JUNe/98 THST MUCKRaKiNO MaGaZiNe FROM CiTR 101.9 FM FRee! JPRiNG VaN New MllGiC Fe9T GaQTR DeL QOL GaRY NuMaN DiaNOGaH caLeXiCo RYaN "MOTORaMa" SCHMiDT du Maurier 4Mew Groove Series Move your feet to the hottest funk, blues, jazz and latin sounds. Richards on Richards 1036 Richards Street Philosopher Kings plus Millennium Project FRIDAY JUNE 19 8PM Roomful of Blues SUNDAY JUNE 21 9PM An Evening with Andy Summers plus Strange Weather MONDAY JUNE 22 9PM Los Pleneros de la 21 plus Rumba Calzada WEDNESDAY JUNE 24 9PM Pleneros de la 21 Greazy Meal plus JukeJoint THURSDAY JUNE 25 9PM Billy Branch & Sons of Blues FRIDAY JUNE 26 8PM Lhasa SUNDAY JUNE 28 9PM Tickets and Information BCTEL Jazz Hotline 872-5200 Ticketmaster 280-4444 www.jazzfest.bc.sympatico.ca Program guides at all Starbucks, HMV stores & ticket outlets BCTV The Vancouver Sun HI • ...-.* * UNIVERSAL | Features Gstr Del Sol DlANOGAH Spring! Vancouver New Music Festival Gary Numan Calexico 7 9 10 11 12 Columns Where is not what you Wear 6 June, 1985 editrix: miko hoffman art director: ken paul ad rep: kevin pendergraft production manager: tristan winch graphic design/layout: kenny, magnetic malcom bubble, randal mindell production: barbara anaersen, michelle eliot, ann goncalves, erin hodge, alia hussey, malcolm, christa min, randal m, siobhan mc, tami rushlaw, stefan udell, shane vander meer photography & illustrations: ryan schmidt, jason da silva, ted dave, ann goncalves contributors: barbara a, brady c, chris c, julie c, Cornelius, glenn d'c, bryce d, greg e, sarah e, anna f, trevor f, noah g, alia h, anthony k, greg n, jim v, shane v, tobias v, coreen w programme guide: namiko kunimoto charts: julie colero datebook: tristan distribution: matt steffich us distribution: tristie publisher: linda scholten Real Live Action Printed Matters Basslines Demo Derby Videophilter Seven Inch Under Review On the Dial Charts May Datebook Comics Botched Ampallang 14 15 15 16 16 17 18 20 22 23 Cover This months cover by Ryan Schmidt. Get yer motor runnin1 it's gonna be a cooker! © "DiSCORDER" 1 998 by the Student Radio Society of the l. All rights reserved. Cir. e $15 US; $24 :r postage, of s payable to ity of British Colui tion 17, 500. Subscriptions, payable in advance, to Canadic $15 for one year, to residents of the USA c CDN elsewhere. Single copies are $2 (to < course). Please make checks or money oi DiSCORDER Magazine. DEADLINES: Copy deadline for the July issue is June 10th. Ad space is available until June 17th 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 UBC 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. Call ihe CiTR DJ line at 822-2487, our office at 822-3017 ext. 0, or our news and sports lines at 822-3017 ext. 2. Fax us at 822-9364, e-mail us at: citrradio@mail.ams.ubc.ca, visit our web site at http:// www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T 1Z1. Printed In Ginada **V CONeE^fp j SATURDAY JUNE WtW esthero EARLY SHOW TICKETS ALSO AVAILABLE AT ZULU RECORDS WEDNESDAY JUNE 17THj SONAR k's CHOICE SATURDAY JUNE 27TH ^STARFISH ROOM Duotang with very special guests The Weakerthans &-pSumtree TUESDAY JUNE 30TH ALL I SUNDAY JUNE 28TH^ TICKETS ALSO AT ZULU STARFISH ROOM WITH MOPISH" SPECIAL ^^ GUESTS \ ^STARFISH ROOM! CURVE 'f> i FRIDAY JULY 17THj PNE EXHIBITION BOWL ON SALE JUNE 4 Badar Ali Khan cousin of the legendary Nusrat Fateh Ali Khan MASSEY THEATRE MEW4 ^THUNDERBIRD STADIUM THUNDERBIRD STADIUM] .^■■.-..■^■-»._. ^,,,,,^„,^, ,,U, 3 H^eSasSB IMMI&MWM& hiraiiMK Ti£PWe:9cT WE WERE WRORG! WE ADJIIJT JT! Yes, we admit it. We are an exhausted bunch and we certainly aren't paid to be here. No matter how much we try to do our work the best we can, we can sometimes screw up. We can read and proof and correct and proof and correct, but that doesn't mean we catch it all. Sorry we got it wrong. Here's the right of it all: In last month's live review of the Propellerheads show (Friday, March 27 at Sonar), we incorrectly stated that Sonar had organized and promoted the show when, in fact, it was a Timbre Productions show. We also said that Propellerheads had announced they would return for another set but did not when, in fact, they played an encore and ended the night early, as it had been advertised in advance. Third, our writer claimed the house dj was spinning top 40 music when, in fact, he was not. Essentially, we gave Sonar "two thumbs down" for reasons which had no validity. Not nearly of the same magnitude, we'd nonetheless like to further shed our guilt. An apology is due to those Dukes of Stratosphear, who we (not Janis, but us overzealous proofers) so ignorantly misspelt in last month's Vancouver Special column. HAVE A HOPELESS SUMMER "^ftf* <e/\ TFVf J^j dillinoeploup^hr633ipcd/cs the queers hopelessly devoted to you loo "-"ESI** mmul k. ep the promise ol a new sampler cd, 21 songs in all. unreleased tracks Irom 88 -" "!",kness, luner- i the queers hnB32 sampler cd fctfn^/.wfe & *%^ m^m% 1st Ottawa, ONT Liquid Monkey 4th Toronto, ONT El Mocambo 2nd Quebec City, QUE Saole Sainte Esppit 5th St.Catherine, ONT Mindbomb 3rd Montreal, QUE Rainbow PO BOX 7495 VAN IMS, CA 91409 WWW.H0PELESSREC0RDS.COM PRICES: CD-S10 LP/CS-S7 CDEP-S8 SAMPLER CD-S4 7" $4 MCD-S6 4 June 1998 "-'■ a tribe called quest dj equipment, cd's & vinyl €€dlcs O headphones dj topes O mirror bo trip hop O break be 217 west hastinqs street I voncouver, be, Canada (g> 60*t.689.773*t fx. 60-t.689.7781 mail orders available <#► IN STORES SUMMER '98 bmgcanada.com a§xc_s___b sas^sg M_M__3^}^os_fa Our annual directory, chock full of contact numbers and addresses of bands and the businesses that support them, will be in the September issue. The deadline for entries is July 15,1998. YessireeJ It's time again for the Local Music Directory 1998 callout! We want musicians, zines, labels, videographers, recording studios, webmasters, record stores, music venues, graphic designers and all other manner of musical proffessions. Do you have too much business? Could a free listing hurt? YOU ARE A (Check one): _ BAND/MUSICIAN _PR0M0TER _REC0RD LABEL/DISTRIBUTOR LIVE MUSIC VENUE _MANAGER/AGENT_STUDIO ZINE OTHER (elaborate below) NAME: DESCRIPTION (15 words or less): CONTACT(S): ADDRESS PHONE: EMAIL: _ URL: _ .FAX: FILL THIS OUT AND MAIL/FAX IT TO US BEFORE July 15, 1998 233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 fax:(604)822-9364 »MW_g,.l ■:^y .^i*^.** Ipvrgatoky where is not what you wear I I hav the I lofc f\* D^UK ALTERNATIVE o ■& r% ELECTRONIC DANCE «■ |6 || A^pESDIESSCODE 1J THOUGH TIRED AND CALM. THOSE SAME OLD GAY BARS WILL LEARN A NEW PSALM. GIVE US VOUR STRAIGHTS I ' IN CLUB. FETISH. OR DRAG. tCttthO-(30Cbl. AND GIVE US YOUR TWISTED I DJ pailDeCDOniUO) WITH THEIR CLOTHES IN A BAG. cflD» CDflC€SIC€nC GIVE US YOUR DYKES WITH THEIR BIKES ALL ALIGNED AND PLEASE GIVE US DRAG QUEEN WITH GOWNS THAT WILL SHINE. 'HE CHURCH OF THE TWIS H6AV6N GREAT DANC6 VIB65 IfTghurchjI ; J^V 1 OF' THE TWISTED II p I jS "SUNDAYS NO COVER $ I |»N DOORS AT 9:00 ^ M I -^ I fe NK*| SI I i/i BrrCHIN B66R BUST % BRING YOUR LOONIES Ol HOW TO TiOOW A WHO PAJTY- '* _?, I ^^Sss^i^-*"-71 e BY KITTY POULIN ive been thinking about dark side: the business culture. So what's new about that, you might be wondering. Well, I figure it's about time I started making a little money. Let me give you some context: I'm fucking poor and, worse, deeply in debt. My moral resistance is fading (but it always was a little tarnished). The way I see it, why not work to help fabricate culture, while getting paid for it? My cynicism has crested and, for this very reason, I feel that I'm ready to work for evil. But is it evil, this culture industry? The sophistication of late capitalism has turned everything into labour-time already. Let's just put it all above board. Join in. Live out those pesky contradictions that dog the dreams of trenchant Marxists. Fuck 'em all. I mean, I already work for the MAN. We all do. Like yours, my life defines a particular economic shadow. Everyone knows that huge, transnational corporations influence political-economic structures (and not to mention our emotional commitments - our private investments of meaning). After all, the THEY or THEM get bigger every time I help circulate money. The system is biased and integrated for THEIR benefit. For my own sanity, 1 can't be bothered to care about the automaton-like support of Nike products. So what? It's a game, a sham, oh what fun. THEY know about influence and power. Money makes the world go round. Everything else is packaging. All we know is ideology — stories about the way things were, are, and ought to be. And ideology does build in institutions and social practices. People generally recognize the arbitrary nature of such influence. But this recognition is often half used. For many people, conceptual freedom is enough. Enjoy yourself. Take advantage of our fanciful western privileges. The how and the why are your own problem; that's the swell part. If I can now choose how to read culture - well then, I've got autonomy. And if such autonomy is not actually freedom, it's still the Culture is necessarily as- closest thing so far. Right on. sumed as given. The exact The ambiguity that arises here nature of whatever formation, heiOp h i i t i c a t i o n of late c a p 1 - a I i » m h a s " u r n e d e * e r y — t h i n _ I n • o 1 a b o u r ■— tl m e already L e t * juatp utitallaboVe board Join in L J v e out those e a k y c o n • r a dl c<l o b i ' h i ' do. the dreamt of t r e a c h a Marx ist* F u c k e m a1! is fair game. The former will also be my first principle: ambiguity is the cruciai element. But ambiguity is not a special quality that needs to be specifically targeted and developed. Certainly ambiguity can be taken advantage f however, is left out of the explanation. This is my secona principle: the possibility for interaction and self-development must always be included in product design and promotion — or theory building. In other words, let confusion Co n ' u * 1 o n p o « i t I v e a » p here T h I m a r k e t I e c t 1 ■ a I ■«•■■. Culture la n e c e s ******* • arlly a . » _ m ed _ » _ * v * n . of and increased, but it is also a quality that automatically forms in relation to any posited meaning. The rest falls into place. Ambiguity coincides with culture in general; they are joined moments in the hegemonic inner workings of cultural knowledge. Confusion is a positive aspect here. This is a marketing ideal. happen. Opening options leaves more potential for interaction. The multivalent Object has multiple platforms for possible realization. This is a template for expanding the lateral as well as horizontal potential of market definition, and the inherent nature of the commodity-form is capitalized upon: it is "freed" within the ephemera of cul ture. All this can be used in the development of a long- term marketing strategy as much as one that takes advantage of the current formation and proclivity of the market. If history is congealed in the Object, then subsequent generations will "always-already" be the target Subject. Pastiche is a holy mantra, three cheers for postmodernism. With this in mind, I've decided to become a business guru, a high-paid consultant. I'm going to get into marketing, design and advertising. I'm developing my own program and techniques, applying what I've learned in school: cultural studies, psychoanalytic theory, post-structuralism, etc. They have a practical use, after all. At the very least, I now have a little cultural savvy to exploit. It's about time my education began to pay off. I plan on being highly specialized, focusing on the most desperate market segments. Cultural elites will be my target. Hipsters, artists, the style- obsessed. Those who are most committed to their lifestyles are the most easily manipulated. They are ripe for it. I will neither pander to them nor underestimate them. But I will take advantage of them; cultural elites will be my medium and the commodity-form my tool. My secret is: step back, be invisible, let people take advantage of one another. They'll not need to be encouraged to generate whatever "cutting edge" — they'll do it anyway. Hooray. They do what they do and I'll be ready to use it. And if something else new develops, then I'll take advantage of that, too. The previous "cutting edge" will always slowly circulate to the least hip, or whatever. Look at lounge culture, for example, or drum and bass. These patterns already exist. All this is obvious. Tyler Brule is my new role model, until he falls out of glamour, that is, and he will. After all, business is never personal — my third principle. Please send all job offers to me via Discorder; the address can be found on the masthead. I'm willing to work for lots of cash. My valuable cultural insight can be yours for a price. Attention Nike, Coke or Pepsi, Sony, Universal, Time-Warner, or whoever: if you've got the money, then my powerful program could be yours — right now. Step right up.* 6 June 1998 PINE 3.95q MESSAGE TEXT Folder: INBOX Message 90 of 200 22% ANS .te: Wed, 8 Apr 1998 10:57:18 -0500 (CDT) To: II Subjec Re: hello >*ls it true that "Camofleur" is the last Gastr Del : it's the last one featuring both jim and me. whethe: one - no plans have been made one way or the other. >*Did you feel that the.'band had reached its lait indefinitely not! ' i'm not sure that i ever would. >*What * pla: just returned from a two-week so: am in the midst of working on a solo lp that should 1 fall. i'm building up a group feel bit by bit in th< john mcentire and tony conrad are along for the ride •The s =*w.album is a major depart from the old Gastr sound. What were some ccr.a-ep't***'.'