
drum and bass world. It is at
once full of energy and life,
yet is strangely calming with
will find its way into just about
every collection, as most
FSOL releases have. The first
single, "My Kingdom," is currently available. Unlike the
ISDN album, Dead Cities is
a beat-laden work that reflects
different sounds, from The
Chemical Brothers-ish
"We Have Explosive" to the
Orb-like "Her Face Forms in
Summertime." Another breakthrough for Brian Dougans
and Gary Cobain.
The Phatjive (Harthouse): This
CD is just as the title suggests.
"Male Phonk" was the first
single and its combination of
a house beat with heavy
techno sounds has made
it an instant hit. Look for
the title track to be even
bigger. This is as accessible as Harthouse has
been to the average
listener. Every mainstream will pick up on
this one.
— Pacific Rhythm (Eye
Q): This is an all West
Coast artists compilation and features tracks
from two local artists,
Phil Western and Dan
Handrabur. An excellent mix of ambient,
house, and electronic.
Alterism (Harthouse): Unfortunately, this release by Jorn
Elling and Roman Flugel did
not do much for me. Perhaps
it is because the tracks are all
remixes done by other people. Nevertheless, there are
one or two useful ambientdub
tracks and a couple of housier
tunes that have some use.
(Email djnoah@cyberstore.ca)
Until next month, keep the
peace... •
23.Hclland Tunn_ Project
26.Fra,la. Paul
27.Maysa L«ak
28 .Cissy Houslon
30.Count Basic
31.Slid. Five
32.Th.Qui_ BoyVC. Hinds
34.Monfr.do F_t
38 .Bab Mam*
39.G»rg. B«ison
40.Carib Jazz Pro'*:!
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44Daxz Bond
4t.Uon Haywood
Th. Brick Wall
Soul Of Mil.
Stand Up
Don't CM Any Brffcr (fan Scolt)
Joy and Pain
Rhod. Trip/Up and Out Ubiquity 16
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63. Grow. Collacliv*
64. FW« Vrhiltad
65. Horac. Brown
66. Ray Barreflo
67. Johnni. Taylor
68. Phyllis Hymon
70. Jazz VfandaTs
71. Chris Win
72. Freddi. RavJ
73. DJ»rah Cox
74. Margi Col«m_>
71. Jo.
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86. Paul Jackson Jr.
87. Th.N.F.L Horns Pr_j«l
88. Tania Maria
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91. Lucky Pitman
92. ComJ Dupre.
93. Bobby "Blu.* Bland
94. MichoJ Staling
95. BlakMal.
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97. Tori Braxton
98. Knny lohmor.
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After a month of absence, Between the
Lines returns with a
fresh new face. We are much
saddened to say that Amber
Dawn has decided to leave
DiSCORDER, but she is busy
saving the world through the
Environmental Youth Alliance,
Women Against Violence
Against Women, and her
own amazing ally work. I am
very pleased, however, to tell
you that I have found a replacement who is equally
amazing and wordy: Ms.
Christina Knox, a zine veteran with a critical consciousness who has grown with me
out of teen zine land.
November brings on the
last of the year's surprises and
memories. On that note, I am
excited to tell you that there
will be a ROCK FOR
CHOICE benefit November
15 at the Vancouver East
Cultural Centre. Riot Grrrl
Press will be there with the
new editions to the catalogue.
(Just a reminder: Ralph is doing a zine review column at
Terminal City, so send all music-related zines — music
zines, pop culture zines, anything that yer typical indie
rock kid would consider fun
— to him. We review personal and political zines and
Hi, I'm Christina, I'm tough ...
don't send me a stupid zine
because I know where you
live ... I'm looking forward to
working with Andrea on this
column as it is an opportunity
to expose all of you kiddies
out there to the zines that I
come across through writing
and reading with kids across
the conlinent. Plus, I like seeing my name in print. There
is a new record store in Vancouver called Wash Out
Records. The store is located
in the back of Vert on W.
Broadway (two blocks off
Main) and at this lovely store,
you will find oodles of great
punk/hard core products at
really cheap prices; more
importantly, they have a zine
library where you can find
such wonders as Free, Lost
Girl, Random Thoughts,
Drew, Flush, and Frustrations.
(half size, 72 pgs)
This zine starts off by talking
about mainstream medicine
and its effects on wimmin who
take so-called remedies that
actually rob them of their
health and wimminhood.
Wives TALES teaches you
how to use a speculum in order to examine your cervix
and how to get your menstrual cycle in synch with the
cycles of the moon. It lists alternative, toxin-free, feminine
hygiene products; effective,
natural cures for cramps; how
to cure and prevent vaginal
infections; facts on STDs; and
birth control that won't mess
with your hormones, as well
as herbal abortions. It also
gives you facts on breast cancer and a bibliography so
' that you can go and educate
yourself further. This is definitely a zine that all wimmin
should get. Send $2-3 US to
Britton, POBox 81332, San
Diego, CA, 92138.
The "B" Word
(eighth size, 16 pgs)
Women are conditioned to
hate their bodies and faces.
In this zine, Dayna takes the
conditioning placed on her
and completely rejects it.
Most of the content looks at
herself, in describing her appearance, particularly the
characteristics generally associated by society as unattractive. My first reaction to this
zine was to be grateful for my
own appearance, and the
fact that I am generally acceptably sitting within the
mainstream ideal of what a
female should look like. I
thought about this after having read it and realized how
much a slave I am to the conventional ideal. I began to
question why I feel that one
cannot celebrate their beauty
unless they are slickly coifed,
made up and reasonably
thin/unfat. This caused me to
question the fact that I am a
"feminist" who subscribes to
Cosmo. Definitely one of the
most effective uses of one
sheet of paper I have ever
read. One IRC to brat girl,
14119 Meyersville Dr., Houston, TX, 77049.
(quarter size, 12 pgs)
Bianca writes about her privilege as a light skin Chicana
and the separation that she
feels from other Chicanos.
She sees racism all around
her directed at poor Chicanos
and illegal immigrants. She
talks about her family teaching each other to forget their
culture in order to lead a life
not so dominated by discrimination, which is something
that many non-white people
and immigrants are forced to
do in the name of the great
melting pot. Send $1 US to
Bianca, 2415 Fordham St.,
San Pablo, CA, 94806.
... and only the trees
were left standing ...
It is an amazing thing to
watch a zine writer move
closer towards writing zines
that are heavily reflective of
who they are.
I have been reading
Chris' work since she entered
the zine scene with / just don't
savvy, a well written group zine
with scattered tidbits of emo.
In ... and only the trees...,
Chris is writing on her own.
Her sob material is a more
satisfying read than her previous efforts. In this zine, Chris
discusses frustration regarding faded friendships
turned sour, rejection, self-
hatred and abuse.
While the details were
vague, it was impressive to
reod the beginnings of a healing process. Send stamps to
5111 Redona Dr., North Vancouver, BC, V7R 3K1 .•
Mt. Baker
Especially For You
Open  Everyday Through
Mon. - Fri.  10-9
Sat. - Sun  10-6
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble. I love my record player. The
company that made it probably went out of business in
Ihe early 1970s. It is a charmingly obsolete cabinet deal wilh
a built-in 8-track machine, a broken Re-Tract-O arm, and four
speeds: 16, 33, 45, and 78. I
love my record player, even
ihough it tends to skip the most
on rare, mail-order-only discs into
which I've invested a substantial
part of my recreational allowance. It is an immortal behemoth,
twice my size and probably
equal my weight, which I have
learned to respect and revere
despite its cantankerousness. After all, without it, I might never
have heard ihe following records.
Glamorous Northumbrians
KENICK1E did me a great favour
when they recorded their Catsuit
City 7"; that delicious, eight-song
masterpiece of Mad Handbag
Rock has been spinning in my
room and in my head ever since
I found it. From the "since when
was stalking a crime?" chorus of
"Private Buchowski" to the
spacey echoes on "Come In" to
the righteous obnoxi
"SK8BDN Song," Kenickieare
My Northern English
whispering that the princesses
(and prince) who make up this
quartet have threatened their estranged labd, Slampt, wilh legal
action should it re-press this
record, so grab yourself a copy
before every last one is gone.
(Slampt Underground Organisation, PO Box 54, Healon, Newcastle-upon-Tyne, NE6 5YW, UK)
Teenaged glee soaks this
TEEN TITANS 7"! More Songs,
less Music has been re-released,
and it is soooo insufferably cute
that I have to recommend it. The
nine songs on this 7" are filled to
the brim with bratty boy/girl vocal interplay, silly lyrics (eg. "you
suck my weiner/you suck my
vacuum cleaner"), jumpy punk
energy, and absurd quirks like the
N.W.A. quote on "UTPD Killer"
and the kazoo on "Popsicle." I
hope to God the Teen Titans never
grow up. (Peek-A-Boo, 2502 San
Antonio #1, Austin, TX, 78705)
What's a little bigger lhan a
7", a little smaller than a 12",
and spins at 33 rpm?
Allhough not strictly my department, 10" records are nifty
and keen. In particular, THE
N-D EP, filling a delightful ten
inches of vinyl, is worthy enough
of my attention to merit an appearance in a column usually
devoted to 7"s. If you're wondering what The Scissor Girls sound
like, let's just say they fit their
name quite well. This is futurist
No Wave at its most bizarrely
enjoyable: percussive, wacked,
random, industrial. "Stimulus/
Response," with its strangely alluring catcall of "I'm an oscillo-
tor/you're an oscillator," is my
favourite track. (Load Records,
address unknown. SG Research,
PO 476748, Chicago, IL, 60647)
If you like girls, beer, and
hockey (in reverse order of importance), then you'll probably
.:-   HAS50N BROTI
If I he En
THE KRINKLES carry on San
Francisco's musicol heritage of
avant-garde psychedelia with
their first single. "Just '
Francisco are they?''
ask. Well, the first track, "Ft
Like A Crustacean," has
ominous, creeping
overlain with goat bleat
fluctuates between latin instrumental and guitar skree.
"Release Me" is one
part noise dementia
and two parts
seems to be
light jazz,
yet it has
B-side, is a lame attempt at hardcore made amusing by the singer's high-pitched, squeaky voice.
=^t.A. ,_   s«. .co,e.*
e best bar.
**--* -<-••-  to <*■ -"-.c'lcsjcrc'r-c <*,
r. Plumlree's perfect p
vs. The resemblai
actually quite scary. (Essential
Noise, PO Box 27070
Collingwood Post Office, Vancouver, BC, V5R 6A7)
tones suggestive of
a bad acid
trip.  Very
San   Fran-
ask me. Nevertheless, ihis single
somehow manages
fe.stay fairly -accessible
— must be the acoustic
gwtcrs.    [Cannibal Records,
-4- .    ;*** ;    ji„.    .
'A 94103!    *      A.
A* darn! I was hopingm
SCOOTER/ ^H be a ewer
of the Renegade Soundwave
song of the same name. Alas, for
it is just more whiny boy rock thot
ilmost completely failed to hdd
ir, is jusfasgood. (PF
Is, PO Box 873, Halifax,
Nova Scotia, B3J 2V9)
If Vancouver still hot'
al alternative" radio station
(think Coast 1040), RED FIVE's
"Bunny" single would probably
be on its playlist. Both songs,
"Leave Time" and "Nailed to the
Neurotic," bring to mind the image of greasy, corporate A&R
iubs Of course, 1
"_ .3 Red Five;
that said, I still think the music is
wee   bit   uninspired.
(Revelation,   PO   Box
523 2 Huntington Beach,
CA, 92615-5232)
I couldn't pass up
listening to a band
with a name like
Big Beautiful Drive
In is high quality
indie rock with
tight, driving music and melodic
female   vocals.
"Starlight" starts
off slow and quiet
but soon turns into a
grinding dirge. This
stuff is melanchdic ond
powerful.  (Catapult,
215 ASt. 6th Floor, Boston,
MA, 02210)
Now, everyone, it's time to
close our eyes and psychically
will my long overdue mail-order
7"s to arrive. Envision my
mailbox. Envision a flat brown
package about 8 inches to a side
nesting merrily on top of phone
bills and penpal letters. If all DiS-
CORDER"* readers try this exercise at least once, the combined
mental energies may just work
NOVEMBER 30™  1996 under
Assorted Jellybeans
(Kung Fu)
I first heard Assorted Jellybeans on the Lookoutl Records
compilation Punic Uprising and I
was fairly impressed. They must
have impressed a few other people as well, because since then
they've been signed to Kung Fu
Records (owned and operated by
two members of The Vandals)
and have released this LP. They're
also currently touring North
America opening for The Vandals
which isn't bad for a bunch of
teenagers (well, I don't know hew
dd they are, but lhat's what ihey
look like on he back cover photo).
This is a pretty cool album.
Every song sounds like they are
having fun playing, rather lhan
doing their label a favour. Most
of the songs have a youthful
sound to them, yet they seem to
be very competent musicians.
This is a young band that deserves your support.
Dove Tolnai
William Bloke
(Cooking Vinyl/Polydor)
The guitar is softer and he is
calmer. I guess Daddy Bragg is
a more contented man, since he
has (icchh) "a socialism of the
heart" these days. Fortunately, a
lot of Ihe other lyrics are much
better lhan that*. "He was trapped
in a haircut he no longer believed
in." A few of the songs fall back
on the dd Bragg guitar style, as
in "A Pict Song," but in general,
this album seems to consist of
more keyboard, more trumpets,
and a more mdlowed out socialist agenda. It goes without say
ing that loyal fans will buy this
regardless, but for those new to
Billy Bragg — pick up Worker's
Playtime instead.
The Candy Snatehers
After three hard-lo-find singles,
the Candy Snatehers have finally put Virginia Beach, Virginia
on the map with their full-length
debut, even if it meant scorching
half ihe eastern seaboard with
their fiery brand of garagey rock
V roll to do it. Y'see, I saw this
foursome a couple years ago and
their crazed stage show combined with iheir equally crazed
two-chord trash rock had me
mesmerized from sloppy start to
chaotic finish. Singer Larry May
was careening around the stage
of this tiny New York club stage
like Jerry Lee Lewis, broken
bottle in hand and ready to
pounce on anyone who got in his
way. Guitarist Matthew Odielus
had already seen the end of that
bottle — with his chest sporting a huge red gash across if
— but still managed to spit out
blazin' riffs from a barely in-
tune guitar. Bassist Willy Johns
decided a little help was needed
to accompany his thundering
bass so he promptly lit it on
fire while visually stunning the
crowd by getting completely
naked after only the second
song. And drummer Barry
Johnson could hardly keep his
cymbals on his stands while
trying to keep up with his
bandmates' breakneck pace.