. behind;; "£'amof feu'jr? \ It sounds kinda like a farewell album. see, i just can't say that it str we just wanted to focus the mater had been doing very long live ver seif-cerjsorship that had, for ins . I fhnky/ >*Why did you turn to such a "rootsy" sound after the space-age >(futuristic?) constructs oiv-"Upgrade and Afterlife?" i as a farewell record. in general, mit the lengths of the songs (we and relieve some of the not allowed us to be particularly . of acoustic ihstriLT.ents E my real passions. ■*Yo_-*> earlier stuff,fs.eens-.w■■■■weirk* ,a* lot with texture. Does "Camofle* •still**., -aefl withftextufe' as; heavily," but :in jia different genre? . think the idea is that on _camoufleur_, texture - nove .he most exalted element. >*The vocal influence seems to have >seems more*melodic and percussive.; not fearing repetition, not being s( >*Are you still based mainly in Chi< abba-so-lutely. rlif >[If : elf r i think i'm more settled-slash-satisfied with my living condition than anytime before.. for a long time, whenever i was on tour i'd always find ; different spot - hamburg, los angeles, paris - where i could imagine • myself packing up and moving tc. but now it's more a matter of;ehicago being the place of friends, work - a really satifsying home (base). part : i get to leave it whenever i want. of it, however, >*Have you ever fo: LOther album, push comes to lov< >*Will you be touring fo: probably in the u.s. at thanks very much! best, ■ t from los angeles who also sings in the red al for and co-produced his upcoming solo of the europe aga: g a ? Help m| 0 OTHER CMDS V V ^ art I Spc NextPage U Undelet GREAT FOOD, GREAT PLACE. GOME CHECK US OUT! STOP BY FOR DINNER, DESSERT, OR SOMETHING TO DRINK. AS THE SUMMER NIGHTS GET LONGER SO DO OUR HOURS... NOW OPEN 7 AM TO IO PM MONDAY TO FRIDAY 9 AM TO 8 PM SATURDAY/SUNDAY GREAT BREAKFASTS SERVED UNTIL 2 PM ON WEEKENDS THE _?E N D RESTAURA & LICENSED P CATCH LIVE SPORTS ACTION ON OUR a BIO SCREENS! ALWAYS GREAT FOOD! JUiJj J vJ^ -* ^ v FIFA WORLD CUR SOCCER & NHL PLAYOFFS GOOD OLD STANDBY-ALWAYS FUN, ALWAYS DEPENDABLE-THE PIT! THE STUDENT UNION BUILDING • 6138 SUB BLVD. 7 ®m&°mm DiFmnc® @n DiPI<az<a Ani DiFranco Saturday, July 11 8 PM at The Plaza of Nations with special guests, Rebirth Brass Band Tickets at Ticketmaster (604) 280-4444 HPIIHB"1 s tn Say Thirteen angst ridden anthems that gleefully defy the parameters of modern- day pop punk ...a great record that will set the standard by which the rest of Canada's punk bands will be judged - Exclaim Magazine ian't Turn Back work ethic has won them a legion ol fans and the quality ol Can't Turn should win them more ...The band at its frantic best. - Winnipeg Free Press Chnkfi on toup.. June 04 June 05 June 06 June 07 June 10 June 11 June 12 June 13 June 14 June 15 June 17 Edmonton, AB Medicine Hat, AB Lethbridge, AB Elkford, BC Nelson, BC White Rock, BC Langly, BC Vancouver, BC Victoria, BC Nanaimo, BC Kamloops, BC Likwid Lounge All ages All ages All ages All ages Funky Planet All-ages TBA All ages Queen's Pub All ages June 18 June 19 June 20 June 21 June 24 June 28 June 29 June 30 July 01 July 02 Red Deer, AB Edmonton, AB Calgary, AB Kelowna, BC Jasper, AB Estevan, SK Regina, SK Yorkton, SK Brandon, MB Winnipeg, MB TBA All ages All ages All ages Pete's All ages Utopia Cafe All ages TBA Royal Albert CDs $12 PPD PO Box 352, 905 Corydon Avem Winnipeg.Manitoba R3M 3V3 (204)452-5627 smallmanrecords ROLL SPECTACULAR*- di<moq<\]^ | Could you please identify your- I selves, your names, ages and instruments? Jay: Jay Ryan, I play fhe sharp bass and I'm 25. I Jason: Jason Harvey, 26, bass. 1 Kip: My name is Kip McCabe. I'm 26 and I I play drums. I Why does Dianogah have two bass \ players? \ Jay: Because neither Jason nor I know how I to play guitar. Kip is actually the best guitar player in the band, but he's a bit busy l playing the drums and only one person i we know can play the drums and guitar i at the same time and that is Ryan , Rhapsis [sic] of Euphone. k Tell us a little bit about the history of Dianogah. Jay: It was originally a sex thing ... Kip: Basically, Jay and Jason were going to the same college ind playing together for a year r so, and then they moved to Chicago and needed a drummer to start a band. My girlfriend used to go out with Jason's room- and that's how I hooked up i them. Being a dou- J> O \ bass band, it's sort of hard to pin-point any influences but what -would you say? Jason: Well, we bought the first Tortoise album and we all liked it, and basically there's too many people in that band already, so we could be called a rip-off band of Tortoise, I guess. And then they changed their sound and we couldn't afford a sampler, so I guess we're what they would have been, [laughs] Kip: I would say our biggest influence is Vince Guaraldi. Jay: And definitely Bitch Magnet. Your songs often remind me of really good theme songs from 1980's TV sitcoms. Do you rip off TV theme songs or does it just turn out that way? Jay: [laughs] I think it was Chris Manfrin from Seam who once told us our music was 'the soundtrack to chubby mammals wrestling.' I'd say probably that most of our songs are derived from variations on TheA-Team theme song. Do you think that being from Chicago affects your band? Is it an attention grabber for people who haven't heard you, and is that a good or bad thing? Kip: I don't think so, necessarily. I mean, we all like the city of Chicago, but there are a lot of diverse and, at this time, popular bands there. In some sense that might be beneficial to other people who might look towards Chicago as some sort of haven for music, but I don't think that, in large, it really influences the type of music that we play. Jay: I don't think there's actually a scene in Chicago, there's just a lot going on. There's not really any type of cohesive sound, like no one can listen to a band and say, 'Oh, that's a Chicago band.' Some people might disagree with that! Jay: Yeah, some people might ... well, OK, I take that ail back. In retrospect, most of *vhat I just said is totally wrong. Basically, just reverse everything I've stated about Chicago. What was it like recording with Steve Albini? Jason: Uhh ... he's very ... professional. Jay: He's mean-spirited, abusive. Kip: Let's perpetuate the myth! Jay: OK! He's the biggest jackass. He followed us around and hit us with bricks. Kip: He told Jason he'd wear his ass for a hat! Actually, recording with Steve was the best experience. He was the best person we could have had to record our record. Jay: [interrupts] Bob Weston is also very good, just so his feelings don't get hurt. Both of them are extremely good at what they do and are very good at putting the band at ease. Kip: Playing the same song for the 28th time, they don't make you feel like a dumb shit — except Bob always makes me feel like a dumb shit. What do you have coming out soon, so people can put it on their wish lists? Jay: OK, let's see ... we have a brand new 7" on Highball Records which is a split with the Logletters. Mark Greenburg from The Coctails is in that band. It's actually our first 'Team Dianogah' record, which is stuff we've been working on for a while. We have John Upchurch, who is another Coctail, playing baritone clarinet. We'll also be on a compilation coming out and our first EP is being re-released. Am I correct in assuming that 'Dianogah' is an enemy monster in a Godzilla movie? Jay: I think you're thinking of Gamarah. Actually I think Dianogah was the giant cactus on wheels. Kip: Dianogah is a very obscure pop culture reference. You'd have to do your own research or be true geeks like we are to know exactly what the Dianogah is. Jay: Or listen to some Steve Miller lyrics like we always do after practice. In one of his songs, there's a line that goes something like, 'waiting for the dianogah.' Obviously, we misunderstood it. We realized later he was talking about beer.* ►by Chris Corday 9 Ef^asiss Jprina! ike 2nJ Vancouver J7n/er national J yew J nusic by Greg Newsome 10 june 1998 Contemporary art music is such a straw dog. You can kick the hell out of this poor little mutt with a few sweeping generalizations and a couple of worn-out stereotypes and, in the end, feel pretty good about it. Schoenberg's "mathemafic" harmony, Webern's sparse pointillis- tic textures, Cage's aleatoric works, Ligeti's static structures — there's plenty of ammo available for those committed fo musical canine abuse. This, by the way, isn't a lament exclusive to the avant-garde composers of the twentieth century; even Beethoven's Ninth Symphony was described by Viennese music critics as a nonsensical pastiche slapped together by a deaf old man. History has, of course, proven that Beethoven and numerous other composers weren't maligned musical fools but were, in fact, fantastically creative artists composing truly new and original music. This same spirit of musical innovation exists right here in Vancouver and there's no better place to check it out than at Spring! the 2nd Vancouver International New Music Festival. Springl opens on May 29th _.id runs through June 6th, featuring 48 new works and 1 9 world premieres by local, Canadian, and international composers over the course of 10 concerts. The festival program is very diverse; there are concerts of orchestral and chamber music, a concert devoted solely fo electroacoustic works, and an evening of solo piano with Eve Egoyan, a Canadian pianist of exceptional talent. In addition to Egoyan, ' Vancouver New Music has recruited a number of other outstanding interpreters of contemporary repertoire, including the virtuoso Vancouver quintet Standing Wave, Britain's fantastic Maggini String Quartet, the Vancouver Symphony Orchestra, the CBC Vancouver Orchestra, the Vancouver Chamber Choir, the formidable Vancouver New Music Ensemble, and the two piano/two percussion quartet, Rhythmic Attorneys at Large. Also involved is the Canadian cellist Shauna Rolston, whose golden playing will be heard in Heather Schmidt's new work for cello and orchestra, and bass clarinetist Lori Freedman, whose truly stellar abilities will be put to the test in Iannis Xennakis' ephemeral Echange. For what it's worth, I've heard most of these ensembles and their constituent players before, and I can promise you the festival will be rife with great performances. The other half of the new music equation involves composers and Springl promises great music from every composition community. Vancouver composers are repre sented en force — there will be a new string quartet from Owen Underhill; chamber music of diverse instrumentation from John Burke, Nikolai Korndorf, Jacqueline Leggatt, John Oliver, Doug Smith, and John Korsrud; and electroacoustic music by Scott Morgan and Doug Cross, Janet Berman, Ron Samworth, and Rita Ueda. The evening of live elec- troacoustics, put on in conjunction with Vancouver Pro Musica, involves instruments and tape, signal processing, and interactive systems, and should be a very cool exploration of what many feel is the long-term direction of contemporary art music. UBC graduate students Jocelyn Morlock and Bradshaw Pack both have pieces in the festival; Pack's new work for percussion will be performed by fhe aforementioned Rhythmic Attorneys af Large on a program that includes Luciano Berio's classic Linea and music by Christos Hatzis, Tobin Stokes, and Omar Daniel. Vancouver's Janet Danielson will present a new work for orchestra and, on opening night, UBC composition professor Keith Hamel premieres Overdrive, commissioned for the festival by the VSO, on a program with VSO composer-in-residence Rodney Sharman's The Archaic Smile and Russian composer Sofia Gubaidulina's Offertorii/m. Also on this program of orchestral music is the dramatic The World's Ransoming by James MacMillan, the guest composer at this year's festival. MacMillan, a Scottish composer, describes his compositional philosophy as one that "looks beyond the introversion of the New Music 'ghetto' and seeks a wider communication while in no way promoting a compromising populism." He cites Celtic music, Birtwhistle, Stravinsky, Messiaen, and some minimalist composers as stylistic influences but cautions that describing his music via these kind of associations is somewhat inaccurate. The prolific 38 year- old composer possesses a refreshing compositional eclecticism that embraces the seemingly incongruous elements of British modernism, popular music, neo-romanticism, and minimalism; in his musical theatre piece Visitatio Sepulchri, you'll find music that ranges in character from tooth-rottingly sweet string passages to modernistic angular and fragmented textures to shamelessly tonal harmonizations of cantabile melodies. With this compositional aesthetic, MacMillan has achieved an enviable popularity without pandering to the concert-going public or sacrificing the intellectual aspect of his music. Direct emotional impact, rhythmic vitality, healthy experimentalism, and cool textures characterize MacMillan's art. Af Springl there will be performances of the orchestral works frysf and Seven Last Words from the Cross along with the previously mentioned The World's Ransoming, as well as his string quartet why is this night different? Other festival events include a special afternoon public forum with MacMillan, as well as the week-long Festival Symposium, which is also open to the public and dedicated to the discussion of Throughout the Vogue shows, there will be site-specific acoustic installations by Grant Gregson, Ben Rogalsky, and Carlos Vela- Martinez. The June 5th concert presents the music of the three finalists in the 1 998 Vancouver New Music Competition for Emerging Composers; one of the finalists is UBC doctoral candidate Gordon Fitzell, competing with a super-creative chamber work for amplified cello and prepared timpani. Definitely worth hearing. So check it out! Every concert will be its own unique musical experience where you're likely to hear strangely beautiful melodies, complex textures, moforistic rhythms, very cool timbres, or none of the above. The only thing I know for sure is that there will be scads of great performances of inspired modern art music composed and played by a lot of Vancouverites.