So until the Candy Snatehers
blaze a trail up the west coast,
pop in this disc, lock up your
daughters and liquor cabinet,
and brace yourself, cuz these
guys will blow the roof off any
joint, guaranteed.
Bryce Dunn
First Band on the Moon
Loungier than ABBA and sometimes dancier than Ace of Base,
The Cardigans have proven
lhat Sweden has more than Iwo
bands. With their first release
last year [Life, a huge commercial success having sold apparently over a million copies),
the Cardigans introduced us
to their own swank balladry.
They may have had their cheesy
moments, but in one giddy
swoop of Nina Persson's voice,
it would be easy enough to want
to sing along and sway my arms
to their neo-disco beats.
The band hasn't changed
much since then, as their new
album sticks with lhat same formula. From every song's lush arrangements wilh flutes and violins to a second Black Sabbath
cover ("Iron Man" this time, following Life's "Sabbath Bloody
Sabbath"), this album seems to
be a remake of its predecessor.
While the songwriting shows consistent quality, on first listen there's
no standout like "Carnival" thot
made Life such a memorable first
long player.
Unfortunately, that's what
makes First Band on the Moon
just a second fiddle.
Swing Brother Swingl
Well, hell, oh mayuh grown up
in Calgree, but ah never did
much lissenta country and western music. No sir. Weren't really
mar* thing, as it were. But ah
gotta say, when oh heard this
album by these Condo boys here,
ah found mysdf o-tappin' moh toes.
These fellers manage ta cover
lotta ground on this new record'n
of theirs — ya gotcha yer '40s
rdlin' swing in "Slrathcona," and
"Ice Water." Ya got yer cod blues
wilh "Taint No Use," "It Ain't
Right," and "There's a House in
Harlem For Sale." And in
"Hadicillin Boogie," "Teardrops
From My Eyes," and "Loud
Moulh, " ihey serve up a steamin'
hdpin' of good an' ol'-fash'nd
country, the kinda stuff ol' Mojo
Nixon called "the lonesome
howl of ihe white trash wolf."
Their version of Mr. Carl
Perkins' "Rockin' Record Hop"
even gives yah a little of that newfangled rock 'n' rdl.
Now, most of this stuff mayah
been written before any'oh these
fellers were bom, but they dish it
out with real sincer'ty ond more'n
a little bit'oh talent. There don't
seem to be none'ah this fin-de-
siecle irony here; boy, no sir,
none'ah this playin' at been their
grampaws. These boys like music, and they treat it wilh respect.
Hell, these guys is just good.
'T'ain't often these days
(goddamn world goin' ta hell
inna goddamn handbasket an'
all) lhatcha hear the sox'phone
and the slide g'tar in mellifl'us
juxt'position. And it's purdy
durn nice. And the boys on
g'tar, bass, and drums ain't no
slouches either, no siree.
Now, the lyrics ta these songs
ain't partie'larly trench'nt, but
whatlh'hell d'yo expect. Let ihem
longhaired fellers play iheir Cho-
teau Laffite — boy, this is Ol'
Crow, Kentucky com squeezin's.
Mr. Condo and his boys got a
good thing here.
Adam Monahan
If Ihe Music's Loud Enough...
I have to give d.b.s. a lot of
credit. After all, it was ihem —
along with gob, sineater and
a few olher BC bands — who got
me turned onto punk rock, d.b.s.'s
new disc sounds a helluva lot like
the old one. I don't just mean lhat
you can tell it's ihe same band
playing, I mean, it sounds like
they changed the lyrics, mixed
around a few notes and called it
a new dbum. If you're a huge d.b.s.
fon, then by all means buy the
disc. If you've never heard ihem,
check it out. If you were lukewarm
about he first one, then stay ihe
hel away. It hasn't changed.
Inslrumentally, they do sound
a bit better. And for a bunch of
high school kids ihey're pretty
damn good (although I'm sure the
some thing was said about the
Jackson Five and the New
Kids on the Block at one
point). Whatever. Go to o show
and check ihem out. Decide for
yourself Godammil. Cod cover
art ihough.
Dave Tolnai
Go To The Sugar Altar
Aiming for the sweet and simple,
Kelley Deal just plays it too
basic. Simple, catchy melodies
reminiscent of The Breeders
have become drawn-out nursery
rhymes. However, Kelley does
whatever she can to prove ihis
isn't Breeders material, just short
of calling the band "We're Not
The Breeders." As well as ihe self-
indulgent band title, the insert
reads: "Kelley Deal appears courtesy of her own bad self." Reading the lyrics, you expect songs
that are going to stay in your
head, but the mild guitar jangles
are pretty forgettable, except for
track five, "A Hundred Tires,"
which is pretty good.
Smash The Ships and Raise
the Beams
The first thing I thought when I
heard this CD was, "Wow, this is
great!" But the more I listen to it,
suppose that one can only hear
so many "buhbuhbuh's and "ooh
woo's in one sitting. It tends to
drag on and the music becomes
a little redundant, but there are
definitely high points in songs
like "Uniforms" ond "Blue Vinyl Chair." Duotang consists
of two (very well dressed) guys
— one sings, plays bass and
keyboards, while the other
plays drums. They could be
compared to the Inbreds with
a little bit of early Elvis
Costello/Joe Jackson influence. If you like pop (and I
certainly do), you've probably
heard somelhing like this in medium-sized doses; it's not the best
thing I've heard in the last little
while, but it is fairly decent.
Brie Grey-Noble
Parts 1-3
(Sub Pop/Warner)
Eric's Trip was a great band.
Their music practicolfy defined
greatness for a lot of us independent music lovers, with their honest and direct lyrics that expressed deep and often painful
feelings. The band broke up because Rick White (apparently)
didn't want it to continue, so each
member proceeded to release
albums under monikers like Broken Girl, Moonsocket, Purple Knight and White's Elevator to Hell. The first of these
projects to release a fulMengther
(lastyear, on 1 2" vinyl), Elevator
to Hell is Rick White.
Put together like the patchworks lhat typified ortwork associated with Eric's Trip, each song
is its own story nestled among
dozens of others. But each song
is a clear and isolated moment
in White's life, just like the cover
of ihis eponymous debut.
Twenty-six songs (ten more
than on ihe vinyl version) wind
their way through 65 minutes of
time, and all the while you won't
even remember lhat White was
once part of some other band.
Brian Wieser
Sporen/Binumb EP
I'm always somewhat put off by
any album described in its liner
notes as "sound research," but
nerves steeled by my journalistic
integrity, I decided to give Trost,
the new CD by Germany's
Fetisch Park (Carta Subito and
Marlon Shy), a fair listen. And
this, it turns out, was for the most
part worthwhile.
Trost (composed ond performed by Carlo Subito) wos inspired by Marlon Shy's photographic portrait of the brothels of
Bombay. The result is a collection
of eight ambient works layering
the sounds of urban India wilh
studio-produced electronic hums
and swooshes. It's fairly slow-
moving; not very much is happening af any particular time. This is
not to say that the pieces don't
have any structure, but that these
structures take the whole track to
manifest themselves. The tracks
reveal their inspiration either too
subtly or in the most unsubtle fashion. In particular, "Part 6" could
be the soundtrack to one of those
pornographic movies so popdor
wilh teenage boys (or emotiondly
retarded grown men.) Overall, Trost
never really succeeded in capturing my attention. It's a good album, but not a compelling one.
On the olher hand, Fetisch
Park's new three-song EP Sporen/
Binumb is more interesting. The
two techno/ambient title tracks
are rhythmically lively, weaving
together a number of different
sounds into two extremely energetic melanges. These two pieces
stand in stark contrast wilh the
languid, slow-paced tracks constituting Trost, "Part 8" of which
is the third work on the EP.
Sporen/Binumb is worth picking
up if you enjoy frenetic, yet reasonably intelligent techno tunes,
and the third trock gives you an
opportunity to check out the al-
Adam Monahan
Big Wheels
There was a time when a "proi-
rie punk phenomenon" took over,
and bands from Winnipeg to
Edmonton cruised the highways
and bi-ways with a distinct sound
and blew the doors off every
music haH on ihe prairies. It never
realfy had any recognition except
for those who were in its wake.
Bands like SNFU, Red Fisher,
The Smalls and Ninth Configuration were prime examples, and some still ore today,
which is where we stand with
Field Day, a band who rose
from the ashes of ihe now defunct
Ninth Configuration. On their
second fulHength CD, entitled Big
Wheels, Calgary's Field Day
head straight into a fast, driving
selection of outtakes and previous compilation ond 7" releases
and throw in a few new songs lo
make it honest. I hate to dwell in
the past again, but since I was a
big fan of Ninth Configuration,
a few songs on this album remind
me of ihe sound of dd, especially
"Walkaway," a song with guitar
solos that transport you into
weightlessness for awhile. If you
like your skateboard with a fat
nose, railguards and fat wheels,
check out Field Day.
dead inside
The golden palominos as a
band is a constantly changing
entity revolving around the core
member. New York avant-garde
drummer, Anton Fier. Throughout the palominos' long career,
Fier has produced many interesting albums, but the heavy-handed
production of bassist Bill
Laswell has ensured a certain
distanced intellectualism lhat is
seldom very captivating. On
dead inside, by contrast, the
music and words pierce your
brain and grant no mercy until
long after this hour of mesmerizing audio ends. Eschewing the
myriod of collaborators of yesteryear, Fier generates and produces all the music here himself.
Veering from ominous,
narcoticized dub to distorted, feverish drum 'n' bass, the music
acts in perfect counterpoint to
vocolist/spoken-word artist
Nicole Blackman. As the processed rhythms behind her swirl
or suffocate, her voice remains
dry, uneffected, and unaffected.
She speaks of death, sex, and
social decay; gradually she
forces the day to day facade of
unreality to crack and shatter. The
chilling, yet intensely cathartic,
dead inside may not be on easy
listen, but lhat doesn't prevent it
from being among the best albums of the year.
Jovian Francey
tiin the page for more revjews,
\u puny weatyHn^
Home and Despair
Kato Hideki's new album,
Hope ond Despair is a marvef-
lous piece of work. It draws on
the traditions of Western and
Japanese classical music as well
as on modern experimental jazz
to produce a rich and atmospheric set of compositions. Joined
by the likes of John Zorn and
Zeena Parkins, these ten
tracks composed by Hideki are
sparse, but powerful, and stimulate a wide range of emotional
The album bears no small re- '
semblance to Brian Eno's Music for Films. The songs have an
ambient feel to them, each building its own landscape out of
sound, each creating a psycho-
emotional context lhat does not
so much tell a story as invoke an
image. The titles of the pieces are
evocative of portraiture: "Your
Angry Face," "Watching the
Sleeping Lover," and "Against ihe
Sky." Even the more kinematic
works feel constrained, like a
buzzing fly trapped in amber.
Some of the tracks ore downright
spooky; I've listened to "Savage"
a number of times, and its el-
ephanl-call trombone and explosive harp still sends shivers down
my spine. "Toleronce" is a quiet
little lullaby, but feels ancient, and
is disquieting. The hypnotic slide
guitar of "Fatigue" is bolh familiar and extremely foreign.
The performers do a bang-up
job on this album. They include
Kono Masahiko on trombone,
Douglas Bowne on drums,
Ogimi Gen ond Tanaka
Michiake on percussion, and
the always impressive Zeena Parkins on harp. Composer Koto
Hideki, of Death Ambient,
outdoes himself on bass and slide
guitar and the eminentjohn Zorn
lends his hand in composition
and piano playing on "Double
Hope ond Despair is a magnificent album. It is sophisticated
and intelligent without being
overintelleclualised. It is compelling and modern but still musical.
And it is a worthy addition to any
avankjarde album collection.
Adam Monahan
Cold Scene
I hove to admit that it was for
novelty purposes onfy lhal I chose
to review this. Cold Scene features a bonus cut lhat you can
actually play on your turntable!
Place the adapter in the CD hde
ond you can play song 12 on
your turntable! A closer look reveals lhat a 5" clear flexi ocetate
has been glued overtop the CD.
An inventive idea just the same.
The music? Noisy indie rock.
Rev. Norman
Snapshot Radio EP
Another strong woman from the
West Coast proves that she is not
limited to the genres of punk-rock
or folk. Lois Maffeo offers up a
five song EP with the smoothness
of quiet jazz without the brass
and the drive of riot grrrl rock
without the vdume, all mixed together wilh harmonicas, organs,
and xylophones. The result is a
sophisticated synthesis of sound
lhat holds your attention whilst
you try and determine the lyrics.
Snapshot Radio was recorded
partly in Olympia at Moon Music, partly in Chicago at Idful
Music, and partly in Brooklyn at
Ihe Dean St. Basement, with a
few different people on each
track. I guess that's what Lois
meant when she wrote: "I wanna
go make music wilh friends who
have been inspiring me."
Demonstrating My Style
Generating true-to-life feelings
and visions about growing up in
a cold, harsh environment,
Madball describes a lifetime of
trying to survive with drugs, poverty, and violence. From New
York City's Lower East Side, this
foursome brings us a slreetori-
ented album which takes an innovative, unflinching look at the
hardcore lifestyle on the streets.
Demonstrating My Style is the
product of hard work and determination, which has sculpted iheir
independent signature aggressive mix of hardcore, metal, and
punk. This album gives us 14
gritty, intense tracks fueled by
raging guitars and powerful
drums. These songs about growing up and independence set a.
new standard for hardcore music.
Tyson Sadler
The Unforgiving Sounds
Maow, maow, maow, maow
Maow, moow, maow, moow.
They've had a lot of press because of Mint's hard work and
because it is so nice to hear some
good, fun rock V roll. They
sound like they ore having fun
playing and making albums, so
you feel obligated to have fun listening. Nice. They play ihe blues
for iheir Wanda Jackson cover
"Mean Mean Man," country for
"Very Missionary" and punk-rock
for "J'ai Faim" and it all winds
up sounding very Maow-rock, in
a good kind of way. Ze Art, eet
eez very fine. The band has never
been called "cuddlecore," ond it
is a fun-filled medley of tunes, so
check it out. One question: what's
with the cocaine lettering ond razor blade on the CD? Does lhat
mean "punk," or what?
Snatch it Back and Hold It
Man, these guys are creating
quite the stir around these here
parts. This four-piece churns out
short V snappy, tight'n' punchy,
energy-driven pop songs sprinkled with lotsa harmonies and
sassy lyrics ... kinda reminiscent
of the late Bash and Pop, The
Young Fresh Fellows and
Cheap Trick. Yup, they seem to
have everything going for them
... except one thing. Their
songwriting just doesn't cut it.
Yeah, I know. I can hear all you
Model Rockets worshippers
screaming at me. What do I
know? Who do I think I om any
way? Well, go write your own
review. This one's mine.
Fred derF
Twist Her
(Janken Pon)
I was genuinely excited when I
saw lhatMonlreal's Nerdy Girl
had put together a CD. Nerdy
Girl's 7" have always managed
to bring about pleasurable experiences for me. Cecil Seaskull,
the brains and brawn of ihis ever-
changing quartet, has a feel for
writing songs full of sincere emotion. You want to hear her over
and over. Her honesty is often
overpowering, ond her opinions
and experiences are recognizable to many. How does she
know so much about life?
Being able to identify with the
lyrics makes this very
listenable. The tunes aren't too
shabby either. The lo-fi
spontaneity of Nerdy Girl's
music enhances the full flavour
of this CD experience. So what
I'm basically trying to say is,
"Gee, this is pretty nice."
Julie Colero
Broken Windows (book)
Reading Patricia Nolan's Broken
Windows is like eavesdropping
an all ihe people around you lhat
have dressed up to go out to dinner at Denny's. You listen, absorbed in morbid fascination as
ihey describe in casual, matter-
of-fact tones ihe tales that have
sent their lives careening into
empty wheat fields ond snow
banks from which they will never
escape. In a style lhat can only
be described as Canadian
Golhic, Nolan's eye acts as a
psychic MRI machine: making
visible all the scars and fractures
lhat are usually covered by the
make-up of attempted normalcy.
None of these stories will ever
be a movie of the week; rather,
ihey are ihe stories ihe handycam
tells when it is left on and forgotten on the coffee table. Nolan
tells these stories in an understated lyricism lhat imparts dignity to the pathos of her characters' lives. If you ever wonder
what the marginally overweight
guy with mustard on his tie sitting next to you on the rush hour
bus is going home to, then this
book is for you. If you're impatient to get home becouse you
taped Geraldo, then pass.
The Cold Hard Fact of Life
(Lance Rock)
Apocalypse Cowl
(Lance Rock)
Two new releases have graced
our presence courtesy of our hip
neighbour on the island. Lance
Rock, and ihe first is an eight-song
disc of Canadian garage-punk
gems from Stockhdm, Sweden's
Now, my Nomads'
hihniss ratio has always hovered
around the 50/50 mark since
ihey began to churn out their raucous rock some seven or eight
years ago and this new outing
doesn't quite push the right buttons. Nonetheless, it still makes
a name for itself. They can really
belt if out when they need to, as
in ihe opening screamer, "Hard
To Cry," ond the Teenage
Head cover, "Picture My Face."
But the more melodic numbers
like the Ugh/ Duckling's "Nothing" and The Jury's "Who
Dot?" lost a bit of iheir charm
amidst the racket of the trademark
Nomads' guitar attack. Still, Viking hats off to those super
Swedes paying homage to some
truly classic Canadian punk!
Apocalypse Cowl is the farm-
fresh follow-up to the Stand GT's
last album, they're magically delicious and continues the snap-
crackle-pop! formula of this Glengarry, Ontario foursome. There's
even more punch to ihe overall
sound lhan their last— the songs
are tighter, the vocals are more
even in the mix and the flow of
Ihe tunes is smoother ihen the St.
Lawrence Seaway. Barn-burners
like "Six Million Dollar Something" and "Away From Your
Sway," ihe Bum-like harmonies
of "Keep Your Engine Clean" and
the clever mellow inrro to the
choppy guitar strut of "The Soldier Gun Rescue" moke for another winner from those breadwinners, the Stand GT.
Bryce Dunn
Grounded to the Inner Circuit
Brooklyn labd WordSound continues their tradition of high quality, if occasionally overripe, dub
on the new album from O.HJv*.
O.H.M. only consists of one man,
K. Bennu, and he does have a
grasp on the essential elements
of electro-dub soundscapes. The
languid beats and pulsing low-
end are all in evidence throughout. Where the album excels,
ihough, is in what goes on top of
the occasionally repetitive base
elements. Haunting, moody synth
sounds, pianos and other atmospherics generate a certain depth
of sonic intrigue that is hord to
resist. Not to be too glowing,
Bennu, upon occasion, forgets to
turn on his cheese filter. The
results, including sampled
"Rastaman'-type vocals and too
familiar rhythms would be cringe-
inducing if there wasn't enough
substance elsewhere to balance
them out. The cyber-esque title is
also a bit worrisome, ihough the
music has enough humanity to set
your mind at rest.
Jovian Froncey
A Carnival of Voices
Boston troubadour Ellis Paul is
one fine secret. Following in the
footsteps of Bill Morrissey,
John Prine and Richard
Buckner, Paul — like other fine
storytellers — immerses ihe listener in his cinematic voyages.
Following 1994's Stories album,
Ellis Paul crafts vignettes of common folk wilh common themes.
Supported by a strong cast, including Tony Levin, Duke Levine
(Mary Chapin Carpenter),
Jennifer Kimball (ex-The Story),
and Jerry Marotta, Paul's New
England soft twang paints landscapes wilh nuance and exquisite detail. On "Paris in a Day,"
Paul's descriptive eye spies Iwo
naive American tourists drunkenfy
stumbling through ihe streets. He's
able to capture the essence of the
city with an American slant: "We
were at the mercy of a passionate waiter/Who pulled the corks
af Ihe Osterasis Cafe/He kept
dered/Then he blamed us for the
weather/It was cold ond rainy/
But we raised a glass up to him
A mainstay on the Boston
coffeehouse circuit, Ellis Paul
dishes up a clear-eyed slice of life
on A Carnival of Voices. This
should be on every fdkie's shelf.
Pieter Hofmann
To listen to this record is to know
unconditional love of unprecedented magnitude for a cdlec-
tion of 14 songs. Regurgitator,
three boys from sunny Brisbane
(currently the Seattle of Australia),
chose their bond name as a commentary on the state of contemporary music, indie and otherwise. Tuflang (the Thai word for
jukebox) is the embodiment of
their philosophy. Each of the 11
lyricised ond three instrumental
Iracks differs so radically in style
and content from ihe others lhat
ihis is almost like a compilation
record — which was probably
the Gurge's intention.
From the opening track, the
infectious and eerily familiar-
sounding pop song "I Sucked a
Lot of Cock to Get Where I Am"
('I onfy wanna be the best that I
can,' rhymes lead singer/guitarist Quan Yeomans) to the thrashy
"Kong Foo Sing" (about fortune
cookies), the funk-driven political
tirade "G7 Prick Electro Boogie"
and the hip-hop parody "Pop
Porn" ('I'm a sexist motherfucker
on the microphone, with my
"ah yo, suck my dick ho' drone"
... Take your macho shit ond
please be leaving by the door.'),
the loungey "Couldn't Do It"
and the synth-driven "Music is
Sport," the Gurge presents us
with songs which simultaneously exemplify modern
musicol genres ond call their
validity into question. Yet, in
doing this, the Gurge has actually affirmed these genres
as valid vehicles for self-expression, because lhat's how
they've used ihem.
I was stunned by the brilliance
of this album the very first time I
listened to it, not onfy because
Regurgitator provides somelhing
for everyone, but also because
of the fact that they manage to
subvert what ihey purport to up-
hdd, and uphdd ihe subjects of
their subversion. In the middle of
this, ihey insert acute social commentary and create an album lhat
is accessible to just about any
one. Greatest band in the world?
No argument here.
Sophie Hamley
Ifs Martini Time
Fuck the crantini, ihis is one cocktail lhat is definitely shaken, not
Double Happiness
The first time I heard Slow
Gherkin was live at the Anza
Club where there played with
Punch the Clown and the
Skavengers I heard only
about half of their set, because
unfortunately, I had an over-enforced curfew ... But for the short
time I heard ihem, their intensity
filled the small dub; If you could
ever "see the music," this would
be the lime.
Slow Gherkin is one of the
most energized ska bands and,
in my opinion, the most energized lot on the legendary
Moonska record label. Their album Double Happiness will tempt
you to move your feet with its big
sound. The powerful horn lines
seem to last forever (if only they
did!). This nine-piece band has
a foursome of brass lhat don't just
spurt out their noise with the
rocksteady beat; ihey rdl throughout the songs, creating high-powered dance tunes. "Zen and Soccer* is a great example of this;
so is "Salsa III," a Spanish groove
that's worthy of my rude boy trophy! Slow Gherkin is meant to
be heard live where you get he red
atmosphere. Next time they come
I recommend you put on your
boots for a night on he town.
You have to experience this
one for yourself, ska-whores! Get
out here, wear your checkers proud,
ond skank down the street on a
mission ... to track down Double
Happiness by Slow Gherkin.
To Be An Angel Blind, The
Crippled Soul Divide
Four parts psychedelia, two parts
ambient, and an equal port
haunting acoustic stuff. Blend wdl
wilh a liberal helping of spacey
sounds and eerie idiot savant
vocals, insert into stereo, and
bake until done. Voila! A beautiful Tear Garden experience.
As you press play, prepare to
board a silicone-powered pleasure croft designed to lake you
aslral-tripping through the shadowy dimensions and iridescent
star systems where one may
glimpse wonders, aliens and angels in deep discourse ... all
within your own skull. If a method
of recording dreams ond nightmares is ever developed, the results might sound somelhing like
ihis album. If you're old enough
to remember having a Dark Side
of the Moon epiphany, then ihis
is Ihe '90s version.
Until Dwayne Goettel's untimely demise, the Tear Garden was essentially a Legendary
Pink Dots and Skinny Puppy
cdlaboralive side project, led by
Edward Ka-Spel and Cevin
Key (AKA Kevin Crompton) respectively. I suppose hat now ifs a
Pink Dots and Download collaboration, as Mark Spybey is involved.
Also on board is guest star Tom
Anselmi (Slow, Copyright —
AKA Circle C, Cockrings).
The credits also give a nod to
De Green Guy, probably the European cousin of Skinny Puppy's
old friend Green Guy. To fully
appreciate every nuance, you
really ought to have him along.
I could have described every
track in loving detail ... but
never mind that — just get the
damn album, it's a thing of
ominous beauty.
Wat Tracker
Zeke take lhaf one song they
know and do so very well and
modify it 15 different ways to
make up their second full-length
(does 17 minutes, 57 seconds
make up a full length?) CD release Flat Tracker. This is even
more hi-octane, supercharged
rock, paying special homage to the
likes of Evel Knievel, Gtacomo
Agostini, Eddie Hill and
Kenny Roberts. The cover looks
great on the vinyl edition!
Rev. Norman
Fresh Jazz Vibes Vol. 2
(Mo' Funk)
What is jazz? What is funk?
Modern music is mixing up all the
genres so we don't know what
to call things anymore. But I think
it's dear what this disc is trying
to do: get funky.
There are slow tunes; there
ore fast tunes. There ore vocal
songs; there are instrumental
jams. But there is one fairly constant parameter heavy bass, cool
groove and a fairly steady supply of horns.
This compilation encompasses various different styles of
what might be termed the FUNK.
From classic R&B-type tunes
(Blaxam's "Tidy Up") which
might be heard on MuchMusic,
to modern Big Band instrumental, funk jams (One Step Be-
yond's "Virtual Reality"), to
slightly offbeat, acid jazz stuff
wilh on unfortunate rap section
(Deborah Grey's "SHll Got a
Thing"), to Bass is Base sound-a-
likes (Coco Love Alcorn's
"New Wodd Up"). So if you don't
know exactly what you're looking for, but you want to sample
various different interpretations of
Ihe FUNK, this disc is for you.
For this tasty sampler, all Iracks
were originally taken from the
UK's 2Kod label and brought to
our domestic shores courtesy of
those groove-hunting folks ot
Waveform. These are some
chilledout downbeats for some
low-tempo relaxin'. The first main
influence throughout these ten
tracks is hip-hop. However,
there's no mad flowin' rhymes to
go with these beats. These tracks
are mostly instrumental wih a few
samples thrown in for good measure. There are also some cuts wilh
smooth-ass jazz vocals like Mr.
Electric Triangles s "Falling."
Jazz is the second big influence on this album. A Man
Called Adam's live version of
"So You Say" is a standout. In
fact, I'm pretty sure it has live jazz
musicians playing on it. Then
there's The Egg's "Fuzz," wilh
its super laid-back bassline — the
opening cut — which really sets
the perfect tone for the whde album. Other artists indude Jaziac
Sunflowers, Howie B,
Hunch, James Bong, The Eff
Word and others. If you dig
Nightmares on Wax or many
of the Coldcut projects, this will
probably be your style.
Brian Wright
Ludd/Wheeler & Jones)
Good to Go: Short Stories
West Coast Style (book)
(Zero Hour)
Reading Good to Go is like going to the graduation screenings
at your local film schod. Actually,
correct that: ihis is not your local
film schod, this is definitely a film
schod in Seattle. The themes, of
course, are very generation "eat
me!" (sex, delusion, alienation,
etc.) The stories range in quality
and style from handy-cam one-
offs to 35mm surround sound features. There is enough erotica,
drugs and violence to titillate even
the most TV-shocked sensibilities.
Tarantino-esque aspects aside,
many of the stories echo a solemn profundity that settles and
lingers like fragrant pipe smoke
or a cold sweat (depending on
your angle of entry).
Standouts include Deidre
Sulka's beautifully creepy "egg"
and Rebecca Brown's refreshingly non-sentimental "The Gift of
Sweat" (an intimate account of a
friend caring for an AIDS patient).
These two alone are worth ihe
price of admission and if you are
specifically into erotica and/or
the SeaNle scene this book is a must.