*> frry by %h«we 7<^ider -Vleer «*1d Ccreen WoL-W^k* DiSCORDER: Being one of the pioneers of electronic synth-pop, how do you feel about where the genre has gone, where it has ended up some 20 years later, and how your new album Exile fits into that? Gary Numan: I'm not really that aware at this point where electronic music has gone as a genre. It seems to me to be, by and large, incorporated info every kind of music. You'll see synthesizers or some kind of electronic technology being used across the board, so, be it sampling or hard disk editing or even hard disk recording, right across to synthesizers, it's just been absorbed into mainstream music which, as far as I'm concerned, is the best thing that could have happened. There's a few people that were trying to stay purely electronic, but I think that they're living in the past, really. I think it impresses limitations on you for no reason whatsoever — unless you think it's cool to not have guitars or whatever. Throughout the '90s, there was that whole grunge movement where music got taken away from the electronic scene, but with bands such as the Prodigy, do you think that there will be a renaissance for the synthesizer and drum machine as they gain more mass appeal? It's possible. I don't know what Prodigy use technically — I mean, I went to see them a while ago and they used guitars and had stuff going on onstage and that was all very cool. I've not used a drum machine since 1983. Personally, I use either samples or real drums. I use real drums on stage and I've got a couple of keyboard players and I've got a guitar player and I play guitar and keyboards on stage. So it really is a case of trying to incorporate the electronic thing. I think you can have electronic-based music without it being purely electronic. I think that the guitar is a very useful addition to add substance, weight, and variety in all kinds of atmospheres, to a song that perhaps you wrote on a synthesizer or We v/ere going to do the interview yesterday, but you were going to go see The Spice Girls. That was a secret! Yeah, I did. I went to see them last night in Wembley Arena and I'm never going to come away thinking, 'Oh, what a great talent,' but I'm going to say that that show was geared toward a particular audience, which was mainly between seven and 12 year-old children, and they loved it. And that band that they are kind of taken the relatively bland Spice Girls feel and turned it into something better live. I really got off on the band, actually; they were doing In the middle of the album there is a picture of you wearing these amazing boots — where did you get them? Are they the ones wifh the springs in the heels? Yeah! I got them in New York. You can buy them here now. They're great, idn't [sic] they?! But a bit too heavy for real life. How tall are you, for the record? I'm five foot eight and a quarter. So at the Starfish Room, where you'll be playing in Vancouver, it's a pretty small place. Are the other stops on the North American tour smaller and, if so, is there a reason that you opted for smaller over larger? Well, that's about the smallest. I think the biggest that we'll be doing is about 1200. I think it's a genuine and honest representation of where I'm at, really. I've been around a long, long time but my career, in many ways, started in reverse — I started pretty big and got progressively smaller. Nof in terms of size, but in career success. 1 think what I'm doing is starting again. I'm right at the bottom — my career has been in the toilet for a few years, even in this country where I tend to do better. Your old record label, Beggars Banquet, has put out an album of remixes with a lot of the newer electronic people remixing some of your old stuff. Have you heard this? Well, there was one called Random One, which is about 26 bands doing cover versions. There's also Random Two. Have you heard that one? Yeah, Random Two is actually techno remixes. I've heard that one. Do you like any of them, or do you think they've just butchered your songs? They were both intended as tribute albums, so it would be very unkind of me to be too critical. On the first one, there were at least a dozen songs of the 26 that I genuinely like a lot. Some of fhem I thought were better than my originals and I really did learn a fair bit. In fact, the first song that we do on the tour is a very old song that a band called Pop Will Eat Itself did a cover of on the Random album. I now do a cover version of their cover version, if that makes any sense, because it wos really, really excellent. There [were] a few that i wasn't too keen on. I think they sort of lost the point of what the original song was meant to be about, atmosphere wise and product wise. But I think fhe nature of it was that people were going to try really strange and unusual things and I think that's why it worked. The Random Two album is not really my cup of tea to any extent. I think if you're meant to be remixing a song, then you're meant to be remixing what was there, and adding a few things here and there to give it flavour. You're not meant to be completely writing a different song and giving if fhe same title which is what an awful lot of these so-called remixes are. They take three or four samples from one lyric or one tine, spin that info someone else's song completely or their own, which is normally going about 130 bpm so you can dance to it, and then they say it's o remix. The new album definitely has an atmosphere and most of the songs are about religion and your disapproval of it. What is that about? The Exile album in particular is about, well, it's not what I believe. I don't now and I never have had any religious belief or faith whatsoever, t'm almost the opposite. I lean slightly against it. So what Exile is, as far as I'm concerned, is a horror story set to music, ft would be much more appropriate as a movie soundtrack, but there wasn't a movie made and that's a shame. Maybe that will be your next project. Yeah! You never know. I'd be into that, actually. Exile, the new album, looks at the idea that, what if God and the devil were actually the same thing? What if there was no devil, but God has a dark side? God has an ego and he can be paranoid and he can be viscous and frightened every bit as often as he cd$ be kind and good and forgiving. The album before Exile was called Sacrifice and in that one, t looked at god a little bif os well, but it had much more to do with what I really believed and how I really saw it. If caused a bit of an upset amongst some people and I was dealing with the feedback from that when I started to write Exile. You know, there's a lot of religious people amongst the fanbase who were writing, saying I shouldn't have done it and I was being very offensive and so on. It wasn't intended like that at alt, but I believe certain things, and sometimes you write about them. But anyway, when if comes to Exile, I was trying to find a middle ground point of view that would allow for the existence of God and answer some of the questions I would have about how the world itself could be so viscous, nof just to humans but animals who eat other animals. Everything dies horribly, even fhe weather can kill you. So I wos looking for something that would answer both things and God having a dark side seemed to answer that, but as far as I'm concerned, it's just fiction. I found your new album pretty true to the sound you've trademarked for yourself, especially your vocals. Was this deliberate? It's more a lack of interest, tf I like something, I'll be as guilty as the next man of borrowing ideas from it whenever I can. t'm a big Trent Reznor fan. And I like a lot of the Depeche Mode stuff. That's funny because I saw the same thing. I thought £xi'/e sounded a lot like Depeche Mode's later work as well. Just some of that sweeping orchestral thing going on. Very grandiose, very large sounding, but also very melodic af the same time. Under everything, there's massive grooves and rhythm going on. I love that sort of thing, so I'm quite prepared to look around to see what other people are doing if I think it's useful and learn from it.» 11 E^eSSEiES by Anna Fi Mexico is an offshoot of the Giant Sand talent pool: specifically, they ^>- are the ubiquitous rhythm section of Joey Burns and John Convertino going it alone. Their debut Spoke was as sparse and arid as Arizona desert, with sprinklings of cantina accordion. Their new release is set in the same landscape, with a few black velvet mari- achi paintings added to the musical decor. I caught up with Joey and John on tour backing up Victoria Williams. Our interview involved some passing around ofthe phone while they set up in the Great American Music Hall in San Francisco. While Joey talks, imagine John noodling around on the vibes in the background. Fill in the languid southwestern drawls and get a taste ofCalexico. DiSCORDER: So let's start with the beginnings of Calexico. The two of you have worked on a number of side projects as well as being part of Giant Sand, so why Calexico? How did that all come together? Joey: Well, Calexico came about by the fact that John and I had some free time and we wanted to try doing some recording at home in Tucson, and record pretty lo-fi on an eight-track. And playing together for so long with Giant Sand — we've been playing together since 1990 — we have all become pretty comfortable playing with each other. But whereas Giant Sand is mostly us following Howe [Gelb], we thought we might try doing some stuff of our own. Yeah, like writing your own tunes. Joey: Yeah, exactly; stuff that I had done in the past but hadn't really paid too much time doing since we were busy with Giant Sand, and then we had started this other band, Friends of Dean Martinez. What about other side projects? You guys worked with Lisa Germano ... Joey: Lisa Germano, Richard Buckner, Barbara Manning, Bill Janovitz, Michael Hurley, Rainer ... this guy named Rainer Ptacek, who was also a big influence on us from Tucson. So is Calexico more of a side project or is it evolving into its own focus? Joey: It's evolving into its own. Everything is a side project. We do so many different things. We just like to do different things. I think that's the key. So whether it's backing up Victoria Williams, or playing with Giant Sand, or doing OP8 — which is another project we do with Howe Gelb — we just like playing different things, different styles, different instruments. John plays the vibraphone, marimbas, drums, accordion, piano, little bit of guitar and bass. I play guitars, cello, bass, sing some. So for us, it's a chance to develop each one 12 June 1998 of these areas of our style and playing. I have a question about the accordion, actually — Joey: Sure. I'm an accordion player as well and I find the accordion is an oppressed instrument. I was wondering what your thoughts were on being an accordion player. Joey: We're both accordion players, so you should ask us both the same question. I don't know if oppressed is the right word, but it just hasn't been popular in popular music. I think it's more popular in traditional music, or maybe ... you know, it has a certain sense. Hearing an accordion, depending on how it's played, you know, it can remind you of a Parisian setting or it can remind you of Mexican music. But there's some really great players nowadays — notably, Astor Piazolla from Argentina. He's just phenomenal. The accordion mainly comes from both of our families. For me, it's my grandfather. He passed his accordion on to me before he passed away So I started playing it ever since then. I'm also curious about the name, Calexico. On the one hand, it really reflects your musical influences, but I did a little research and found out that Calexico is an 'increasingly lawless' border crossing ... Joey: [laughs] That's right! In search of a name, we were driving across the desert to San Diego from Tucson, Arizona before going on one of these Giant Sand tours in Europe. I was making a tape of my home recordings that were just solo and I used that as the name of the project and I called the tape Superstition Highway. Once we had done the home recording and we had this album coming out in Germany on vinyl only, we decided to use the name Spoke. But then in New Jersey and New York we found out that in fact the name was already taken. So we thought about another name and we decided upon Calexico. I hear you have a new release coming out pretty soon ... Is it still just the three of you? Joey: It's mainly the two of us. So it's got more of the instruments with the addition of some pedal steel and some mariachi trumpets and some strings. So Tasha's not in it quite as much? Joey: Not as much. Tasha, who's John's wife, played drums on a couple of songs we recorded at home, but for most of the record John played drums. Just like on the Friends of Dean Martinez, John played drums on most all the tracks, [but it] just wasn't credited to his name. We were going to try to use some of her samples for this album, but when we asked [Touch and Go] about using samples they said, well, it's just going to cost a lot of money to get clearance, so we said, awwright, forget it, we won't do that now, we'll just try to sample ourselves. But I think in the future it would be nice to try to use Tasha's dj sensibilities. She's got an incredible record collection. Some of the songs that came about on this new record were influenced by her records and her taste in music, kinda the latin jazz influence. There's a song called 'Chach,' another one called 'Stray,' that's kinda influenced by some stuff that she's been playing and spinning down in Tucson at the Club Havana night. I guess you're going to be getting more and more of that border crossing kind of feeling — Joey: I guess the album could be seen as a heavily border-influenced record. You live in Tucson as well, [which isn't] that far from the border. Did you grow up in Tucson? Joey: No, I grew up in California. We chose to move there, me, maybe four years ago, John, about five. For us, moving there was really appealing since we live in part of the barrio. It's the old part of town, so basically you're in old Mexico. There's an appeal there, something that kind of draws you to this area, it seems like you're in another country. Being there, we're influenced by a lot of stuff — the music, the people, the culture, the food, the way of life, the laidbackness. We're not trying to just emulate that — for us, it's a snapshot of where we're at right now. I definitely would like to try doing some different things musically: working with other people, maybe some friends in Chicago. I like the idea of blending atmospheric mixes with different instrumentations in different fields. Most of the projects you've worked on, like playing now with Victoria Williams, and specifically Calexico and Giant Sand seem to be really influenced by the fact that you and the group of musicians you tend to work with all live in a similar area that's dry and arid and not so urban or people-oriented. Joey: There must be something there that's kind of connecting us. There must be something about each other that we can relate to; maybe the spaciousness, maybe the way we work. I don't know what it is. I there, something that kind of draws you to this ! V?U.re„in anothei count'y* Being there, we're .