Hopelessly Devoted to You
Low price. Lots of songs. Cool
Grease cover song. Only one or
two Iracks youll skip over. Unleash
your wallet, you cheap bastard.
Dove Tolnai
Vath and Moby
MLxMag Uvel
The sleeve of this compilation is
far superior to most— especially
dance CDs — wilh its inclusion
of artist bios, which is a big plus
for me as I like to read about the
artists. Anyone not familiar wilh
the music and DJ prowess of
Sven Vath should buy this to get
a small taste of his style. Sven
Vath takes the opportunity to
showcase his own label's (Eye-
Q, Harthouse) material, includ
ing his own hardhitting An Accident in Paradise and Vernon's
Wonderland, which has just been
re-released as an Eye-Q dassic.
Unfortunately, Moby chose a
very cheezy house style set wilh
the usual vocals and endless piano which left me wanting.
Fortunately, he included his
anthem "Go" — which I still enjoy — and "Next is the E." His
mixes don't come anywhere
near to those done by Sven
Vath, but if house music is for
you, you will enjoy Moby's
nine song effort, which sheds
light on his enigmatic nature.
More of Our Stupid Noise
Like Degrassi Junior High, More
of Our Stupid Noise features a
fine array of Canadian talent.
Bands on the album are ihe fast
rising Treble Charger,
Scratching Post, Versus,
Hayden, and — everybody's
favourite — Eric's Trip. The
pilation is dominated by Ontario
bands, but local Squirtgun stars,
Speedbuggy, hove offered up
"Bionica," a slow, layered, ambient rock song. The twenty-two
track album also dips into other
genres like Hip Club Groove's
rap and the novelty melodies of
Moonsocket. This is a worthwhile collection of Greats from
ihe Canadian indie scene.
Shots In The Dark
You may not hear the snap,
crackle or pop (after all, ihis is
ihe age of laser and digital), but
thirty years on it's still cool to get
those shakers shaking while
wearing the ugliest Hawaiian
shirt available. Shots In The Dark
provides the ideal backdrop for
your very own Tiki Club party.
From the vaults of Henry
Mancini, a gaggle of hep-cots
pay tribute to a bygone era while
dishing up enough smooth
sounds to make the belly swell.
The ice Starrs tinkling right from
the opening cut with the suave
sounds of ihe Boardwalkers'
cover of "Banzoi Pipeline." Ultra-
cool instrumental sway the palm
ferns as the Mancini magic flows
sweet and neat. All the hits are
here, including "The Pink Panther
Theme" by the Oranj
Symphonette and Poison Ivy's
(Cramps) version of "Peter Gunn."
Producer Bob Keane balances ihe Mancini tribute wilh a
wide variety of artists: twenty
songs, twenty bands. Shots In The
Dark takes off like a jumbo-jet
of hipdom and plies the surf,
rock and cocktail trade while
demonstrating the pop sensibilities of the resourceful hi-fi
king. Even The Wondermints'
remake of "The Parly," wilh its
psychedelic Zappa references,
keep the intoxicating potables
flowing like a soda fountain at
the local drugstore. Maybe
mom and pop weren't that
square after all. We just never
bothered to listen.
Pieter Hofmann
at the.      Ji ]
TIX: $5
Saturday Nov. 9
The Starfish Room
November 7
The Town Pump
Doors 9:00 pm   Show. 10:30 p.m.
4atador/Capltol Recording Artists
^^ nataaor*capttoi Recording Art
<heJon Spencer
Blues Explosion
R.L. Burnside
Saturday November 16
Doors 8:30 p.m. VOgUC TheatfC Show 9:15 p.m.
DGC/MCA Recording Artists
with special guests, Warner Recording Artists   SUpCfCI TUQ
Tuesday November 5 Hellenic centre roo^ss
The Vogue Theatre-^ 0,0™.^..
Tickets  at Track,   Scratch,   Black  Swan  &  Highlife  Record  Stores
All  Ticketmaster  Outlets  or  Charge  By  Pfione  280-4444 realliveaction
Wednesday, September 18
Starfish Room
The first thing I saw as I walked
into the room was a guy wearing a Pink Floyd Atom Heart
Mother shirt. This show was
definitely the logical extension
of that early '60s London protoexperimentascene.
Pipedream had called up a
couple of their buddies to release
The Journey from Hamburg to
Berlin Begins, their latest LP.
And what a strange, long
journey it was.
First to take control of my cerebral cortex was Wavestation,
a two-piece trance/progressive
outfit. Theirs was an invisible
music, with frighteningly real
sound effects. A choir of machinery reduced the musicians to
block-clad, bobbing automatons.
They wrote songs for communists
and scientists. Three TVs sparked
in front, in various colours. The
collected mystery of devices was
almost overwhelming. One guy
had a guitar, but he was just kidding. It was no guitar — it was
part of some kind of sacred, hypnotic computer.
Wavestalion is ihe kind of
band that makes you want to
believe in Star Trek. But guys, just
because you weor cool, big
headphones and three-stripe
jackets doesn't give you credibility. I'll buy you a Moog myself,
OK? Some of those Velveeta/
Roland keyboard sounds began
with texture and ended
plastically. And please, don't leaf
through the instruction manual for
yer sampler on stage.
Next up: Readymade, dd
Shindig nonchalants. Their guitars were fashionably late and
they kicked off wilh a Pipedream
instro tune, which was a nice
gesture. Their vocals projected a
lot more cleanly than
Wavestation's, and they employed some excdlent, slow wah
work lhat made ihe guitar sound
like a group of tiny, white
spacecrafts flying over my head.
I wish Wavestation (or anyone
else wilh knowledge of elementary electronics) was running the
mixing board. I think it was the
fourth tune that utilized an interesting and tasteful confusion of
drum machine, brushes, sticks
and mallets. After their final tune
I was silting ihere, still a bit blown
owoy, and the equine neon glow
made the cymbals look like scale
models of magic UFO's. Spooky.
Finally the Pipedream began. They really are the masters
of the newlectronic universe. Exactly
ihe right flavours of modes.
Drums hat make yer tiroat ripple.
Nameless vocals. Faceless slide
guitar. Bass that sounds like philosophical whales making love. Secretly, I ihink that the band members were really Syd Barrett,
Lee Renaldo, and Salvador
Dali. What an astonishing portrait of graceful carelessness. I
haven't heard such archaic and
blistering arpeggios of light and
questions since Andy Warhol.
When the delay pedals were on,
you were reminded of the space
between rain. The vast songs had
all ihe monotony of a long novel,
but wilh a twist of hiphop lhat
sounded like the Clockwork Orange soundtrack had been
remixed by a disgruntled
Beastie Boy.
The stage show was naturally
incomparable: polka dots like
acne on false smoke; apt slides
of skyscrapers. I wanted to explore, even though the only recreational pharmaceuticals in my
body were a handful of
Flintstones multivitamins. The
coolest thing was when some
pretty girl sitting beside me had
to go get another drink from the
bartender because hers hod vibrated right off the counter.
Somelhing aboul Pipedream
makes you frightened. It might be
the huge, grey, surreal distortion.
At the end I felt like a dust
mote wandering in a searchlight of sound.
Saturday, September 21
Starfish Room
What do you do when you're in
a band playing a gig at a
crowded show and no one wants
to listen ... or pay attention ... or
clap? Ignore the dull silence at
the end of each song and keep
going? WbI, lhat's what Toronto's
Venus Cures All decided to do.
That's one point for spirit. VCA
scores a one. No, actually I'll
give them two, 'cause it would
appear that someone in the
band has listened to a Yo La
Tengo album or two.
Then ... there's Mud Girl, the
second band of ihe evening, and
they're scoring points left and
right. Entertaining, energetic,
visually captivating, well-wrilten
songs with some nice harmonies,
even a potential big time radio
hit or Iwo ... better start hating
them now, kids, 'cause Mud Girl
might be going places soon.
As for the main course of ihe
evening, the Manic Street
Preachers proved ihem selves to
be nothing Jess lhan pure, raw
energy bursting through on outlet of ihree tortured individuals
giving their all. The music was
intense and real, and even their
mistakes could only add to ihe
authenticity of the experience.
Wilh a clear, heavy Marshall
sound (at the Storfish Room? Did
they bring their own sound system?) and riffs to make Slash
proud, I understood why people
have a difficult time labeling ihe
Street Preachers as Brit Pop. With
so delicate a mixture of beauty
and pain interwoven through
their music, the Manic Street
Preachers exist a cut above the
dance floor at those quieter
shows. Such was the Smog,
Guv'ner and Cat Power
show. I walked into the venue
with a few preconceptions
about each of the bands,
however. Namdy: Cat
Power were good ond
Guv'ner were bad.
Like a self-fulfilling
prophecy,   I  soon
found out that, indeed, I liked Cat
Power and really
hated Guv'ner.
Chan Marshall
was the lady of the
evening, stripped
bare except for her
electric guitar and
her beautiful voice.
Cat Power was one
of the few things lhat
"worked' lhat night.
Marshall ended her set
in its own right. All we hove
to do is listen.
J. Bilan
Tuesday, September 24   _
The Rage
The problem wilh Sebadoh live
is lhat they aren't too concerned
about impressing anyone with
their live show. I have no problem with lhat necessarily, it's just
lhat this place, The Rage, is about
os uncomfortable as its gargantuan neighbour, BC Place. At
least BC Place doesn't TRY and
hide that fact under the guise of
a mid-sized Rock club. It is, in my
opinion, a simple fact that a band
like Sebadoh — who started out
by getting stoned and recording
in their living room for hours on
end — cannot flourish in this impersonal setting. The Rage feels
like a donk basement with no
windows; Sebadoh can't, or just
don't want to, shine their glorious talent in a run down dd warehouse from Expo '86.
With Ihe exception of two or
three songs in which you could
almost cateh a glimpse of the soul
behind the songwriting, ihis show
was a supreme thumbs down.
The highlight was Jason
Lowenstein screamin' into his
crackling microphone, seemingly
to no beat or rhythm. I believe he
was trying to destroy the already
cutting out sound system. Eilher
lhat or he was trying to drive the
soundman crazy. Either way, I
hope he succeeded. I wish
Sebadoh hod just played in my
Irvingroom, but I guess I can
always play the records.
Co////n Knight
Wednesday, September 25
Starfish Room
Here's ihe new indie trend: sitting
on the floor at shows. The indie
rock antithesis to slam dancing?
An act of reverence? An oct of
boredom? I hove now decided
to commit myself to years of so-
cidogical research regarding the
phenomenon of hipsters sitting
smack dab in the middle of a
jL*ri 7*CuidiYi$
with a stunning rendition of
Thurston Moore's "Psychic
Hearts." (Floor Count: 14/Standing: 0) Then on came Guv'ner
along wilh a million indie rock
cliches, and out went my attention and patience. I literally
fell asleep. (Floor Count: 15/
Standing: 5)
By the time Smog came on I
felt like I had just run a marathon.
The set was disappointing. Bill
Callahan with just an acoustic
guitar would seem to be an ideal
way to see Smog, yet there was
somelhing lacking. This was especially evident in comparison to
Smog's past performances in Vancouver. The songs he played, new
and old, blended together too
much, adding to the already lire-
some atmosphere of the Starfish
Room. My disappointment culminated when Bill left the stage
without doing "Bathysphere."
Oh well, at least later that
night Smog gave me sweet, albeit sod, dreams.
Miss LaLa Twin Stars
Wednesday, September 25
CBC Studio 40
For those tired of Beethoven
and Mozart, the Vancouver
New Music Society allows listeners an opportunity to don their
fake nose-rings and hear a bit of
contemporary orchestral music.
The atmosphere is more rdaxed
here, the musicians wear nicer
ties, and the composers might still
be alive. This year's season
opened wilh the performance of
three pieces by Gavin Bryars,
one of the rock stars of new music. Lucky for us, he was in attendance and I even got the thrill
of peeing in the stall next to him
during intermission, an experience I will not soon forget. Gavin
is perhaps best known for "The
Sinking of the Titanic" and "Jesus' Blood Never Foiled me Yet"
(which became a smash hit after
Tom Waits sang it), but this
concert featured recent and more
conservative works.
The evening opened with his
"Cello Concerto (Farewdl to Philosophy)," a rather intricate piece
with lots of little things going on
in ihe orchestra. Gradually, instruments drop out of the piece, leaving a siring quartet to bear the
brunt of the final few pages. Even-
lualfy ihey too stop playing, leaving the sdoist to play the lost note
entirely on her own. The orchestra wos perhaps a bit tentative al
first, and not always crisp, but
what do I know? Besides, ihey
soon got into ihe spirit of things,
sometimes taking the lead beautifully while the cello played in
the background. The soloist was
Shauna Rolston, whose play
ing wos almost as impressive os
her pants. Black PVC plastic cannot be the most comfortable thing
to perform in, and I was a bit
worried lhat her cello would slip
off her thighs, but fortunately my
fears were never realized and
she maintained a firm grip on the
poor instrument.
In between pieces, Gavin
poked fun at artistic director and
conductor Owen Underhill
over the slow tempo of the performance. I guess Gavin felt lhat
plastic pants and lethargy don't
" On this, I gotta take the
side of the composer; ihey are
Cat ^pouter
£UrpsA IZdo*
always right. (Actually, the musicians are always
right, but as
Gavin observed,
they just do what
ihey're told.)
For me, the
highlight of the
evening was the
last piece, "The
A d n o n
Songbook." The
orchestration was
rather odd, featuring mostly the low
strings. Novtolins,six
violas, four celli, two
double basses, and a
bass clarinet and guitar
thrown in. These instruments
played a melancholy, slightly
discordant chorus. The effect of
the clarinet was striking, ond the
electric guitar blended with the
clarinet or the cello in magical
ways. High above this bass chorus floated the voice of soprano
Valdine Anderson, providing
an eerie contrast against the
murky workings of the instruments. She sang eight songs from
Lebanese writer Etel Adnan's
love Poems, which features lyr-
Two lips tasting mushrooms/
and the Colorado River/ haunting/ the village.../ from the
persistent Mediterranean/ to
the persistent/ Pacific/ we cut
roads wilh our feet/ share
baggage and/ food/ running
always one second/ ahead of
the running of/ Time.