«•_!* 7Su m.USic' tne pe°P,e'the cu»"e, f hie the laidbackness. We're not trying to just us, it s a snapshot of where we're at right now. Ill don't want to question it, I just want to get into it. If you could play with bands or musicians living or dead, what would be your dream lineup? Joey: I think it'd be great to hop in for a night with Duke Ellington and, after the first set, go through time to hang out with Monk and Mingus, Miles Davis. And then I think it'd be fun to cruise over across town to the Beastie Boys and all their friends. Take a flight to Chicago and hang out there for a day, then from Chicago I'd like to go straight down to Lima, Peru, and have all my South American friends join me there. I love the Afro- Peruvian thing that's going on there. And then for the end of the night, when the whole trip is done, I'd like to hang out in the wee hours of the morning with Billie Holiday. I asked Joey already, and I'm going to ask you, John, too: I've found the accordion to be an oppressed instrument in that it's the butt of musical jokes, and I'm wondering what you think of accordions. What kind of relationship do you have to the accordion and why are you interested in it? John Convertino: Hmm. So you think people make jokes about them? You know that Far Side cartoon: 'Welcome to Heaven, here's your harp. Welcome to Hell, here's your accordion?' John: Oh, 'cause like the polka thing. Whenever I bring out my accordion at a jam, I don't even have to play anything, the gimmick has already happened John: [laughs] Yeah, because it's a traditional instrument. My father was a great accordionist. He was kind of a master at it. It got phased out in the '50s when the electric organ got really popular and he switched over to piano, became a pianist after that. I remember when I was about 10 years old, I was at my grandfather's — they were immigrants from Italy — and my grandfather had kept my dad's accordion for a long time. He pulled it out, and my dad played, and that was the first time I'd ever seen him play, and the nificer So I I guess in his day nth like 30 accor- ■unded like a mas- sound was magr questions about the accordi- they had an accordion choi dions doing Bach. He said i sive pipe organ. He never gave us lessons, though. A few years back my wife bought an accordion and I just picked it up, and this little melody just came out. It came out real easy and real pretty. That was that song, 'Per Sempre' on the Friends of Dean Martinez record. That was one of the first songs I ever wrote, period. And that came out on the accordion, so I felt a real affinity to the instrument. Do you play a piano accordion or a push button? John: Piano accordion. A medium size 1 20 bass. I see pictures of my dad, and he had one of those really big ones with 1 2 voicings, and you could change some of the voicings with your chin. Man, what I'd do to have that accordion back. That leads me to ask about playing instruments versus electronic mixing, or recording in the studio versus recording acoustically at home. Is your music going to stay in this spare acoustic sound? John: I think it's going to get mixed up more. Especially if we have the time and the money to do that [chuckles]. But I mean, essentially it always comes right down to the acoustic. When you sit down with your instrument and play. That's the basis of what Joey and I really want to do. Everything on top is whatever goes. You can experiment with loops and stuff, and building on top of them too, but I think the main focus will be playing instruments. You've been considered part of the emerging cowboy-lounge, countrified, traditional revival underground. Why do you think this music is happening now? Why do you think it's becoming popular again? John: I wonder if it's not the music so much as the nature of the business that's causing that to happen. The whole rock realm is clogged and all the bands are sounding the same, so people are getting together in their living rooms and putting songs together. And I think that's like the underground. And the underground starts happening and people think, 'Oh, I like this. It sounds different than what's on the radio.' I knew when Friends of Dean Martinez started that people were just happy to hear a band play live that wasn't playing loud. I certainly hope it doesn't turn into a trend and die out, 'cause that would be sad. John: [laughs] But of course, I'm talking to a member of Giant Sand, so you've proven that you've got some staying power ... John: Yeah, I mean, Giant Sand has its roots in country blues and acoustic jazz, that's where Howe comes from. But he loves to rock, too. What's happening with Giant Sand these days? John: We just recorded a record, and we've been signed to V2 Records. So that should be coming out this year some time. Howe's still working on it. He's going through the process of tearing it down and building it all back up. If you were to put together your dream lineup of bands to play with, living or dead, who would it be? John: Oh, man ... that's so hard. The list would get so long. I would love to play with Duke Ellington; someone who's so vast in his musical ear yet still so disconnected from it. He was able to abstract so well. Whenever I think of people I'd want to play with I always think of piano players like Thelonious Monk. The piano is so all-encompassing, it's like a miniature orchestra. If you could go back in time and tour on trains, you know what I mean? And play acoustically like they did. Before I came to talk to you I was kind of pissed because I was up there by my drums and it's like, God, there's just so many microphones. You know, there's one on my hi-hat, one on my snare, one on the bottom of my snare, on both tom-toms and overhead and on the vibraphones and cords everywhere. Why does it have to be this way? Why can't we just play? Have one or two mics for vocals. But it has turned into such a science. That's what I like about Spoke, it's so out- on-the-back-porch feeling. John: Two mics. One over the drums or the vibes, and Joey had one on his guitar, and that was it. We basically played to the room and hoped those mics would pick it up.« 13 S^§2S_S___. Real Live Action LIVE MUSIC REVIEWS HIGH LLAMAS THE APPLES IN STEREO Saturday, March 28 Starfish Room I expected quite a bit more than I got from this show. The Apples In Stereo, who come off so squeaky-clean and harmonic on vinyl, just didn't do it for me live. The best thing about their set was watching audience member Robert Dayton grooving down in his leisure suit. The Apples seemed strangely suited to playing for a retro crowd and were good enough for the kids to dance to. Once headliners the High Llamas took the stage, all dancing ceased. Most all forms of movement ceased, for that matter. I hate to say it, but this band is definitely not one to see live. They don't DO anything! Maybe it's just me, wanting action, action, and more action, but the High Llamas nearly put me to sleep. Their harmonies and playing were perfect ... perfect recreations ofthe songs on the CD, that is. If you want to compare these guys to Stereolab (similar sound, don't you think?), don't bother — at least Laetitia danced for us. In the end, not even all that neat-sounding vibraphone (or whatever that pretty xylophone- thing is called) could convince me that I was having a good time, and I went home a largely unsatisfied Julie Colero BUFFALO DAUGHTER THE BEANS Saturday, April 4 Starfish Room Before the show, I had heard neither The Beans nor Buffalo Daughter. Nearly everyone I talked to had never heard Buffalo Daughter either, but The Beans seem to be rapidly developing a reputation as the next big little Vancouver thing, and I was very eager to see what they were about. It was Buffalo Daughter's "Japaneseness" and "Grand Royalness," though, that I, and most everyone else, was there for. As for The Beans: drums, guitars, samples, and a sorrowful trumpet drone, which provided a pensive atmosphere in nearly every tune. This ambient stuff is truly soundtrack music. Their sound seemed to be performed in response to some outside drama, but unfortunately, there wasn't enough inside the music itself to interest me. Halfway through the performance, The Beans were accompanied on stage by a dancer in a sort of tutu. I thought this could actually be quite suitable, if only she provided inspiration for the music, and not merely visual accompaniment. Despite all that, this band does make some good sounds. 14 June 1998 I guess I was expecting Buffalo Daughter to be something along the lines of Cibo Matto. My God, even when they stepped on stage looking so darned cute dressed in their hip New Rock T-shirts, they fit the mould perfectly. I was pleasantly surprised. These tunes were just as fun and just as thick with synth and samples, but without the novelty of so many other Japanese bands you and I like so much (Shonen Knife, Pizzicato 5, The Pugs). That cuteness gets tiresome quick, but this was loud, serious fun. They played some loud guitars, funky synth, kickbutt beats, and two long ambient tunes which could be seen as shameless successors to prog-rock. This was New Rock, and I'm going to listen to their new album hoping for more of the same. Cornelius JONATHAN RICHMAN Sunday, April 5 Starfish Room Jonathan Richman is not for everybody, so musical snobs beware. But for those with a sappy of humour or in need of affirr -1 that ther some sincerity in this cold world, he is the performer for you. No one can sing love songs through the nose to objects in a thrift store like Jonathan Richman. The only complaints I heard from those around me were about the drunk "monkeys" and the kissy couples in the crowd and, for 1 6 bucks a ticket, all complaints are valid. However, all those monkeys and neckers were singing along so it was all good for me. A longtime groupie of sorts informed us that "Jonathan" hates performing in bars as he can't have kids around — he has two of his own, you knc snkeys" v vith less uld have been an njoyable experience, but as a longtime fan of Jonathan Richman with or without The Modern Lovers, I couldn't wipe the dumb smile off my face. He pulled out the hits like "Pablo Picasso" and "Dancing at the Lesbian Bar," and he did indeed do some dancing. At least I think it was dancing. Whatever he was doing, it was all good. It's refreshing to see a happy, confident, and good performer. It 1 long winter and Jonathan Richm 1 Vai spring is here. Sigh. Guh. sydney LAGWAGON BRACKET SUPERCHIEF Wednesday, April 8 Maritime Labour Centre Wreck Chords heart-throbs Lagwagon and, frankly, I'm tired of the same-old, same-old. Every show has been the same. Same set of tunes, all from their albums — you'll never hear the good stuff from compilations. This was probably the best I've ever seen Lagwagon. I think there are only two original members left — Joey the singer and Chris the enormously tall guitarist. New drummer, new other guitar, and new bassist, unless that other guy cut all his hair off. For a change, they played "Wind In Your Sail" — their best song ever, as well as "Raise a Family," from that Fat comp, which tops anything from the new record. They sure didn't leave out the stand-bys, like "Brown Eyed Girl," "Angry Days," and "Kids Don't Like To Share," but they actually ended with "Stokin' the Neighbors," which everybody always yells for but they always refuse to play. Joey's voice lasted until TRANSAM THE CHAMPS Saturday, April 11 The Great American Music Hall, San Francisco, CA First off, the Great American is an incredible music venue. God knows when it was built, but to my eye it looked like a turn of the century Old West "opera" house—very lavish, very ornate, almost Baroque. And it had great sound. Not bad ... Anyway, all the groovers in town were there to catch what one could safely label a "hot ticket:" Trans Am - - who have not only put out two of the finer albums of the last few years, but are also a mean touring unit — plus hometown heroes The Champs and their metal mayhem. As impressive as The Champs were, they come across as too much of a novelty act for my taste. They're essentially a three-piece (2 guitars and drums) that's fascinated by the "prog-iest" elements of metal, especially early thrash metal. I mean, we're talking some serious arpeggios. And (like Trans Am) it's all instrumental so that there's nothing that comes between you, the listener, and the licks. Their deadpan song titles were a real draw too — "tennis ball song" comes to mind. It was fun to see good ole Tim Green again after all these years, but, let's face it, The Champs aren't nearly as vital as the N.O.U. rhythm: take soi tracks c ictronic textures and Surveillance seems to s of the louder, crunchier an Surrender to the Night, their distortion, strip them down, and go from there at breakneck speed, using these tracks as its heart and soul. Like I said, Trans Am are an impressive band — tight, powerful, graceful — and when they have the room to cut loose, and they did, look out! AJ. FREAKWATER RICHARD BUCKNER Tuesday, April 14 Starfish Room With Freakwater's new one, Springtime, being such a fine outing (quite possibly their finest) and, with opportunities to see Freakwater being so rare, I was extremely primed for their visit to Vancouver. Man, did they ever turn in a performance! They started off with a hilarious false start — a three-part a capella harmony that was just off— but after clearing up that problem, the band caught their stride im- back. ■ Lip," r looked "Twisted Binding Twine" (all off Springtime), "My Old Drunk Friend," and their version of the Carter Family staple "Little Black Train" were all standouts. JR centrestage at the starfish room photo by aim goncalves This akesfi* >s I'v* about the fifth song or so. That guy is very hard on his voice. Superchief opened. They were all right, kind of Pennywiseish. Nothing groundbreaking. Bracket were second. I don't know what it is about them I don't like, but it's something, all right. They did play both songs that I like and were pretty brief. They're I always forget just how popular Fat bands are, and am surprised at the turnout at the shows. I suppose by now, I shouldn't be. Trevor Fielding Trans Am came on and were relentlessly impressive. Although they threw in plenty of the stripped, Kraftwerk-esque, electro-funk numbers that have become a trademark of theirs — two of these tracks even feature vocals (distorted, robotic vocals) — the tracks that they really seemed to relish the most and the tracks that really floored me were the big, meaty, guitar/bass/ drums workouts that are at the heart of Surveillance. Whereas Surrender to the Night, to me, was defined primarily by its electro numbers and by its play Freakwater is an immensely talented band. Catherine Irwin and Janet Beverage Bean's vocals and harmonies are powerful and moving, and their vocals just seem to get richer and richer; David Gay is a rock-solid bassist and the addition of multi-instrumentalist (banjo, mandolin, fiddle, etc.) Max Johnston has given the band even greater range. But this is a band with personality — Mr. Gay nearly stole the show with his hound-dog looks and his olympic- calibre smoking (we're talking a minimum of two packs during their set alone!); in fact, he just may be the "Lucky Luke" of the music world. But it was Catherine and Janet's storytelling that really won the crowd over. My personal fave was Catherine's story about making cracks in Buffalo, New York , about "buffalo chicken wings" because, being from Kentucky, she'd certainly had to live through enough Kentucky Fried Chicken/ Colonel Sanders jokes, and finding that those cracks didn't go over too well. All in all, a helluva performance. Mr. Richard Buckner had a real nice baritone voice and some real nice guitar-playing to accompany it, but he failed to really leave an impression on me - - that is, until he pulled out a cover of Pavement's "Here." Maybe it was the lack of reference points that kept me distanced from his other songs, maybe it had to do with the fact that I was gab-gab- gabbing the whole way through his set. joe bloggs THE MR. T EXPERIENCE TEEN IDOLS THE DISGUSTEENS Friday, April 17 The Columbia If was a hot and sweaty night at the Columbia, and the air was right for punk rock. Late of Victoria's ex-Defektor Kelly Kijek fronted the openers, The Disgusteens. Still a little rough around the edges, but expect big things from this bunch of good- time Charlies. Straight outta Nashville came The Teen Idols, riding a greased-back, leather- clad, hard-rockin' wave of sheer entertainment. One great song followed another as we absorbed 45 minutes of solid quality. Finishing up with "99 Luftballoons," The Teen Idols established themselves as one of the premiere live acts to grace our fair city. And then came The Mr. T Experience. Over the years, they have been one of my favourite bands, an opinion reinforced with every album and live performance. While MTX's most recent release was less than outstanding, this live show was anything but. Best show of the tour, quoth the bassist, and the best I've personally ever seen 'em. When veteran smoothie Dr. Frank wasn't makin' eyes at my girlfriend, he, Joel, and Jym were ripping though an hour of MTX's best and impressing the hell out of everyone there. What Trevor Fielding Printed Matters You've got a way with words that no-one else can emulate/ I don't think anyone's that crazy to try. (Graeme Dowries of The Verlaines, "Damn Shame" from Some Disenchanted Evening on Homestead) KATE ATKINSON Behind the Scenes at the Museum (Picador USA) TONY GRAY The Lost Years: The Emergency in Ireland, 1939-45 (Little, Brown) Due to a number of reasons — animosity against Eng land, a desire to be seen as a fully independent nation, or a belief there was little they could contribute to the Allied effort — Ireland kept out of direct involvement in the Second World War. In no way did this mean the Irish did not sympathize with one side or the other or that they did not suffer. In The Lost Years: The Emergency in Ireland, 1939-45, Tony Gray; examines the effects Irish neu trality had on the isL from his personal standpoint as a reporter for the Irish Times. He reveals the conflicts the Irish Republican Army had with the Irish government, the difficult relations with Britain (a country who possession), as well as the enmities between the Southern and Northern Irish. Given its brevity, this book acts as an interesting and involving primer to the history of the period. Unfortunately, Gray's overt bias sometimes overshadows context, especially his constant vilification — not always unreasonable — of De Valera. Also, the text is occasionally choppy, resulting from the journalistic style and the author's belief of municating to an informed public. For its purposes, however, it performs well but not quite admirably. The next selection deals with conflict both foreign and dc tic. Kate Atkinson's Behind the Scenes at the Museum relates the family history of Ruby Lennox, starting with her conception. It would scarcely do, however, to discuss the life of one child without introducing her predecessors, beginning with her great-grandmother Alice. From a small, countryside Yorkshire cottage to the city of York, during periods of peace and times of war, the family has suffered from losses, deception, and mischief. Strangely, the most prevalent of these is self- deception, either in imagining the circumstances better than they are or that the apparent options are the only ones available. This fascination with the fruits of the tree of ignorance has condemned Ruby's family — especially the female members — to lives of not so silent desperation. With rare exception, children are seen as demonic encumbrances, sent to murder the modest sanities of mothers and to destroy dreams, hopes, and happiness. Despite all this misery, hi vades. Atkin of such peculiar, altogether hu- i comedy through her ch( acters and situations. It is to hei credit that she deli s as observations, whethei .ched author or as Ruby. Gi depth of her chc perb quality of her descripti and the clarity of her focus - rpz *-• - y rr£ ti>* *'"'"l""h language, it is not surprising Atkinson won the Whitbread Book of the Year (1995), as well as being a New York Times Notable Book of the Year. Yet as the Boston Globe's Amanda Heller noted, "[that] such an ambitious and brilliantly realized novel is also the author's first is absolutely astonishing." If you were to read anything this year, you ought to start with this.* wants to f d i s - N perse distribute this darned paper to the suburbs. if you've got transportation and a desire to drop the paper off all'round the 'burbs, we'll give you free ad space phone us: 822-301 7ext0 fax us: 822-9364 or e-mail us: citrradio@mail.ams .ubcca Basslines a It was Sunday, May 1 Oth and just an hour after opening, Sonar was filled with people from all walks of life, all there to see and hear the head "Metalhead." The club was awash with Adidas stripes, Fila kicks, blue jeans and leather. There hasn't been such a diverse crowd at a club gig since The Orb played at Graceland a few years ago. I'm a big fan of jungle music and play a fair bit of it on my radio show, so I was really looking forward fo an evening of great music, turntable trickery, and an overall good time. Unfortunately, this was not the case. There's a reason why a dj is more than just a jukebox and it was the hip-hop djs of the '80s who demonstrated their importance as entertainers. People weren't just interested in what they were playing, they wanted to watch how they played the records and how they could manipulate them. Where's the entertainment in watching a dj light a cigarette, take another sip of beer, or take five minutes to look for another record with their back to the crowd? In other big cities, a dj like that would be booed off the turntables. Because of the facelessness of today's dance music, it is up to the dj to put on a show in place of the artist that created the music they are playing. Why am I getting all worked up about this, you ask? It's because I hate to see people being ripped off. Why were people paying $15 at the door to see Goldie when a local dj with the same records could have put on a similar show? I'm sure that not everyone who was in attendance left disappointed. In fact, there were probably those that thought it was amazing and had a great time. But then again, there was at least one audience member who thought that Andy Bollocks was Goldie! Finally, at around 1 lpm, the gold-toothed creator of Timeless, one of the most innovative and influential albums in jungle music, took to the stage. A subdued cheer emanated from the mixed crowd and the dance floor accommodated a few more enthusiastic fans. The 150+ bpm continued throughout the night and Vancouver was treated to an evening of drum 'n' bass unpar alleled by any other. The tracks were hot and because of his European sources, Goldie's fingers would probably be the only to touch them in Vancouver. We just don't get access to the same records, and some of the songs he played have yet to be released. As a world famous dj/ artist, it is in the best interest of independent record labels and aspiring artists to give Goldie copies of songs to "test" for them. For the most part, new songs were all that the audi There were moments here and there during.his extended dj set where he exhibited his skills, but it wasn't until towards the end of the night that the place started to Goldie was on tour to promote his second full-length release, Saturnzreturn (FFRR). With so much hype surrounding Timeless, would it be possible to equal or better such a work? You can judge for yourselves, but I suggest you borrow it if you can. With the exception of "Dragonfly," Saturnzreturn is a four-piece vinyl package that doesn' come close to the magnitude of Timeless.* 15 $m&°Emm Demo Derby Read your morning paper carefully: a recent article published in the Vancouver Sun intended to clear the record about the indigenous uprising in Chiapas, currently being suppressed by Mexican authorities. The author claims that the Zapatistas are not authentic indigenous peasants but "a gang of opportunistic middle class revolutionaries" with ties to European terrorists. The article states that the December m ere of 45 people was not a paramilitary act but due to a "tradi tional vendetta between fami lies." The article's deliberate in accuracies sparked a small demonstration outside of the new Vancouver Sun offices. Ontario Premier Mike Harris is up to his old tricks again. He waited until the school year was finished to announce the deregulation of all graduate program fees in Ontario. Undergraduate programs, like engineering where high salaries are expected upon graduation, are also being deregulated (by this premise, my arts degree should be absolutely free). Tui tion fees without caps can only lead to further difficulties for poorer, and even middle class, students. Higher fees in Ontario creases in other provinces, or inter-provincial barriers which will make it difficult for Canadians to study in other regions of the country UBC campus was adorned with Coca-Cola propaganda to prepare for the visit of the Coke CEO. Coke flags, banners and umbrellas were displayed on road leading to.tfre university. Student activists planned to throw a pie in the CEO's face, but mysteriously, he was nowhere to be found the day of his planned visit. Coca-Cola has a literal monopoly at UBC. The administration and student union receive money so that Coke and Coke products (Barq's root beer, Minute Maid juices) have exclusive vending rights on campus. In Zimbabwe, a student organizing a boycott against the privatization of his university was shot by the police. The third year science student was heading a boycott of classes in opposition to plans to convert the University of Zimbabwe food and accommodation serv- The student was shot by a policeman in a moving truck and he had to have an operation to remove the bullet from his shoulder. The G8 meeting in Birmingham, England, and 50th anni- . versary of GATT celebrations in Geneva in mid-May sparked protests around the world. The Eu- ;; ropean group People's Glo- | bal Action Against Free Trade (PGA) write on their website: "These Neoliberal poli cies are creating social tensions similar to the ones witnessed during the first stages of industrialization ... While the number of more people around the world find themselves in a system that offers them no place in production and no access to consumption." World-wide protests included a march of 40,000 landless and homeless Brazilians and 23 regional conferences against the World Trade Organization in India. Police in Geneva tried to repress the protests by arresting and deporting dozens of people, including several journalists and all foreigners in a bicycle caravan from ists gathered on Camano Island in Washington State for Art and Revolution People Recla the I.U4AHCNT PUSS Streets parties were held in 35 cities around the world. These street parties aim to take the streets back from consumerism and use them for public gathering spaces. Toronto's first Reclaim the Streets saw approximately 500 people take over several blocks of Bloor Street. Again, the police were on site, and arrested several people who refused to leave the street. During the same weekend (May 15-17), activists and art- To «* -^Ef !