How delicious! For more information on Vancouver New
Music events, call 606-6440.
Sirjohannas Oolandinski III
Thursday, September 26
The Gate
When I arrived atThe Gate, The
Molestics were playing their
crazy ragtime before a fairly full
house and frontman Michael was
getting into his Jimmy Durante/
Crazy Old Bastard antics with the
stanckip bassist the poker faced
straight man. Unfortunately,
sometimes fourth Molestic Nettie
Boulanger didn't make o cameo appearance with her accordion
(possibly due ta her multifoceted
talents' contributions in some
olher worthy enterprise, such as
The Colorifics), but they still
shook the house down with lhat
infectious joss hookum. As is the
usual fate of any opening band,
the dance floor was nearly bereft of dancers, wilh the energetic
exception of Sass the Cigarette
Girl, one of ihe instigators of the
Blue Lizard Cocktail Club,
which was sponsoring the gig. It
was nice to see that nearly half
those in attendance made some
effort to don Cocktail/ Lounge
attire, as befitting the occasion.
Blue Lizard Mistress of Ceremonies, Miss Maxine Von Minx,
introduced Calgary's lounge
kingpins The Dino Martinis.
The visual aspect was all Vegas
flash, and some pre-emptive
schmooze action did go down,
yet the music wasn't strictly
"lounge;" in octuality, it was a
bombastic alchemy of hot jazz,
jump blues, swing, rock V roll
(circa 1950's) and big band,
bewitching the bodies of most
within earshot, compelling ihem
to rhythmically convulse and caper. A few stalwarts managed to
resist, brandishing their alcoholic
talismans and wards.
The DM's played a long set,
pausing for a 15 minute intermission. Many folks were eilher out
past their bedtimes, or didn't hear
the word intermission and bought
the show was over, because the
crowd was noticeably thinner as
the band began the second half
of their set. Those who stayed
were rewarded wilh gold-lame
jacketed guitar-man Danny
Rocket doing "It's Not Unusual"
in his best Tom Jones, with
some audience members instantly
transforming into screaming
groupies for fall effect. They also
performed a suave version of
Motor-head's classic "Ace of
Spades." Towards the end, we
were treated to a virtuoso display
of some far out scat singing,
which felt like my inner ear was
being played like a xylophone
with a funnybone, pdysyllobalic
tonal tympanum tickling, as it
were. All things considered, a
fine evening of quality entertainment out on the town.
Friday, September 27
Starfish Room
Picture a big, empty room filled
wilh the warm sounds and lhat
"Fuck it, let's just have fun" attitude and you have Sister Psychic,
the first of three bands on the
Pansy Division roster. A pleasant
cross between REM and Green
TA* 2>iytt> yHartims
32    novexnber  1996
Day, Sister Psychic was certainly
a surprise for one who was expecting that typical opening
band; you know, ihe kind who
shouldn't be playing basement
parties, never mind live, paying
venues. My enthusiasm was shortlived, however, for Maow — the
second band of the evening —
proved to be of this unpleasant
variety. If vocal melodies that follow chord progressions are your
thing, then you'll want to be seeing this oct sometime soon. The
same holds Irue if you've always
wanted to see the Misfits wilh a
female singer, or if you enjoy
hearing the same song played 31
different ways. At least ihe songs
were short (but not short enough).
Pansy Division saved us
from this verbal insult wilh catchy
tunes and heartfelt gay pride. Listen for "Horny in ihe Morning,"
give yourself to "James Bondage," and fall in love all over
again to "The Summer You Let
Your Hair Grow Out." Imagine
some love, stage ambience, and
a slight haunting sense of The
Forgotten Rebels in the air,
and you have the Pansy Division
gig. They may never play for the
Queen, but the bass player will
remain a princess in my heart.
J. Bilan
Saturday, September 28
The Metro
Sydney, NSW, Australia
This eagerly awaited all-ages
show by three of Australia's top
live acts pole-vaulted over all expectations and provided just over
three hours' worlh of ecstatic, elevating music.
Brisbane kids Fur opened to
an already full house which
cheered just about every note of
their blasting, raucous noise artistry. Lead warbler Kim couldn't
sing in tune if you paid her but
this only adds to the sweet tension existing in the music of
this trio.
Fellow Brisbonites
Powderfinger have
built iheir popularity
on  their  amoz-
Powderfinger, wilh delighted kids
swirling in time to latest singles
"Pick You Up" and "DAF," as well
as stuff from their new album Double Allergic. Singer Bernard Fanning has a voice that is truly an
instrument in and of itself, an all-
encompassing, emotional tool
that coaxes and cajoles a response from even the most jdded
indie-rock aficionados.
Lollapalooza heroes You
Am I blasted into their set with
"Moon Shines On Trubble* from
their latest album, Hourly, Daily,
and met one of the happiest
crowds one can imagine. The
venue was suffused wilh the incredible energy that comes from
having a room full of kids who
are just thrilled to be there and to
whom every song played is a
rapturous fulfilment of breathless
anticipation. The Yous are ihe
best advertisement for constant
touring — they are tight, they are
good, and Tim Rogers, Australia's only equivalent to the Super
Friendz' Malt Murphy, makes
his guitar sound like it has 1 8
strings. He is a showman, a troubadour and a rock god, leading
his now four-member band
through songs from all three albums and enjoying it oil. It was
the sort of show lhat mode you
want to rush home and listen to
oil the You Am I albums again ...
until you remember that ihey're
so damn good lhat you never
stopped listening to them in the
first place.
Sophie Hamley
Monday, September 30
SUB Ballroom
Automatic 7 kicked off their
night on a fairly good note. The
sound was horrible and their
music was generic, but "hey were
decent for on opening act. It
seemed like they were in some
kind of race to finish off iheir set
ihough. Maybe Ihe 15 year old bod-
ass boys' dog cdlars scared them?
Of all Ihe bands lhat played,
I was most interested in seeing
ihe Bouncing Souls. Unfortunately, the sound was still kind of
shitty and you couldn't understand a word out of the singer
and the guitar sounded like a
crapped together mess. They
were really energetic though
and that almost made up for
the poor sound.
SNFU come out to a frisky
crowd. They played amazingly
well, sounded awesome and had
everybody wound right up. Surprisingly there was hardly any
crowd-spitting or head-kicking
antics coming from the boys on
stage. Amazing. Then the power
went out. Everybody figured it
wos some kind of fiveHitinute delay and continued to hang
around the stage. After about half
and hour, people had moved to
the back and were sitting around
bitching. After about an hour,
people were still bitching and a
few people started leaving. Finally, after an hour and a half of
waiting in ihe semidarkness, the
hometown heroes started playing
once again. I figured everyone
would have mellowed out after
sitting around on their asses. No
way. SNFU played even better
than before ihe break and everybody got totally into it right away.
I also noticed lhat Chi Pig was
hacking lugies and former blowing like he was on some kind of
mission. Scrumptious.
Finally, Face to Face look
the stage. I never realized ihey
had such a big following. Everybody was into it. Everybody. By
their second song the pit was
huge, and it didn't die down for
Ihe rest of the show. The new stuff
sounds pretty cool. As an added
bonus, they almost managed to
incite a revdt against the security after one unlucky bastard got
up on stage and then got tossed
phots by
out. They stopped playing
ond then proceeded to
mock the bouncers — I
was impressed.
Dave Tolnai
Thursday, October 3
Mighty Niagara
Vancouver's Fon Fon play
good, clean pop punk
tinted by a dose of New
Wave — like Elastica
without the hand-claps. Playing     strings    of    songs
pausele^sly is always a bonus,
because it can't happen on radio and rarely does on CDs. The
lead singer did stop to introduce
"Beauty Queen" with o rant
against the destructive female
stereotyping in magazines like
Cosmo. A worthy message,
though a bit ironic from a platinum Pamela-blonde in a red,
glittery Fran-Drescher-af-the-
Oscars outfit.
Fon Fon are worlh seeing and
as yet unsigned. Let's hope the
speedball "Can't stand you"
which ended the show is included
in iheir plans for a 7" release.
Spiderbait opened wilh
"Run," a song from the dd British TV comedy series The Good
ies. It's never been released in
Canada (and probably never
will) but the crowd wos not treating it as a warm-up. Spiderbait
are an unusual band. Unlike most
three-pieces, the lead guitarist
(Whitt) is the only member who
does not sing. They play a hard,
fast, curious blend of hard rock
and funk — wilh the emphasis on
fast. As Kram, the drummer with
rubber wrists, quipped,
"Silverchair would love to play
as fast as we do," which is a fitting sentiment to launch into
"Yeah O Yeah," the fastest of
them all.
The excitement d a Spiderbait
show con be gauged by the
length of the all-in scream at ihe
end of "I gotta know." So a spirited yell proved lhat the band had
already recovered from jet-lag.
Their first two EPs were rawer,
meaner and less varied lhan the
new album. But they've started
reworking their earlier stuff live,
making it catch up to their current patchwork style. "Scenester,"
another ddie, was slowed down
to cocktail party pace — maybe
a hint of future direction.
Some new songs were unveiled live for the first lime. The
catchier tunes and sweeter vocals
forced Janet to look like singing
actually requires effort, or maybe
she was just trying to remember
Time didn't allow for encores.
Nobody was going to argue wilh
Kram after he'd just sung and
bashed away a tough as ever
version of 'Sam Gribbles.'
And besides, short, fast and
unfinished ore the ingredients
that make the 'Bait simply, and
dependably, brilliant.
Jonny Pearlman
Thursday, October 3
Starfish Room
I arrived to a crowded Starfish
Room just as California trio Electric Skychurch began their set,
around 9:30. One guy drumming
on digital touch pads, one on
synlh, ond one soaring, ethereal
vocalist. They seemed to be working a bit of a New Age angle.
Technc-tnya. Aptly named for
what they do and pleasant listening music, but I didn't find ihem
very motivating. In all fairness, I
was edgy wilh anticipation for ihe
main performers.
Allhough deferring headline
status ta veterans Meat Beat
Manifesto, fellow Brits Loop
Guru proved themselves capable of generating a higher level
of energy and excitement. Electro-
tribal dervishes, they always
seemed one step from full-on
Krishna Godhead. Itwas incredibly refreshing ta find an "electronic" band wilh so much dynamic stage presence. They virtually exploded in a whirl of kinetic euphoria, eastern ethnic
samples, real singing, and synthetic grooves; globally diverse
elements colliding and meshing
into a kaleidoscopic melange for
the millennium.
Next up was the renowned
DJ Spooky. Perhaps because
he didn't command the attention
of the crowd wilh his presence
the way Loop Guru did, he
seemed very low-key ond unassuming, downturned face nearly
invisible in a mop of dreads. Hell,
he's a DJ; and DJs are about producing, sounds, not visuals.
Watching a DJ is really interesting only when one can directly
observe their technique from
close quarters. However, he did
his thing wilh virtuosity, ihe turntable an extension of his hand
and brain. Many people used his
set os an opportunity to groove,
mingle and socialize. The abstract aural backdrop provided
by Spooky created an excellent
prelude to the somewhat more
aggressive vibes of MBM.
The first volley launched from
the Meat Beat Manifesto arsenal
were Irippy tracks from iieir most
recent creation, Subliminal Sand
wich. Allhough I feel lhat iheir
real strength lies in "he studio, ihe
Meat Beat boys still put on a kicking live show, with frontman Jack
Danger juggling singing and various occult technical manipulations. The synlh player was positioned at the back of ihe stage
on a dais framed by computer-
generated flames and palterns,
and the drummer was up-front,
perhaps to counterbalance ihe
overwhelming presence of digital
gear on stage.
In an unusual move, DJ
Spooky again hit the decks far
ihe pleasure of all who would linger, steadfast in his spinning until shortly after the lights came on,
near 2am.
Somelhing new, to inspire/some
thing Jbiown, familiar fire/ what
more could on electron ica/ aficionado desire?
Friday, October 4
Starfish Room
Upon finding out lhat Calgary's
"barons of beer barrel beat,"
The Von Zippers, would not
be playing, (because would you
drive 12 hours to be paid $ 100?
— I didn't think so...), I left the
Storfish to recuperate from my
slate of dismay, thus missing Million Year Picnic. Reluming a
short time later, I saw Darkest of
Ihe Hillside Thickets playing to a
pocked house of 50 (?) people,
30 of ihem seeming to be friends
ofthe band. Now, normolry I find
when bands play in some kind
of costume/uniform I would like
for iheir music to be just as in- spiring as said costumes, but for
these guys, I felt unamused by
both. OK, two of them were
dressed     as     comic
supervillians, but what the
heck was the singer supposed  to be? Oh well
maybe I just didn't get it.
Fortunately for Calgary's
Forbidden Dimension,
their ghoulish make-up and
signpost matched their
equally creepy, garage
rock (emphasis on rock)
songs. Unfortunately, the
crowd had now been reduced to 20, but the trio
still managed to rock out,
playing songs from their
photo /£**/
two CDs and handful of singles,
including "13 Bloody Graves,"
"Graveyard Line," "My Two
Lovin' Hands" (which coinciden-
tally has the lyric, 'If you're
diggin' my grave ...' Are you
noticing a theme here?) And the
closing un-gravelike number, a
cover of Blue Oyster Cult's
"Stairway to the Starz." After
saying my goodbyes to the
ghastly guys, I descended the
stairway of the Slarfish, wondering why there wasn't more
people in attendance. I guess
songs about graves aren't for
Bryce Dunn
Saturday, October 5
Seylynn Hall
What a trip it is venturing into
the subculture of North Vancouver punk rock. It's becoming a
weekly event: alktges gigs at the
Seylynn Hall available to all by
the magical Lynn Valley-bound
public transit. The hall has a dedicated audience of teens and
pre—teens who have to be home
before dark.
This gig was promoted rigorously, and ihe attendance was
near capacity. AFI has gained
Vancouver fans over the last year
and a half, having performed
previously with Rancid, The
Swingin' Utters, and local
Lynn Valley punk rawkers d.b.s.
Onto ihe concert details: we
have to admit lhat we suffered
through the Drop-Outs. After
listening to a song whose only
intelligible (and fervently repeated) lyric wos "I took speed
last night!" we had to stifle a severe bout of the giggles.
Reserve 34 was minutely
better. It was almost unreal the
amount of people they managed
to cram onto the stage to sing
back-up for them. It must have
been some sort of ritualistic com
petition for
Seylynn Hall; Stickshlft also
filled the tiny stage with silly,
screaming teeny-boys. We enjoyed all of this rather reslrain-
The crowd grew silent for the
next band. Someone on the back
yelled, "d.b.s. sucks!" which was
followed by a few cheers trudging on through boos and a water attack from someone in the
front, d.b.s. worked the crowd
and managed to show that they
deserve the fans they've got,
but their music sounded the
same to us now as it did two
years ago, so we couldn't say
we were really into it.
After DBS came what we had
been desperately waiting for:
AFI. Finally, after spending the
night FEELING a headache growing, we were served up with a
painkiller of ihe sweetest sort.
Lead singer Davey Havoc has an
amazing stage presence lhat enthrals. The music was exactly
what everyone wanted to hear:
a mix of old and new material
performed at a frenzied pace.
The crowd was into AFI 100%
and AFI was equally into the
crowd, feeding off of our energy.
AFI ended their set much too soon
for our liking, but it was in accordance wilh Seylynn Hall's midnight curfew. It hod been a memorable performance.
Julie and Jason
Friday, October 11
The Rage
The Rage has potential to replace
the Commodore as a venue. Its
original '80s motif and relative
lack of atmosphere belie the fact
that The Rage can be a very good
place to watch live music (wilh
at least as many good stage
views as the old Commodore
could ever hove offered). Maybe
the only thing wrong is lhat this
place is first ond foremost a top
40 bar now. Because of lhat, we
had a show lhat began at 8pm
7^ JyttreAs
(so as to end early and
make way for a Friday
night dance crowd) and
was licensed, which prevented many of Sloan's
most diehard fans from attending!
As the crowd filtered in,
Halifax-via-Kingston's The
Inbreds started their set
with one of a dozen-or-so
songs from their new Sydney
or ihe Bush CD. Live, the band
has become a three-piece, and
this added depth to a sound lhat
was already surprisingly full as
o bass and drums duo. Now wilh
a second bassist (sometimes guitarist) adding vocol harmonies,
ihe band played a 45 minute set
of charming to-the-point pop
songs to a crowd that was eagerly receptive.
'Round about 9pm, Canada's own fab four graced the
stage wilh iheir presence to a
spirited, anticipating ovation.
Playing their pop gems in the
same arrangement as on their
record (except for a dramatically
altered and improved "Before I
Do"), but wilh that extra spunk of
live band energy, Sloan sounded
every bit as good as you would
want. Energy enthused and
loose, the show was further improved by their own sound and
lights. I had heard negative comments about the Rage's acoustics, but I was impressed by the
clarity of fhe band's system,
and more so, the curtains on
stage were reminiscent of
Sloan's "Coax Me" video. I
kept expecting them to bow at
the end of each song.
Everything went really well
until after some instrument switching near the end, ond after lhat,
things fell apart somewhat. As
part of the encore, guitarist
Patrick Penlland proved that he
shouldn't give up playing the
guitar for drums when he and
Chris Murphy were attempting
"Deeper Than Beauty." Penlland
didn't quite work out behind the
kit, but he more lhan made up
for il by singing songs from the
new One Chord to Another,
"Good in Everyone" and "Everything You've Done Wrong" (complete wilh Zumpano-esque ba-
bo-ba-ba's, sung in place of the
recording's trumpets).
It was a good thing this show
wos early enough that most of the
attendees were for from drunk
ond perhaps better able to provide the crowd energy thot can
make so many shows much more
memorable. Wilh all of lhat energy, this show was so good lhat
I'm sure those in attendance will
forgive Sloan for omitting almost
every song from their debut
Smeared, if their next gig is all
ages, there won't be anyone to
begrudge ihem.
Tuesday, September 17
Railway Club
Chiens D'Amour, the first-band on ihe roster;;:
were led by a passionate fron-tman who guided the*
audience and his bandmales through the dark Convulsions of the uncertainty of his soul — pretty
heavy for a Tuesday night in the peppy Railway
Club! One of the songs reminded me of Pink
Floyd: soul searching, mumbly words running
through songs of epic length, characterized by
atmospheric pauses and changes of rhythm, kind
of Big Mood Rock. This same song ended with an
all-out rawk-out in which each player screeched
emphatic endings, prolonging the finish for a mile
too long. This kind of self-indulgent, emotional
exploration probably appeals to those less cynical
folk who still hold the symphonic '70s style rock
dear, but I was fascinated. Their set concluded wilh
a lighter, more upbeat creation, however, which
demonstrated flexibility. I must add that the combined sound of ihe guitar and basspjayed by these
guys created a deliciously textured ioUnd, which
goes as nicely as cucumbers (With mayonnaise.
When Sunnyside Down got to the stage !
thought, my god! They're prdbably no! even grad
uated ond they're already:super pop godsl Girl*.
were groovin' — they drew a big crowd. The first
song was punchy, perfectly constructed for big-
label enjoyment. (This is not always a bad thing!)
It was only predictable enough to enjoy, having
an idea of where this ride was going lo take you,
the res! was Innovative. The only drawback was
laughable Iyricis;repeated without discretion —
laughable because the music implied they meant
business, had a dfiving edge to it, but the words ;
were lightweight. ("I om never gonna leave you.")
They played hq|d, though, and for myself, a
whole set of ihrwtening bass one! firework drumming grew tiresome. But if you like pop songs
which don't relax;, pick out SD, they're quite
Saturnhead most likely won because of iheir
flexible pace and pleasant stage presence. Even
ihough we were tdd it was their first time playing,
SatOrnhead seemed to be Masters of the Audience,
doling out plenty of flattering grins and goofy
remarks. These guys played poppy songs too, wilh
a lockadaisical suburban attitude. My favourite tune
was ihe last, which featured harmonizing vocals of
Mr I Wear the Pants in This Bond, his second mate
and the drummer who got out from under his kit to
slowly chant (shakily but bravely) the greatest line:
"The wine has turned into a potion of disease."
Bravo Saturnhead! To ihese, a pair of drum slicks (to
the band which used the drum machine!) Despite
placements, I would recommend checking out al) of
these bands' output, since they were all likeable
and competent ployers!
Sarah Stacy
Tuesday, October 1
Railway Club
Wow! A fair sized crowd showed up on this
Vancouver Tuesday evening to catch some fine
talent. The rather unfortunate thing that happens
sometimes at Shindig is that some bands with
little experience get lumped into a night with
bands that have been hitting the circuit for
months, if not years. Such was the case with
Backroom Shag, a very young band from
Tsawwassen, who probably were not even old
enough to be in a bar. Their music was that of
teenager pop rawk. Plenty of riffs and shrills.
There were a few times when nervousness took
over, a few beats may have been off cue, but
stuff like that only added to the honesty and
down to earth feeling they presented. They
giggled and nervously tried to interact with the
audience. Too cute! They were no slouches, and
they probably played one of their best shows
ever. However, a few more years of playing
together and this trio will go far.
Second on the evening roster was The
Floor, a group of four guys who were just too
damn cool. They reminded me of Brit-Pop, in a
sense of the sound, ihe riffs and the stage presence. Nowadays we are reminded by mega-pop
s lhat those who are onstage
are superior to those in the audience. I must
admit, aside from that, they worked well as a
unit, and they did have a good flawless sound.
The only thing I would like to add is that a simple hello or a thank-you would have broken the
barrier between band and audience; instead,
many people headed for the back of the bar, or
worse — went home.
Lastly, we came across Blisterine. The moment
||ey took the stage to set up their gear, they
in a welcomed sigh of relief into the room;
a trio who was there for the fun of it, to entertain
and to come across as good sports. Sure, their
music would fit in perfectly ot a cdlege beer garden; it hpd classic tongue-in-cheek humour, was
upbeat and you could jump up and down to it.
"They made me laugh many times, and one could
iell that theseguys had been playing together for a
long time. Great percussion, plenty of hooks and
; strong vocals Heck, i enjoyed them, and they
would do well on the spinlist of a iocal rock rodio
station. I, like others, ate it up*but don't roll out the
red carpet just yet...
When oil wos soidSand done, the mighty beer
computer tallied up the votes, and The Floor took
top honours and advanced to the next round. Even
ihough they may be as exciting as watching paint
dry, they do hove all the classic substance to lake
-this one all the way. Bring a book to read. They
would like it lhat way.
Heywood U. Hittmee
I ___ ___■*.
8 2t _■_ I
.ests Speech
Friday Nov. 8 Nov 22
Early Show 8pm Sharp!       N- ^ v ▼ •   ^ ^
Th__>  Dnd_> L*ve at General Motors Place
I  lIC    tlGCvC Tickets also at Track
Nov. 8
££ Starfish Room
Live at
General Motors Place
OR CHARGE BY PHONE 2$0-4444     A ;
34   november 1996 MCA CONCERTS CANADA
Saturday Nov. 23
Pacific Coliseum Concert Bowl
Doors • 6:30 p.m. • Showtime ■ 7:30 pm
Parking lot opens at 4:00 p.m.
Tickets subject to Ticketmaster service charge. Phone orders subject to additional handling fee.
For information call 280-4444 or 253-2311
Tickets available at all TICKETMASTER outlets and Track Records
or Charge By Phone 280-4444
^ The new PHISH album %/Vty firea-7%es in stores now.   11
ii iii.
with guests
Rocket From The Crypt
December* 7
P.N.E. Forum
Don't miss B R EA S TFES T November 21 at the Rage. Admission with a $9.93 donation! no7emberf96   LONG
VINYL nove_.er'q6
i the fiends
the fiends
i hanson brothers
the hockey song    essential noise
2 cub
box of hair
2 starlight conspiracy
big beautiful...             catapult
3 various artists
3 white trash debutantes my guy's...                  two-o-six
4 good riddance
a comprehensive
* secret agent
no winners...         mum 'n' dad
5 snfu
5 silver scooter
biting my nails        peek a boo
6 wandering lucy
leap year
6 full boney
sitting stance                   allied
7 yo la tengo
genius + love
"> magnapop
fire all...          usasisel/dummy
8 duotang
smash the ships...
8 songs: ohia
one pronunciation- secretly Canadian
o jughead's revenge
image is everything          nitro
o drake tungsten
six pence...              peek a boo
io various artists
yo yo a go go
io 764-hero
high school poetry               up
ii various artists
truck songs
ii electric frankenstein action high        intensive score
12 tullycraft
old traditions...
12 submission hold
garlic for victory! independent
13 the mysterons
hot dog, pop...
13 the great mongoose
hong kong baby                  1+2
n nerf herder
nerf herder
14 holly go-lightly
pinky please...      super electro
15 dino martinis
the bottle...
15 satan's pilgrims
the rise and fall...                  k
16 nerdy girl
twist her
janken pon
16 hormones
castaway b/w all kindsa.. empty
n various artists
darla comp. vol. V
17 the havocs
hit songs for bowlers     imcool
18 the stand gt
apocalypse cow!
lance rock
18 lousy
kewl                               sappy
io robert pollard
not in my airforce
io the snow queen
travesty befalls...            smilex
20 ween
12  golden...  elektra/warner
20 atomic boy
i wanna destroy           hipnotic
21 tobin sprout
carnival boy
21 number one cup
malcolm's x-ray...      derivative
22 tool
22 countdowns
ghettoJVw crawlin. scooch pooch
23 overwhelming colorfast moonlight..
headhunt er
23 the detroit cobras
ain't it a shame   scooch pooch
24 buffalo daughter
captain vapour...
grand royal
24 holdenpayne&...
shuffle.                           empty
25 kato hideki
hope & despair
25 the mants
half man, half ant       roto-flex
26 weston
got beat up
go kart
26 mecca normal
paris in april                         k
27 kinnie Starr
violet inch
27 the grumpies
like any other...     independent
28 smog
the doctor came...
drag city
28 the nonpareils
engine                        papercut
29 pleasure fuckers
for your pleasure
20 the la donnas
invasion                               k
30 azalia snail
deep motif
candy floss
30 the b-movie rats
soul fucker               lap dance
3i huntington cads
go exotic!!
mai tai
31 tokidoki
margie's candies       tiny shoes
32 new speedway kings all ages show
32 shiva speedway/cat ion
split                         echostatic
33 sense field
33 the nomads
tron dream            norse sound
34 butter 08
grand royal
34 ufofu
the thing of it is      time bomb
35 automatic 7
past our means
35 trollin withdrawal
emil eye                   erroneous
novemberf96 INDIE HOME JOBS
little    twin    stars
top ten
FRIDAYS                   2
: 0 0 P M
3 : 3 0 PM
i scissor girls
2 harry pussy
ride a dave
3 butter 08
grand royal
•> richard davies
there's ne* er...
5 jon spencer...
now i got worry       matador
6 catpower
what would...think? matador
7 cindy dall
drag   city
8 zumpano
goin' through.
sub    pop
9 un
io thinking fellers...
i hope...
i the stupes
2 hissy fit
3 the tonebursts
masters of karate
4 thee pirates
the pirate song
5 violet                                  i
step on all the cracks
6 thee spivees
7 wiggler
bad man hank
8 juniper daily
never cry wolf
9 quonset
desert blade
io bronte brothers
n the smoking jackets
baltic boogie
12 captain bloody america
what is blue?
13 rooter
14 10 ft. henry
oh oh
15 dirtmitts
16 preston
17 f-jam
have it all
18 thee uppercrust
19 the unhappies
badger girl
20 mizmo
tarantino cringe
21 coal
22 chris coon
23 pest 5000
break my heart
24 gaze
25 something ska
mr. roustabout
26 thrill squad
out of touch girl
27 308
28 jackass                       reality
bites in santa barbara
29 the wingnuts
hate my job
30 idiot savant
31 automatic slim
32 oh Susanna
33 kinnie Starr's b.k. lounge
devil's claw
34 squeeky
ten twenty-three
35 celestial magnenta
salad days
JO        cool        thixiss
i phantom surfers      great surf crash of '97    lookout
2 registrators terminal boredom rip-off
3 spaceshits full-fisted action 2x7" sftri
4 sons of hercules      hits for the misses unclean
5 new bomb turks      stick it out 7"    fat wreck chords
6 oblivians strong come on 7" crypt
7 stand gt apocalypse cow!        lance  rock
8 weston got beat up go  kart
9 new spdwy kings     all ages show shredder
io my new baycrest compact turntable that I scored at the
Surrey Value Village for $13.00!
miko made a mixed tape to torture the discorder kiddies with
during production week hell, er, heaven ... the playlist:
cat power, tortoise, ida, mary lou lord, cub, david s. ware
quartet, wandering lucy, land of the loops, heavenly, dj spooky,
henry's dress, coctails, huggy bear, holly go-lightly, team dresch.
for carnation, untitled, she-brews, mountain goats, tullycraft,
bedhead, helium, freakwater, palace, good horsey,
superconductor, verbena, jale, matthew hattie hein, & some
other artistes that escapes my poor, overworked brain ...
more music for rainy day musings: inbreds, duotang, smog,
sleater-kinney, excuse 17, kato hideki, go sailor, trans am,
bikini kill, tool, ani difranco, versus, zumpano, spent
and, um, yeah ... we listened to CiTR 101.9 fM. just cuz.