$*•' ;i|§l§y*|0 worked on street theatre, dances, music and giant puppets for a parade in Seattle on Monday. The theme of the parade overconsumption. The parade turned many heads with its giant puppets, elaborate costumes, drumming and stilt walkers. The march began by Pike Place Market, stopped for some street theatre outside of Niketown and turned into a street party as others joined to reclaim a formerly pedestrian-only block. The Conference de Montreal on Globalized Economies brought together banking and corporate executives to discuss globalization. Anti-MAI activists called SalAMI (Sale is the French word for dirty, AMI is the French acronym for Multilateral Agreement on Investment) organized a demonstration and a parallel confer- Revolution was on the lips of many Vancouverites last month. SFU's Special Collections had an excellent exhibit called II est interdit d'interdire on the student revolt 30 years ago in Paris. The display included original posters and handbills from the revolt, which began after the government tried to make universities more useful to industry and economy. Students called for a revolution against boredom and authority in favour of creativity and pleasure. The revolt swelled into a strike which shut down factories, railways, airlines, communications, hotels and banks before the movement collapsed. The Western Front hosted Rethinking Revolution, an annual festival of theory and performance art. A panel discussion entitled Culture at the Counter: The Revolution Commodified brought together academics, artists, and activists to discuss the appropriation of revolutionary images by rock bands and advertisers. Artist/terrorist group B.E.A.R. took over the bear pit in Stanley Park for eight hours. Their bizarre performance/occupation included pirate radio transmission and distribution ofthe B.E.A.R. manifesto. Part of the manifesto reads, "The revolution has been appropriated: bought, sold, mass produced, distributed and trademarked. It puts snap in your cereal, cherry in your Coke and wings on your pads. We want more than wage-slave service industry jobs, we call for occupations!" Send strategies, manifestos and memoirs to Demo Derby (see email address in column head).*" Video Philter BY TANIA BOLSKAYA You're at a kick-ass game of beach volleyball where you dive for every spike and the sand crunches under your sport-sandal clad feet as you wipe your honeyed brow in anticipation of the next gnarly serve ... You're driving out of the city in your Jeep, top down, babe at your side, ready to pound the brewskies with your buds and howl at the moon ... You're ready to flash some of the skin you've spent the whole winter tanning and toning, so you leap into the Cabriolet and cruise on down to Kits, sure that every glance wil! be approvingly leered your way ... If any of these scenarios describes your fantasy/typical summer day, this column holds nothing for your reading pleasure. It would be best if you kept moving along. Nothing to see here. If you're like me, you think of summer as that unacceptably sunny few months between Academy Awards night and the Vancouver International Film Festival. Going outside is something you risk only to a) go to work, b) rent a movie or c) forage for nuts and berries at the grocery store. Cool and refreshing as movie theatres are in the sweltering heat of a 16 June 1998 25°C Vancouver day, the year's warmest season usually brings its most idiotic features. (I've never queried the fact that the most undiluted cinematic pap comes out of Hollywood — I don't trust a town where it never rains and the average temperature is 30°C!). Fifth Avenue Cinemas tries to keep the independent/foreign/ quality ball rolling all year round, but often the happy medium between artsy, rainy-day independents and $200 million ear-drum tearing studio projects can only be found at the video store. Summer is the time of year when the more buoyant of the festival circuit films that didn't get picked up for wide release finally make it to video. Having run their merry way around the world, they are feeling primed to make back at least some of their investor's dough. Last year's Vancouver International Film Festival offerings included not a few movies in this category. Newly on the shelves is one of the 1997 festival's most crowd- pleasing efforts, Fever Pitch. The story that many a Vancouver hockey fan could easily relate to centres on a 30-ish, laid-back teacher whose defining person ality trait is his love for the game of soccer in general and, specifically, his devotion to the Arsenal team. As this is a time in history when Arsenal was not exactly a football powerhouse, he has learned to live with suffering. Into his life walks (primly erect) a female co-worker with whom he begins an "opposites-attract" relationship, despite her ignorance of and dislike for his life's passion. Following the true events of the 1988/89 English football season and intercut with flashbacks that give insight into the origins of a true fan, the film's romantic story mirrors Arsenal's rocky road to the championship. A successful romantic/sports comedy is hard to pull off; a delicate balance between the lovey- dovey and jock elements must be tempered with a good sense of humour about both. Though Fever Pitch does occasionally fall intc ihe dumb-plot trap of pitting the uptight female who's looking to "nest" against the slobbish, easy-going sports nut who doesn't want to be "tied down," its willingness to poke fun at itself with an honest, self-depreciating wit gives it a likeability that most Hollywood pictures in this vein don't have. It helps that, in place of the de r/gour-in-the-USA Kevin Costner, we get the charming and affable Colin Firth. Unfortunately, charming and affable are adjectives that I cannot use to describe the "Most Popular Canadian Film" at last year's festival: The Hanging Car- den. At the annual Tania Bolskaya Awards, this movie won "Most Canadian Film," a prize awarded to the most whimsically earnest, yet yawningly self-absorbed domestic festival effort. In the oh-so-Canadian plot, a young, thin, gay man returns to the scene of his pubescent obesity to attend the wedding of his sister, who happens to be marrying the object of his past affection. His mother was/is cold and uncommunicative and his father was/is a drunk bully who likes to garden. Flashbacks mix with surrealism as he learns to deal with his past. Unlike most of its ilk, The Hanging Garden is not set in the prairies, but in the just- as-ruralCanadian Maritimes. The big surprise ending has two problems — it ties everything together much too nicely and it's not that surprising. Except for the two actors who play his sisters — then, Sarah Polley [The Sweet Hereafter) and now, Kerry Fox (Shallow Grave) — the performances are as flat as the directing and writing. If you care to challenge me on any of this, The Hanging Garden is out on video June 2"d. If a fight is what you're looking for, it's finally possible to rent Waco: The Rules of the Engagement, a stunningly scathing documentary whose word of mouth wafted through the festival like tear gas last year. Investigating the US government's responsibility for the disaster at the Branch Davidian Compound near Waco, Texas in 1993, Waco paints an admittedly biased, yet impossible to ignore picture of federal fuck- ups and cover-ups. Though not exonerating the choices of the "cult," which according to the film's evidence was shot at, trapped, gassed, and ultimately murdered, Waco seeks to give the Davidians a voice to balance the "official" words of the FBI and ATF. The combination of video tape from inside the compound, expert testimony, heat-sensitive photography and on-the-record government back-tracking lead the viewer to ask the question fundamental to this film: do people whose beliefs clash with our own, and those of our justice system, deserve to die? Though heavy in terms of its subject matter and sometimes heavy-handed in terms of its message, Waco is never dull. In a summer of films like Godzilla, Deep Impact, and Armageddon, a little reality in the fire-and-brimstone department never hurt anyone. If you like your reality a little less on the "you bastards!" side, a healthy and unpretentious dose of life-affirmation can be found in the latest Errol Morris documentary classic, Fast, Cheap and Out of Control. Made up of four guys — a topiary gardener, a mole- rat specialist, a robotics scientist, and a lion-tamer — talking about their jobs, with a little experimental mood photography thrown in, Morris again proves that it is possible to use film to tell stories in new and exciting ways. The infectiousness of the men's love for their respective crafts and the inspired editing of the ever-innovative Errol make Fast, Cheap and Out of Control one of those movies that, like a good dinner, sits with you for awhile. Nourishment for the psyche, this film has the ability to make everyone feel like a humanist — a by-product of the PhD-in-Philosophy-holding Morris' love for his own crafts: thinking and filmmaking. A lover of thinking and filmmaking myself, though not necessarily in that order, I have a lot to do this summer while I'm sequestered away in my lightproof viewing room. At the top of my list is that letter I have to write to the VIFF Board of Directors. The topic: those insipid, grotesquely unfunny commercials that play before each film. Though they purport to be advertising the various contests at the festival, I will threaten to expose their real intent — to drive film- lovers (i.e. pass-holders, the bread and butter of the festival) so insane with loathing for a humankind that could produce such annoying drivel that they turn their murderous rage on their fellow (i.e. one-performance-ticket- holding) patrons, thereby gaining notoriety and free publicity for the VIFF. Until fall ...» 7 inch BY THE INVISIBLE CLAIRE No message this month! The oracle has writer's block. Attendees of the recent Nardwuar the Human Serviette extravaganza / Gotta Rash will recognize the MURDER CITY DEVILS as the high-steppin' greaser boys who spat on the stage, set their organ on fire, and induced maniacal dancing in rebellious teenagers. The recorded Devils are neither as charismatic nor as musically exciting as the real thing, but this is natural and to be expected. Rock and roll is, in most of its forms, intended to be a live experience, up-front and centre with all the undistinguished trappings of heat exhaustion, ecstatic dance moves or lack thereof, and demonic possession. "Dancing Shoes" is plenty sweaty, plenty swanky, and recorded in excellent stereo sound. "Tokyo Gold," despite an interesting thesis statement (they still know how to rock and roll in Tokyo), is a typical B-side, a poor shadow of its superior twin. I still find MCD's worship of Johnny Thunders and Iggy Pop somewhat trying, but have convinced myself that it is a homoerotic thing and, thus, excusable. (Die Young, Stay Pretty, 1932 1st Avenue, Suite 1103, Seattle, WA, 98101) No information is provided on or in the packaging concerning the matter, so allow me to use my powers of deduction to explain how the SICK BEES achieve such androgyny with their vocal lines. Thesis one: the Sick Bees are hermaphrodites! Unlikely, but possible. Thesis two: the Sick Bees possess a de-gen- der-fying pedal which distorts the gender identity of band members! Once again, unlikely, but technology is always bringing forth useful devices such as the one I have just described (the possibilities! This contraption, if it exists, could revolutionize music and, from there, the world! Call me mad, will they!) Thesis three: the Sick Bees have two vocalists, one of either sex. They sing together in such a seamless manner that the illusion of sepa- rateness is destroyed, and male joins female in perfect buzzing harmony. Since there is no way for me to prove any of my three theses at this time, I will quit this useless dissection of the vocals and move on to the instrumentation. "Push" is slow, starlight ballroom rock which sweeps through the cosmic arena in an atonal but alluring manner. "Come To Pray" features brass drones (saxophone? trumpet?), treble overload, and a message of Christian devotion. "Corn" is buried in mighty kickdrum, percussive collisions, and strange samples; 4:29 of indescribably demented fun. You wanna hear for yourself. (Up, PO Box 21328, Seattle, WA, 98111-3328) I get a lot of free frisbees from Denver garage rawk label 360 Twist, most of which I elect not to ety, and personal whim. This month, however, I will briefly skip over three reasonably new releases and drop the gospel thereof. Let's begin. THE SECULARS EP, Social Skills, comprises five songs of fast, snotty, very poorly recorded punkabilly. This appears to be a live or semi-live document. Righteous old-school (a la 1955) bass lines improve the whole mess. THE INSECT feature my favourite promotional advertising thafs built to last 5017 (ext.3) for iir?g^ & RECEfVl A CiTR RROMO PACK! NAME' iy r, 7 \ " Vs\ / AjDDRESS /'<:' J\ > "T* dJTY >- PROV POSTAL 1 YEAR: $15 CDN $USl5 US $24 ELSEWHERE DiSCORDER, 233-6138 SUB BLVD, VANCOUVER, BC V6T 1Z1 device on the cover of their 7": a naked chick draped in an American flag and saved from indecency by red-white-and-blue pasties. They do a Northwest Company cover, "Hard to Cry," with the requisite glitter and much faster and less distinctive, although "Styler" is a decent instrumental piece with harmonica. And GEORGIA'S VENDETTAS, with their cat-calling, hog- squealing, bikini-toting guitarist, make good, solid rockabilly. (360 Twist!, PO Box 9367 Denver, CO 80209 USA) Olympia old-timers KARP are back, spreading heavy metal mayhem over two long, tortuous sides of snow white vinyl. What monstrous guitar! What harsh screaming! Extra points for the chorus of the damned intoning funereally at the end of "Rowdy." One feels as if one is being chaperoned across Stygian waters towards the lightless flames of the underworld. (Up, PO Box 21 32, Seattle, WA, 98111) RUN CHICO RUN, a trio of Island boys, try their hands at social commentary on the A Secretary Speaks EP. Allow me to quote from "DJ Fevah:" "The kids are out on the floor/ they feel they could have paid more than 30 bones to come in/ and watch the demigod spin/ And then there's after the show/ the girls are ready to go/ and everyone in the know/ is trying to slip 'em free blow." For some reason, I find that extremely funny. "It's All Good" is just as amusing, for different but related reasons. "Voluntary Solitary" features another tidbit of hilarity: "Stad boys sit in a ring/drinking static in cans/circle jerkin in time/stroking hard for the man." As for the music, it's silly guitar pop. (Stereotype, 4-1 302 Gladstone Ave., Victoria, BC, V8R 1S1) Behind their amateurish MacPaint-style cover art, KUM- QUAT are, well, amateurish. "Fallen Child Porn Star" is so loose that it falls apart at every opportunity. "Sneer" is tighter and better, full of tempo shifts and vocal distortion. These youths are feeling kinda sonic, but they've got quite a way to go before they achieve the masterful sloppiness of their (presumed) idols. (Sex Not Suicide, 1509 Julia St., Berkeley, CA, 94703) The date on the back is 1995, but this TAFT HOTEL single, recently deposited in my mailbox by persons unknown, is so good that its age matters not one whit. The design is gorgeous and the record label, Co-dependent, is cooperatively run. The best part of the whole package, however, is the music. "Free The Witches" begins slowly and continues at a relaxed pace until the last 30 seconds, whereupon what originally seemed a sweet Sunday afternoon ride reveals itself to be a stomp through hardcore city. Strong rhythms and heavy bass jolt the innards, even when they're being played quietly. "Purple" has a more classically emo structure and, like, this record is so amazingly good that you, like, totally have to hear it. ("Excellent ending, Miss Claire. How do you keep your prose flowing so smoothly?" "Practice, Father MacMillan, practice") (Co-dependent, PO Box 1625, San Luis Obispo, CA, 93406) PHOENIX THUNDER- STONE s cover of Prince's "Free" has a groinally fixated bar- band sound which brings to mind Skid Row in ballad mode. Nothing wrong with that, nothing at all. "Pinprick," on the flip, features the vocal stylings of guitar mistress Wendy Van Dusen, who, with her pseudo- Alabamian drawl, makes me think of what Jarboe might sound like after sucking helium and joining a pop rock combo. This single is a groovy picture-disc with cartoon woodchucks and skunks on it. (Heyday, 2325 3rd Street #339, San Francisco, CA, 94107)* DUOTANG CONTEST Win one of five pairs of tickets to DUOTANG with special guests THE WEAKERTHANS and plumtree. The show date is on Saturday, June 27 at the Starfish Room. Send us your most original duotang from school (no clipboards or 3 ring binders!) by June 19 to: Duotang Contest c/o Discorder 233-6138 SUB Blvd Vancouver, BC V6T 1Z1 All prizes must be picked up in person at Discorder. Don't forget to include contact name and phone number! CHOICE OF HUM OR JESUS LIZARD Win one of two pairs of tickets to either Hum at the Starfish on Thursday, June 18 or Jesus Lizard on Monday, June 29 at the Starfish All you have to do is drop by the CiTR Business office beginning Tuesday, June 2 and tell us the latest releases from these fine bands First come, first served. CiTR is located at 233-6138 SUB Blvd Business hours are from 11 am to 6 pm, Monday to Friday 17 Et^gsansa Under Review ALBUMS • ZINES JOHN AQUAVIVA rmm Saturday to Sunday Mix (Florida) Mr. Aquaviva! Be my housemaster! You, oh great one — founder of Plus 8 and Definitive Records in Toronto, with many great house releases once again — show us what you do behind the decks! The smoothest, whipped blend of tasty house and techno. Saturday Mix: Groove. Up. Bump and grind then whip to frenzy with hard beats. Sunday Mix: Down. Tired. But ready for more and a slap in the ass from Mr. Aquaviva. Aquaviva again shows us why he has a monthly residency at the Florida Club in Spain, where he plays five hour sets. We wish he would come to Vancouver more often. Buy this. Includes tracks by DJ Slip, Plus 8's The Kooky Scientist and The Jedi Knights Worth every penny and I pity the sucker who missed Mr. Aquaviva at Celebrities last month. Tobias van Veen BRAID Frame and Canvas (Polyvinyl) Ahh, "emo:" the little sub-genre reserved for bands who span the boundary between pop punk and "emotional" indie-rock (a la Superchunk) Braid, an emo band much like Sunny Day Real Estate and The Promise Ring, sing little ditties about stupid topics using lots of vague adjectives and metaphors, which leads me to believe that they probably write their random lyrics while reading a dictionary. Their guitar riffs are definitely catchy and there .are so many hooks in the 12 songs that they often become cheesy and predictable because of the pick- quietly- and-then-hit-the-distortion- pedals pattern of every single track. This is not to say that I think Braid suck, because I don't. For me, they're always fun to listen to, but you have to be in the right frame of mind to like this album. On one hand, I can hear something overdone and bad like Third Eye Blind when I lend an ear to this Braid CD. On the other hand, I can hear something unique and enjoyable in these songs, with their endless hooks and weird time signatures. It's a lot better than your average poppunk record, that's for darn tootin' sure. Christopher J.C. Corday Sanctuary Sundays 9-12 no cover, drink specials DARK MUSIC FOR A DARK AGE Dj's micronian and pandemonium -• starting Sunday June 14th 1250 Richards St. Vancouver, BC Tel. 604.688.2648 18 june 1998 CHIXDIGGIT Born on the First of July (Honest Don's) Calgary's favourite sons burst back onto the scene with a 1 2- song punk rock explosion that'll make you forget all the Celine Dions, Bryan Adams and Great Big Seas combined. While not quite as consistent as their 1996 debut, Bom's highs easily outweigh its lows. KJ and the kids rock harder than ever with smashes like "Chupacabras" and "Ohio" and crooners fit to melt your heartstrings, like "Julianne" or "Sikome Beach." Again, with handsome packaging care of Tom Bagley and far fewer cries of "Let's rock!" — evidently they read the suggestion box — this is a fine sophomore effort which will presumably garner much southern favour. Yes, Fat Mike ...Anything you say, Master ... Trevor Fielding THE CRYSTAL METHOD Vegas (Outpost/Universal) While listening to this release from The Crystal Method, I couldn't help comparing it to The Prodigy and The Chemical Brothers. For some, this is a favorable comparison, for others, not so favourable. Vegas is an album that I can put on when I'm driving and pass many an exciting hour. The breakbeats in most of the tracks are well done. This is a dancer's album. All the tracks take a more rock-oriented format, as they are all individual songs; lots of build-up, lots of bass. I like this album. It's the one that piqued my interest in electronica and if it does that to other people, all the better. Shane Vander Meer FREAKY CHAKRA Blacklight Fantasy (Astralwerks) "Bass and Bleeps, '98 style," said Neil Landstruum. This would also apply to Freaky Chakra's new album, Blacklight Fantasy, which explores the ranges of sample- happy house and mature, minimalist trance to intricately structured electro-ish breaks reminiscent of early Warpera releases. Too many samples for my tastes, but the album is a definite progression and a smooth, gargling-in-space listen from Daum Bentiey. It's also a step away from the melting cheese of West Coast breaks and progressive trance that everyone else (and the mainstream "electronica" scene) has fallen into these days. This album has far more of a Detroit-electro feel to it, mixed with a touch of West Coast, and reminds me of Vapourspace's recent offerings. Enjoy the snack. Tobias van Veen HAGFISH Hagfish (Honest Don's) The conclusion I drew from repeated listenings to Hagfish's last album was this: they play very good poppy punk almost identical to All. This isn't too surprising, since the tag team of Stevenson and Egerton were knob-twiddlers for bands. Hagfish, however, have the dumbest lyrics I've ever heard. The worst! Worse than Fluf. It's hard to like Hagfish, for this very reason. As far as the new album goes — well, the music's the same, and the lyrics ... better. It's not the best thing I've ever heard, but songs like "Anniversary Song," "Closer," "Band," and They Might Be Giants' "Twisting" are enough to make this a vast improvement on the last. Trevor Fielding RICHIE HAWTIN Concept 96 (Minus) Canada's composer of minimal techno, Richie Hawtin, aka Plastikman, has released a CD of collector's 12"s which came out from 1996 to 1997. These 1 2"s reflected a minimal concept in techno. The Plastikman-Detroit style is taken to the extreme, with tones repeated and panned for an entire track with only subtle change; abstract and haunting rhythms and beats. Hearing the entire series from start to finish is quite a revealing treat. There is a pattern in the silence and Mr. Hawtin dictates it very, very well. Makes me long for a party with 40 bassbins and Hawtin on four decks with a joystick-controlled quad sound system. Instant orgasm, I tell ya'. Tobias IRIDIUM The Racquet EP (Lowdown) Another local recording expressing the ethereal. It's nice and interesting, but nothing really wakes me up and makes me want to either spin this out in a deep- house or morning techno setting or listen to it endlessly at home. Iridium is forming its own sound, though, and the tracks have a developed, west coast-ish/Phil Western-ish sound to them. Favourites? "Tempest" will probably be played on the wheels of steel with the nicely worked, dreamy and just-woke-up-from-a-coma vocal sample, as well as "Green Towels" (whazzup with the name?!?) with the saxophone doot-a-loot-loot. Personally, I still like "Psychos Living in Berlin," because of its underground, Paris- at-night-on-heroin feel. Come to think of it, the EP is a fine piece of work, but nothing bites. Good local artist. JUGHEAD'S REVENGE Jusf Joined (Nitro) This review is based on my copy of Just Joined without a sleeve, cover, or even song titles. Just bear with me. Jughead's Revenge's last album was the one that got me to like this band, for whom I didn't much care previously. Image is Everything was a great album. Just Joined is ...good. Note the difference. Songs like "Domino," the one which might be called "Punk's Not Cool Anymore," and the last one (sung by somebody else — hey, don't ask me who) are standouts, featuring their trademark satire and slam-bang punk rock. The rest of the album is mired in mediocrity, though, and doesn't do much for me. It's still good, solid fun, but doesn't leave much of an impression. Trevor Fielding LUNGFISH Artificial Horizon (Dischord) Lungfish take the slow and heavy route through 1 1 thoughtful songs on their latest Dischord release. Five of these 1 1 songs are instrumental and provide a sort of meditative padding for the lyrical intensity of pieces like "Love Will Ruin Your Mind" and "Slip of Existence." "Shed The World" is the strongest song on the album, a slice of vision. It ends with the following sentiment, which I hold to my heart as the authoritative truth of an inspired poet: "Don't shun the world, shed it/ If anyone you meet does not believe it/ Tell them the talking trees have decreed it." The Invisible Barbara THE MAKE-UP In Mass Mind CD Blue is Beautiful video (Dischord) The Make-up gospel ministry is back with a double dose of that maximum soul/gospel yeh-yeh sound that they've been setting the woods on fire with since 1994. In Mass Mind finds them at the peak of their powers, effortlessly moving from MC5-fla- voured psychedelic scorchers like "Live in the Rhythm Hive," to driv- "Watch it With that Thing," to rousing, spiritual odysseys like "Do you Like Gospel Music?" and "Caught up in the Rapture," to pulsing, soul rugcutters like "Drop the Needle" and "Centre of the Earth." Last year's simultaneous releases of Sound Verite (K) and After Dark (Dischord) was certainly a bold move, showcasing increasing inventiveness in the studio as well as the majesty of The Make-up's performative abilities — somehow, though, what should have been a coup de grace to a sick industry, a sick society, a sick world, and all you sickos who live your lives contentedly day-by-day in such a world, came up a little short. With In Mass Mind, The Make-up have managed to marry prowess with focus and vision. YEAHHH! That's right, baby, the soul is back and she's pissed. Lookout! "Watch It With That Thing" on its own is a revelation; it may be THE Revelation. Here, in a song about master-slave dynamics, instead of simplistically decrying such dynamics or adopting a privileged point of observation outside of such dynamics, Ian "el gato" Svenonius steps defiantly into the role of the slave, or, rather, he admits to his position as a slave: "I know my place, I'm a slave ... there's no underground railroad, and there's nowhere to go anyway ... I know my place, I'm for sale ... oooh, YEAH! YEAH! YEAH!" Creating a link between slavery and one's alienated existence within late capitalism is bold; creating such a link and drawing