36   novexnber 1996 SUNDAYS
12:00PM All of time is measured by its
art. This show presents the most recent
new music from (round the world. Ears open.
Reggae irwa all styles and fashion.
lum & helen for another month of travels.
Bring Confetti!
QUEER FM 6:O0-8:00PM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened lo by
everyone. Lots of human interest
features, background on current
issues and great music from musicians
of all sexual preferences and gender
GEETANJAU 9:00-10:00PM Geetanjali
features a wide range of music from
India, including classical music, both
Hindustani and Carnatic, popular music from Indian movies from the
1930's to the 1990's, Semi-classical
music such as Ghazals and Bhajans,
and also Quawwalis, Folk Songs, etc.
Join host Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed to make you think
twice. Bring your tape deck and Iwo C-
90s. Originally broadcast on KFJC (Los
Altos, California).
4.O0AM Drop yer gear and stay up late.
Naked radio for naked people. Get bent.
Love Dave.
11:00AM Your favourite brown-sters,
James and Peter, offer a savoury blend
of the familiar and exotic in a blend of
aural delights! Tune in and enjoy eoch
weekly brown plate special.
1.O0 PM With your hosts the Gourd of
Ignorance. What will we play today?
Rog will put it away.
Two shows became one! An hour of
Mekanikal Object Noize (industrial/
nois/techno) and an hour of Skintight
Buffoonery (lounge, jazz, britpop)
June scudeler@mindlink.bc.ca.
I endeavour to feature dead air, verbal
flatulence (only when I speak), a work of
music by a twentieth-century composer
— can you say minimalist? — and
whatever else appeals to me. Fag and
dyke positive. Mail in your requests,
because I am not a human-answering
machine. Gotaquarterlhencall someone
who cares.
POLYPHONIC al. 7:00-9O0PM listen for
all Canadian, mostly independent tunes.
Vancouver's longest running prime time
jazz program. Hosled bytheevei-suave
Gavin Walker. Features at 11.
Nov. 4: "Straight, No Chaser" new re-issue
by Thelonious Monk
Nov. II: Pianist and composer Oscar
Peterson adn his Canadiana Suite.
Nov. 18: Vibraphone great Milt Jackson & a
best-loved album, 'Opus de Jazz"
Nov. 25: Lee Knoilz leads his Nonet in concert
with guest Red Rodney.
2:00PM Jazz, breaks & the silence in
between 9 160bpm.
not a free cuntry, and we're
demanding acuntability! Wake Up
with our collective show! Interviews,
issues, and music.
IQRA 5-30-6.-00PM News, issues, and
concerns facing Muslims throughout the
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:OOPM Get on
board Vancouver's only tropical fiesta
express wilh your loco hosts Rolando,
Romy, and Paulo as they shake it and
wiggle it lo the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hot
it'll give you a tan! ((RADIO
NAKED RADIO alt. 10:00PM- 12:00AM
From Thelonious Monk to Meridith Monk
... we'll play it. Genre busting, cutting
edge jazz and other experimental
sounds, plus informative label/artist
features. Join Mike and Sean.
Warning: This show is moody and unpredictable. It encourages insomnia and
may prove to be hazardous to your
health. Listener discretion is advised.
LOVE SUCKS   12O0AM-2O0PM  If you
can't make sense of it, and lhat bothers
you, go somewhere else.
3:00PM Riot Grd Radio.
MOTORDADDY 3O0-5O0PM "Let those
who ride decide!"
ESOTERIK ah. 6:007:30PM   Ambient/
experimental music for those of us who
know about the illilhids.
SOLID STATE all. 6:00 lo 7:30PM
Featuring the latest in techno, trance,
acid   and   progressive   house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
troubadour squat string Irio, go sailor,
rock for choice... these are a few of our
fawoh-writ things, la la la!
Soukous, Samba, Salsa. Yes! Even Soca.
Enjoy thisTropicd Daiquiri with El Doctor
del Ritmo.
12.00 AM Let DJ's Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkh de phutay.' listen to all our
favorite Punjabi tunes - remixes and
originals. Brroaoah!
The Robotic Revolution is coming, be
prepared: vote robot. Psychotronic
excitement w/ female automan Fem-bot.
all-Canadian soundtrack for your
midday snack!
STEVE & MIKE 1O0-2O0PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby.
JUSTIN'S TIME 2:00-3:OOPM For some
cool jazz by some swingin' singers and
boppin' players, tune in and don't miss
out on some happy times!
OUT FOR KICKS 6:00-7:30PM No
Birkenslocks, nothing politically correct.
We don't gel paid so you're damn right
we have fun with it. Hosled by Chris B.
Roots of rock & roll.
9O0-11 OOPM Local muzak from 9.
Live bandz from 10. Nov 7: The
Electrosonics Nov 21: The Empty's
Morgan le Fay brings you the latest info
and tunes in the realm of electro/
industrial & synlhcore. Hard beats
toinvigorate your late nighl angst.
10:00AM Join Greg in the love den
for a cocktail. We'l hear retro stuff,
groovy jazz, and thicker stuff too. See
you here... and bring some ice. XOXX
TELESIS 10:00-11:00AM Tune in for
discussions, interviews & information
relating to people who live with physical
& mental challenges.
12O0PM Featuring the death-defying
sounds of ska — old and new — with
your hostess Julie and Scolly.
UTTIE TWIN STARS 200-3:30 PM Kiki Liki
PRESENTS... 3:30-4:00PM Have a
good brunch!
NATION 2 NATION ab. 6:00-9O0PM
Underground sound system-style
mastermix radio.
"Love" Jones brings you the best new
and old Jazz, soul, latin, samba, bossa
& African Music around the wodd.
FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio Fne
America Series.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
UMPSNK12O0-2:30AM Hosled by the
G42 players. "The show lhat doesn't
hate you." with your friendly pals Friar
Fritter Abfackeln and Postman Pat.
Alternating with Dr. Killdare
LUCID SOUL 2:30-4:00AM Dr. Killdare
plunders even further into the wee hour
doing what he can to keep secu rity guards
and 7-11 clerks awake. Waywayway
deep dance stuff and other ha II uc inafy ing
Music you won't hear anywhere else,
studio guests, new releases, Brirish
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
Heportat 11:30 AM. 8-9 AM: African/
World roots. 9-12 noon: Celtic music
and performances.
Vancouver's only true metal show; local
demo tapes, imports and otfier rarities.
Gerald Raltlehead and Metal Ron do the
THE SHOW 6:0O-8:00PM Strictly Hip
Hop — Strictly Undergound — Strictly
Vinyl With your hosts Mr. Checka, Flip
Out & J Swing on thei &2's.
HI-HAT 11 OOPM 1.O0AM Rock over
London, rock on Chicago.
Hear ye!
Come to rm 233 in
the UBC Student
Union Building.
Training Provided
Listen up:
November 13
Arts any takers?
Board Chair Harry Hertscheg
Business Mgr. any takers?
Current Affairs any takers?
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Chris Allison
Mobile Sound Ken Orchard
Music Megan Mallett
President Ryan    Ogg
Production Stobhan McCracken
Programming Namiko Kunimoto
Promotions Paul Kundarewich
Secretary Marlene Yuen
Sports Slavko   Bucifal
Station Manager Linda Scholten
Student Engineer Fern Webb
Traffic Sarah Stacy
Vice  President Justin   Ho
Volunteer Coordinator   John Rustdn
37   EH
4*t:   >yj,U.t,y,y.     r- november
A Multimedia Trip to the Outer Limits of Art and Space-Pacific Space
Centre...CiTR PRESENTS ELVIS CANTATA ll-St. Andrew's Wesley
Church...Royal Grand Prix at the Railway Club..I'm Not Fascinating:
The Moviel, 9:00prtv»he Edison Electric...Cries and Whispers, 7:30pm
& After the Rehearsal, 9:20prrvPacific Cinematheque...The Spitfire Grill,
7:15pm & Angels and Insects, 9:30pnvRidge...
SAT 26 CiTR PRESENTS ELVIS CANTATA ll-St. Andrew's Church...
The Torture Animals & The Insipids-Columbia...Ralph-Railway Club...I'm
Not Fascinating: The Moviel, 9:00pm-Edison Electric...Cries and Whispers, 7:30pm & After the Rehearsal, 9:20pitvPocific Cinemaiheque...The
Spitfire Grill, 7:15pm & Angels and Insects, 9:30pnvRidge...
SUN 27 Plotnick Super8 Workshop, 12pm & I'm Not Fascinating:
The Movie!, 9:00pmEdison Electric...Oliver lake's Matador of First ond
First-Glass Slipper...Fanny and Alexander, 7:30pm-Pacific
Cinematheque...The Spitfire Grill, 7:15pm & Angels and Insects,
MON 28 Bob Mould-Town Pump...Fanny and Alexander, 7:30pm-
Pacific Cinematheque ...SwitchbladeSisters, 7:30pm & 9:30pnvRidge...
CLUB...Switchblade Sisters, 7:30pm & 9:30pnvRidge...
WED 30 Serotones, Automatic Slim & Green Eyed Jealousy-Starfish
Room...Varnish-Town Pump...Masterpieces of Italian Cinema: The Fiances, 7:30pm & 9:15pm-Pacific Cinematheque...Switchblade Sisters,
7:30pm & 9:30pm-Ridge...
THU 31 The Fiends w/The Crawlers & The Mach IH'sMiagara.. Archers
of Loaf, Field Day & Closed Caption Radio-Starfish Room...Rymes With
Orange-Town Pump...Nosferaru, 7:30pm & Vampyr, 9:00prtvPacific
Cinematheque...Switchblade Sisters, 7:30pm & 9:30pnr*-Ridge...
FRI 1 Scareyoke-Starfish Room...What We Live (Four)-Western
Front...The Virgin Spring, 7:30pm & The Rite, 9:15pm-Pacific
Cinematheque...SLEATER-KINNEY& Mocket-Crocodile Cafe (SEATTLE)...
SAT 2 Limblifter, Copyright & Speedbuggy-Starfish Room.. Jaap Blonk-
Western Front. ..The Virgin Spring, 7:30pm & The Serpent's Egg, 9:15pm-
Pacific Cinematheque...
SUN 3 Down By Law-Town Pump...George Graewe/Frank Grarkowski/
Francois Houle-Western Front...Through a Glass Darkly, 7:30pm AThree
Strange Loves, 9:20pm-Pacific Cinematheque...
MON 4 Through a Glass Darkly, 7:30pm & Port of Call, 9:20pm-
Pacific Cinematheque...Live Bait, 7:30pm & The Last Supper, 9:20pm-
CLUB...Billy Bragg & Robyn Hitchcock-Vogue...Diana Hartog reading
at Women in Print...La Dolce Vita, 7:30pm-Pacific Cinematheque...Live
Bait, 7:30pm & The Last Supper, 9:20pm-Ridge...
WED 6 Gillian Welch w/David Rawlins & Darden Smith-Starfish
Room...La Dolce Vile, 7:30pm-Pacific Cinematheque...Supercop,
7:30pm, & Rumble in the Bronx, 9:25pm-Ridge...
THU 7 Wedding Present & Versus-Town Pump...Phono-Comb-Starfish
Room...Weezer & Superdrag-Hellenic Centre...The Specials-Richard's
on Richards...The Magic Flute, 7:00pm & 9:30pm-Pacific
Cinematheque...Supercop, 7:30pm & Rumble in the Bronx, 9:25pm-
F-RI 8 The Specialsttchard's on Richards...Gas Huffer & Trick Babies-
Starfish Room...Porno for Pyro^Ragc.Ugelsu, 7:30pm & Sisters of Gion,
9:25pm-Pacific Cinematheque...
SAT 9 The Inbreds & Local Rabbits-Starfish Room..Jonnie Bakan
Sexlet-Glass Slipper...Malaika-St. Andrew's Wesley Church...Ugetsu,
7:30pm & Sisters of Gion, 9:25pm-Pocific Cinematheque	
5pm...Vancouver New Music 25th Anniversary Party-Van East Cultural
Centre...Winter Light, 7:30pm & Summer Interlude, 9:10pm-Pacific
MON   11   Winter Light, 7:30pm & A Lesson in Love-Pacific
Cinematheque...Blue, 7:30pm & White, 9:30pnvRidge...
Film Night, 8:00pm-Pacific Cinematheque...Blue, 7:30pm & White,
WED 13 CiTR PRESENTS LOUD & QUEER, tune in for all day all gay
programming...Lemonheads,  Money Mark & Frosted-Starfish
Room...Suzanne Vega w/ Ron Sexsmith-Richard's on Richards...Susan
Bowes & Patricia Nolan reading at Women in Print...La Notte, 7:30pm
& 9:45pm-Pacific Cinematheque...Red, 7:30pm & The Double Life of
Veronique, 9:30pm-Ridge...
THU   14   Oranj Symphonette-Starfish Room...Canada Dances I,
7:30pm-Pocific Cinematheque...Red, 7:30pm & The Double Life of
Veronique, 9:30pm-Ridge...
RAGE...Treble Charger & New Grand-Starfish Room...Sansho the Bailiff, 7:15pm & Osaka Elegy, 9:35pm-Pacific Cinematheque...
L. BURNSIDE-VOGUE...NoggiivSugar Refinery...The Hanson Brothers-
Town Pump...Mod Professor-Starfish Room...Sansho the Bailiff, 7:15pm
& Osaka Elegy, 9:35pm-Pacific Cinematheque...
SUN 17 Railroad Jerk-Starfish Room...From the Life of the Marionettes,
7:30pm & Face to Face, 9:30pm- Pacific Cinematheque...
MON 18 From the Life of Hie Marionettes, 7:30pm & The Touch, 9:30pm-
Pacific Cinematheque...Long Day's Joumy into Night, 7:30pnvRidge...
Club...Barbara Wilson reading at Women in Print...Long Day's Journy
into Night, 7:30pm -Ridge...
WED 20 Profain, Voivod & Crisis-Starfish Room...La Notte Brava,
7:30pm & 9:30prt>Pacific Cinematheque...Ma Saison Preferee, 7:00pm,
Purple Noon, 9:30pnvRidge...
THU 21 Under the Volcano Benefit, bands tba-Starfish Room...Breastfesh
Bif Naked, Mollies Revenge, Mudgirl & 2 Precious-Rage...Canada Dances
II, 7:30pm-Pacific Cinematheque...Ma Saison Preferee, 7:00pm, Purple
Noon, 9:30pnvRidge...
FRI 22 Skydiggers-Town Pump... Women and Children Last launch at
Women in Print...The Life of Oharu, 7:15pm & A Woman of Rumour,
9:45pnrvPacific Cinematheque...
SAT  23 Skydiggers-Town Pump...The Life of Oharu, 7:15pm & A
Woman of Rumour, 9:45pm-Pacific Cinematheque...
SUN 24 The Story of the Last Chrysanthemums, 7:00pm & The Life of
Oharu, 9:35pm-Pacific Cinematheque...
MON 25 Godflesh & V.O.D.-Starfish Room...The Story of the Last
Chrysanthemums, 7:00pm & The Life of Oharu, 9:35pm-Pacific
Cinematheque...Best of the 21st Annual Banff Festival of Mountain Films,
the 21st Annual Banff Festival of Mountain Films, 7:30pm-Ridge...
WED 27 The Bottle of Algiers, 7:30pm-Pacific Cinematheque...Best of
the 21 st Annual Banff Festival of Mountain Films, 7:30pm-Ridge...
THU 28 Kickopoo Joy Juice-Starfish Room...Persimmon Blackbridge
reading at Heritage Hall...Carmen, 7:30pm-Pacific Cinematheque...Best
of the 21st Annual Banff Festival of Mountain Films, 7:30pm- Ridge...
FRI   29   Linda Perry & 4 Non-Blondes-Town Pump...Marianne ond
Juliane, 7:30pm &The Promise, 9:35pm-Pacific Cinematheque...
SAT 30 Forgotten Rebels-Starfish Room...Renee Rodin's book launch
for Bread and Salt-Van. Press Club...The Promise, 7:15pm & Marianne
and Juliane-Pacific Cinematheque...
eveiythiflft, n*wl tn know
eveiywEorey A** fl&U'to go
The Abyss 315 E. Broadway (side entrance)
Anzo Club 3 W. 8lh  (Mount PI
Arts Hotline
Bassix 217 W. Hoitinai (al Cambie)
Backstage Lounge  1585 Johnston (Gronville Island)
Black Sheep Books 2742 W. 4th (al MacDonald)
Cofe Deux Soleils 2096 Commerciol (the Drive)
Cofe Vieux Montreal 317 E. Broodwoy  (Mount Pleasont)
Caprice Theatre 965 Granville  (Granville Mall)
Celebrities   1022 Davie  (ol Burrard)
CN Imox Theatre 999 Canada Place
Columbia Hotel 303 Columbia (al Cordovo)
Commodore Ballroom 870 Granville (Granville Mall)
Commodore Lones 838 Gronville (Granville Moll)
Cordova Cafe 307 Cordovo (Gastown)
Crosstown Traffic 316 W. Hostings (downtown)
Denman Ploce Cinemo   1030 Denmon  (West End)
DV8 515 Dovie (downtown)
Edison Electric Gollery/Cofe 916 Commerciol  (the Drive)
Firehall Arts Centre 80 E. Cordova  (olMoin)
Food Not Bombs Voncouver
Frederic Wood Theotre (UBC)
Garage Pub 2889 E. Hostings (downlown)
Gostown Music Holl 6 Powell (Goslown)
Goslown Theatre 36 Powell (Goslown)
TheGote  1176 Granville (downlown)
Glass Slipper 2714 Prince Edward  (Mount Pleosant)
Gracelond  1250 Richords (downtown)
Greg's Place 45844 Yale Rd. (Chilliwack)
The Grind Gollery 4124 Main (Ml. Pleosont)
Hastings Communily Centre 2096 E. Hastings (near PNE)
Hemp B.C. 324 W. Hastings (downlown)
Hollywood Theatre 3123 W Broadway (Kitsilano)
Hot Jazz Society 2120 Main  (Mt. Pleasant)
Jericho Arts Centre   1600 Discovery (Pt. Grey)
la Queno   1111 Commercial  (ihe Drive)
The Lotus Club 455 Abbott (Gastown)
lucky's 3934 Moin
Luv-A-Fair 1275 Seymour (downtown)
Malcolm Lowry Room 4125 E. Hastings (N. Burnaby)
Mars  1320 Richards (downlown)
Maximum Blues Pub 1176 Granville (downlown)
Niogora Hotel Pub 435 W. Pender (downtown)
Odyssey Imports 534 Seymour (downtown)
Old American Pub 928 Main  (downtown)
Orpheum Theatre Smilhe & Seymour (downlown)
Pocific Cinemotheque   1131 Howe  (downlown)
Paradise 27 Church (New West)
Paradise Cinema 919 Granville (Gronville Mall)
Pork Theatre 3440 Cambie (South Vancouver)
Pit Pub basement, Student Union
Raffels Lounge  1221 Granville  (downl
The Roge 750 Pacific Blvd. South (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour]
Richord's On Richards  1036 Richords (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W.Cordova (Goslown)
Southhill Candy Shop 4198 Main  (ot 26th)
Storfish Room   1055 Homer (downlown)
Starlight Cinema 935 Denmon  (West Endl
Station Street Arts Centre 930 Station (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Theotre E 254 E. Hastings (Chinotown)
The Tower 339 W. Hastings (downlown)
Town Pump 66 Woler (Gastown)
Track Records 552 Seymour (downlown)
Tree House Lounge 602 Dunsmuir St.  (downtown)
Twilight Zone 7 Alexander (Goslown)
UBC CINEMA  (located in the SUB)
UBC Grad Centre Gale 4  (UBC)
The Underground   1082 Granville (downlown)
Vancouver East Cultural Centre  1895 Venables (al Victoria)
Voncouver Little Theatre 3102 Moin (Ml. Pleasant)
Vancouver Press Club  2215 Granville  (S. Gronville)
Varsity Theotre 4375 W. 10th  (Point Grey)
Vert 2412 Moin  (Mt Pleasant)
Video In Studios   1965 Main  (Mt. Pleasant)
Vogue Theatre 918 Gronville  (Granville Mall)
Woterfronl Theatre   1405 Anderson (Gronville Is.)
Western Front (303 E. 8th Ave)
Whip Gollery 209 E. 6lh Ave (alMain)
W.I.S.E. Hall 1882 Adonoc (the Drive) 254 5858
Women In Print 3566 W. 4th (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downlown) 6819253
Zulu Records 1869 W. 4th (Kitsilono) 738 3232
INFO (WHO, WHERE, WHEN) TO 822 9364,
38   november 1996 •
it Greatest Funkin' Hits i-V
fl    The most influential songs in hip-hop remixed with today's biggest rap stars '■■L
ATOMIC DOG (Dogs Of The World Unite Remix) FLASHLIGHT (The GrooveMasters' Mix)
KN€€ D€€P (Deep As A Mutha Funker Remix) plus eight more classics redefined,   wrrjj
http://hollywoodandvine.com     C_SJ__
specially priced at
) r.«_S
1869 W 4th Ave.
Vancouver, BC
tel 738.3232
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
It's November and..
I'm leaving on a jet planet
Next   stop:   The   Zulu   Terminal
Your   Main   Hub   With   Connections   To   Any   Musical   Resort
last year's On* Tra<k Mind left off, this
record will rock you, shock you and contort yo
Kind Hearted Woman ce The Sea And The Bells cd/2LP
the Folk-Fes) circuit, Michelle Shocked has   By approaching other musical genres (other than
punk-rock) wilh a D.I.Y. attitude, the members of
Rachel's have produced some very engaging
music. Following up from their remarkable and
warmly regarded Music For Egon Schiele
Rachel's flexible line-up have returned with their
most diverse and challenging recording. Rachel's
blend many elements, without attitude or pretension. While the parts and seams of their compositions are not hidden, there is no romanticization of
pastiche. What is present is a humble effort toward a
goal of "good music" (no small or simple task).
l^CD   1658 2LP
carved out her own new-troubodor niche, fashioning non-conventional stylized anthems for our urban times. Consistent
and confident, Kind Hearted Woman reupholster
Shock's independent framework ond furnishes both the
ur       hearth and soul with her own brand of furtive endearment.
body into positions you didn't even think you could    Nurture I""" Novemb*r "'91" ~ KiBd Hoartod Woman.
get into. A cavalcade of blues-rock journeys done      | £?$ CD
New York style awaits your healthy ears, and just
as the conductor says... "get on the track kids,'«
the Jerk is gonna run yau aver!"
16^ CD   lO^LP
Dikont C0/2LP
More interesting noise from these European decon-
structionists. Oval's deliberate intervention into
the technical values of production and reproduction challenge aesthetic assumptions and confront
- in order to encourage - a renewed self-ref lex-
ivity thorugh popular culture interaction. Tlie
intertextuality of it all. Far out.
162* CD      1A&21P
Much like the port of the mighty cosmos orbitting
'round the heavenly sun, you will find yourself
encircling the Chemical Brothers' new fiery
Setting Sun EP with waxen wings (dangerous
yes, but danger is cool). With heat ond brilliancy,
the Brothers send Oasis' Noel - o brother
in his own right - Gallagher into a myriad of
Beatle rhythms and phat end. Preserved and
smarter, Icarus is in the house, and you should be
too for this cross-over of the year.
758 CD.EP
Virtually unknown beyond cult
and his native Australia, Ed
Kuepper musical colling card
both impressing and well travelled,
including cutting his teeth with the snotty modem punks of
the Saints. Frentieriand is his umpteenth
K CD/Cassette
// - me Minrs. rronrivrinna n m> unipieeiini >uiu        . .    .
outing, combining melodic acumen, sharp lyricism ond strong    f   i _j. - if..      w ■_
musicol interplay, into Kuopper's true tramp cord -well      .?.     ' ,   /.  , .
I interplay, into Kuepper i true tramp cord -
rounded, nerve-pinching snogwriting! So leave no stone
unturned, no lead unchecked, ond give this sophisticated pop
platter its due turn. Ed Kuepper's evidence is in! This cose
.65* CD
Now I Got Worry
Come hell or high water, destitute or depression - you
shall be released in the name of the Blues
Explosion. Bank on it. Foxy blues, Blues Fox-trot. Get
up, get down. Yeah, come sickness or malady, Jon
Spencer gonna set you right, 'cos Now He Got
Worry. Righteous blues, raucous blues, well dressed
blues. In the best of times, in the worst of times... in
Blues Explosion time. Now You Got Worry!
P.S. Someone take him to the bridge... and then The
Vogue Theatre on Saturday, November 16.
1658 CD   IO28 LP   1058 CS
The Natural Bridge cd/lp
In the midst of a strong technological hegemony in music
making, some cats stick to their guns (and the physical
engagement of instruments, etc.). Indie rock has not been
totally eclipsed, or simply institutionalized. A bit, sure. But
what has also happened is that the better artists have found
the space to work out their individuality. D.C. Bergman
is one of these cats. Friends with Pavement (who assisted him on his last recording), Bergman has decided to
establish a little artistic autonomy. Good choice. Fans of the
last Silver Jews recording will be happy to hear that
Bergman was more than an accomplice; he was mindful
and involved; ond apparently responsible for the
country/indie rock hybrid sound of the Silver Jews (and
the weird lyrics, too). Cool.
1658 CD   1458 2LP
Shaker make their their
North American debut with K. The album takes you
on a Magicial Mystery Tour of early-Deep Purple
meets the Stone Roses guitar pop with a few
tablas and ethnic harps to complete the psychedelic
journey. Produced by the oforementioned Roses'
very own John Leckie, K will enthrall you with
such hipswingin' singles like "Tattrc" ond "Hey
Dude." Don't be surprised if they becomd Britain's
next big export, K? Available October 29th.
1658 CD   10s8 CS
Being There zee
Wilco ore the kind of band thot seem to really enjoy
making music. Which is just fine, becouse the music
they make is very good indeed. Good news, it seems
that the boys from Wilco (featuring Jeff
Tweedy) have been hard at work, producing
enough for a double album. Old fans will be quite
satisfied with the quality of the new material, and
new fans will soon catch on. Another Zulu favourite.
Ye-haw. Available October 29th.
1658 2CD
*— r_g?.__r,.TTun^zrJZ'w...,
Dead Inside cd
On this latest recording, the Golden Palominos
continue to explore an array of sounds, styles and
rhythms thot most of their contemporaries struggle to
keep up with. Never afraid to experiment ond evolve,
Anton Fier and Co. impress us again on this most
diverse and inspiring release that demonstrates why
they are such a large influence.
1658 CD
Team Mint co
compilation that highlights
many of Mint's memorable
years or so. Nine bands (cu
Groovie Ghoulies, Huevos Rancheros,
Maow, The Mr T Experience, Pansy
Division, The Smugglers) performing twenty
songs culled from fourteen releases makes this the perfect mixed tope - for your CD player! Available Nov. 5th.
658 CD
Prices in effect until November 30,1996.
CD-EP Parts 1 + 2
CB-IP Parts 1 -h 2 / 7-iich
CD-EP /12-iiel
CD-EP / 12-iKH
MVtgs And Guns cd
Coming early November. Sook-Yin's second self-produced solo release - a soulful eclectic tour de
force, also featuring pals extraordinaire Chester Brown, Joe Matt and Dale Morningstar!


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