upon America's history of human slavery is downright provocative. In a sense, it reminds me of the work of someone like Rainer Werner Fassbinder, who in the mid- 1970s started creating complex filmic texts which were not only critiques of capitalism, racism, exploitation, etc., but were also textual expressions of the dynamics involved. At one point, Fassbinder considered naming one of these projects Slaves of Order and Tranquility. While In Mass Mind finds The Make-up at the peak of their powers, 8/ue is Beautiful, a 16mm film "abouf'/featuring The Make-up made by one James Schneider as some kind of project for the Corcoran School for the Arts (evidently), is much more of a trifle. The film is ostensibly about The Makeup's attempt to escape the USA and attain refuge in Canada because of the political oppression they've been subject to in their native land. But essentially, the "plot" is just an excuse for a lot of nicely shot documentary- style footage of the band in action on stage and on the road. Unfortunately, the emphasis on the road trip and the gigs means that the band's "message" and lan's notorious skills as a monologist and ranter get pushed to the side. Much of the footage (especially the live stuff) is great, however, and the film is not without its seductive charms. I got the feeling that this was primarily Schneider's version/vision of The Make-up and that, if the band took on a similar project in the future, they should most certainly work with ■ith whom they could cre- TOTAL VISION. THE MALCHIKS Skavant-Garde (Spawner) Is it against CiTR law to review a Malchiks album? I mean, isn't it just a given that they're great sides, hasn't every member of Discorder's readership been to a Malchiks bzzr garden ... I mean, concert? So I don't have to say something like, "this 40 million- piece outfit has finally done the unthinkable, yada yada yada ..." Do I? You know what they sound like. I'd say, "Go get the album," but you probably already have it. It's catchy, it's quirky, it's witty, it's good. They say stuff that you wish you had thought of. Their songs should be the highlight of every mixed tape. I think my personal favourite track is "Lover Boy" (cuz deep down, don't we all love Tina Turner?), but heck, it's all great. alia SACKVILLE These Last Songs (Mag Wheel) Picture a rural farmhouse or an isolated log cabin in the woods on a chilly, grey, autumn day. These are the kinds of images Montreal's Sackville brings to mind. Most of the songs — like "Upstate," "Invisible Ink," and "Clothesline" — are meandering and lethargic, occasionally letting loose into short fits of noise. "Music to kill yourself by," is how a friend of mine described it. "Her Ghost Will One Day Rise Again" is probably my favourite song; it's a little less dirgy than the rest, kind of gospely in fact, though I'll stop short of calling it uplifting. Although their instrumentation (including violin, banjo, table steel, organ and even a saw) might hint at it, you can't quite pin the country label on them. I try my darndest not to compare one band to another, but I've gotta succumb and point out that Sackville sound an awful lot like Rex or Palace. It just seems too obvious not to mention. I don't know whether or not there's any significance to the album title. Fred derF SWERVEDRIVER 99fh Dream (Zero Hour) The music scene has changed a lot in the last five to seven years; grunge has pretty much come and gone, electronica's now in. It seems everyone's long since forgotten My Bloody Valentine and the scores of much-hyped British "guitar" bands that were so abundant a few years ago. But Swervedriver is one "guitar" band I always thought was deserving of all the hype. No, I haven't really listened to them much since 1993's Mezcal Head (I still haven't heard 1995's Ejector Seat Reservation). But this album, 99th Dream, has definitely rekindled my interest in the band. My very first impression of the album, produced once again by Alan Moulder (My Bloody Valentine, Smashing Pumpkins), was that it sounded a bit too thin and gritty, but I've grown to like its rawness. I think I was half expecting the polish of the Mezcal Head album. Adam Franklin's lazy vocals are still buried deep in the mix and they've still got countless layers of heavily processed guitars and spacey effects swirling in, out, and around — their trademark sound. This album is a bit sparser, dreamier, and a little more toned down than before. On average, the songs are a bit shorter than they used to be, though there are still a couple of tunes over seven minutes. It seems Swervedriver's now more focused on song than riff. "Stellar Caprice" is a great loungey instrumental that wouldn't be altogether out of place on a Friends of Dean Martinez or Calexico album, yet it still sounds like Swervedriver. And, thankfully, they haven't completely abandoned their more straightforward, melodic tunes like "These Times" and "Up From The Sea," and they're still capable of rocking out, which they do here and there throughout the album. I don't think there's anyone that can pull off this genre as well as Swervedriver can. And hey, I made it all the way through without saying "shoegazer." Fred derF TEEN IDOLS Teen Idols (Honest Don's) Hands down, this is the best album I've heard all year. Fast, catchy, rockin' punk in the same Ramones-worship vein as The Queers and Screeching Weasel. From the opener, "Come Dance With Me", straight through to "Anybody Else," Nashville's Teen idols whip through 14 consecutive hits without a clunker in the bunch. Witness "1989," "I'm Not the One," or "Peanut Butter Girl" ... the proof, my friends, in the pudding. Honest Don's already impressive roster takes a giant leap with the addition of this very fine band. Trevor Fielding PHIL WESTERN The Escapist (Map) Escape from what? If anything Phil, aka Philth of Download aka Cap'm Stargazer, aka one half of Off and Gone, aka something to do with Skinny Puppy, has rounded up another reason to keep living in Vancouver: we deceive ourselves into believing this is Lotus Land. Or perhaps the album just deceives for us, the deception seen most on the last track, "Stay Clean," with its haunting melodies that just wants to make you snuggle with something furry, smoke the funny and die crying. Beautiful soundscapes and ethereal beats are punctured by industrial stabs, invoking the modernist aspect of the cover art. This is obviously music assembled from traveling the world, perhaps a mental voyage, as the inside photos show. Well worth it. Tobias WIZO Kraut & Ruben (Fat) You don't know how long I've been waiting for this. A new album from the best band in Deutschland? Oh, baby. It's not exactly new, mind you. Kraut & Ruben is a collection of (only) eight previously released songs: three from 1996's Herrenhandtasche, a couple from the German edition of Uuuaargghhl, plus some covers and compilation tracks. As always, it's the ones in German that are my favourites, even though I haven't a clue what they're saying. This is another superb release from Wizo. We can only hope for two things: the next one is a bit longer, and the tour scheduler realizes that Canada has a west coast, too. Trevor Fielding VARIOUS ARTISTS Foxtrot (Graal/World Serpent) This compilation was put together by John Balance and his close circle of "friends and loved ones" to help pay for the alcoholism treat-, ment he is currently undergoing. The resulting album is an interesting collection of oddities and miscellany from the World Serpent gang. John's partner, Peter Christopherson, starts Foxtrot off with "In My Head a Crystal Sphere of Heavy Fluid" (dedicated to the memory of William S. Burroughs), a rather slow, mellow piece which features synthesized flute and blues guitar. The Inflatable Sideshow's "Bone Frequency," with its cut-up voices and heavy guitars, is considerably heavier and, at moments, sounds almost "mainstream industrial." Fortunately, the song is mixed eccentrically enough to escape the damnation of that tag. Good old Nurse With Wound, of whom I've never been particularly fond at a level beyond the intellectual, contributes two tracks, one of which seems to be an old regurgitation framed by BBC radio commentary. The second track is an almost tolerable ten-minute whitewash of synthesizer tones and power-tool skree whose frequencies mess up your brain. Coil themselves are in fine form on "Blue Rats (Blue Cheese Mix)" and "Heartworms." Both songs are quite dancey, but no dj in his or her right mind would play them after 12 midnight or before 4 in the morning, unless he or she was quite mad or intent upon frightening the young'uns. And, finally, Current 93 do "A Dream of the InMostLight." Since C93's InMostLight trilogy is a current (ha) obsession of mine, this long song, little more than an eternal wash of guitar fuzz and childish voices, pleases me to no end, if only for its titular association with such a grand and marvellous piece of work. I wish Mr. Balance a successful recovery and hope that this project provides some monetary support. The Invisible Barbara SOUNDTRACK Shooting Fish (EMI) There isn't much to say about the Shooting Fish soundtrack. It's a compilation of cute, funny songs by cute, funny bands to go with the cute, funny movie. The tunes are fun and boppy, selected from recent hit British pop albums, such as "Neighbourhood" and "Me & You Vs. the World" from Space's LP Spiders, and "Bluetonic" from The Bluetones' Expecting to Fly. The spread of songs will turn you into a bouncing muppet if you are into, dare I use the defunct catch phrase, Brit-pop (ACKI), but if you are the type who is sickened by happy pop, STAY AWAY. Don't say I didn't warn you. Tunes by Strangelove, Silver Sun, Dubstar, The Divine Comedy and The Wannadies grace the compilation, but the most enjoyable tracks are definitely the yummy Hal David/Burt Bacharach tunes sung by our favourite psychic friend, Dionne Warwick ("Do You Know the Way to San Jose"), and Jackie De Shannon ("What the World Needs Now Is Love"). You get the picture. Top off the sweet, chocolatey goodness with swelling movie music performed by the Warsaw Symphony Orchestra, and there you have it. Buy it if Duld alia hussey THE EVAPORATORS THEE GOBLINS THE SKABLINS THE MURDER CITY DEVILS HEAD THEE PIRATES Friday, April 24 Cambrian Hall BLACK MARKET BABIES THE MURDER CITY DEVILS THE GO-DEVILS Saturday, April 25 The Columbia First off, let me clear something up. RockV Roll: Elvis, Jerry Lee, Gene Vincent, The Rolling Stones, Jimi, The New York Dolls, Patti, Suicide, The Clash, X-Ray Spex, The Cramps, etc. Rock: The Beach Boys, The Who, Gary Glitter, The Ramones, The Sex Pistols, Pink Floyd, Boston, Reo Speedwagon, etc. OK, now that I've taken care of that matter ... Any time you get a chance to see The Murder City Devils, I say DO IT — not only are they one of the best bands going in this day and age, one of the only bands worth a toss, but they're without a doubt one of the very best bands you'll ever see live (yeah, YOU!). Many thanks to Nardwuar the Human Serviette for bringing the M.C.D. up along with Head and Thee Pirates for his 1 1 th anniversary wild west comedy-fest, and many more thanks to Nardo for re-christening the Cambrian Hall proper. Missed Thee Pirates, but apparently they were a hoot AND they're available for birthday parties, baptisms, confirmations, etc. Head was punk of that straight-ahead, three-chord variety that I tend to avoid like scabies. The Murder City Devils came on next and delivered a blistering, sweaty, impassioned set to a largely sedentary audience — meanwhile, a few of us did The Werewolf in fevered, trance-like states. After mini-sets by Thee Goblins (not to be confused with The Goblins) and the rude soundz of The Skablins, The Evaporators came on and loosed their bizarro charms upon the eager crowd. There's no question about it, The Evaporators are a crack band and when you match that up with Nardwuar's hypnotic powers, not to mention his vintage 1983-4 Thriller tops and bottoms that would make Tennille proud, you've got a potent combination. This outing saw The Evaporators shredding garage punk numbers as they've rarely shredded 'em before, but also continuing to branch out into other territories, such as kandy- koated reggae and disco beats (think Leo Sayer on ludes). Sheer mayhem. Night two of the-Murder-City- Devils-storm-Vancouver found them moving from what was essentially a theatre space (hell, there was even a balcony) to the down-n-dirty punk hovel lhat is the Columbia — perfect. They thrived on its low stage, its cramped space, its "ambience," and pulled out all the stops. When I thought they couldn't go any further, they closed with "Flashbulb," their adrenaline-fueled paean to taking the stage on a Saturday night, and their set-closer tribute to Ignatius Pop on metallic k.o., "Broken Glass," complete with flaming farfisa. The Go-Devils (not the Japanese ones) opened up the night with some light aritzia-punk; The Black Market Babies (B.C. not D.C.) closed the night with some faux thunders cum interior cum pop. Singer-boy wanted to be the crowd's dog and, sure enough, by the end of the night he'd been ridiculed, gobbed upon, and doused with stale beer. Some performers achieve some kind of twisted transcendence by becoming a pariah-figure; others just get shat upon. MUSCLE BITCHES PUNCHED UNCONSCIOUS BLOODHAG Friday, May 8 Starfish Room First up was Seattle's Bloodhag. Each song was a two-minute blast of frenetic heavy metal named after a noted science fiction author. What? Yes, Bloodhag are very literate fellows. They threw out books to the crowd, took a literacy poll, and were thoroughly unappreciated — more's the pity. Next was, I suppose, Punched Unconscious. I spent their entire set hoping they'd stop. Their frontman sounded a lot like Anthony Michael Hall when he gets drunk in Weird Science. I didn't like them at all. Nuff said. The Muscle Bitches were last ... wow. As it turns out, the guy from P.U. is the Bitches' bass player. Well, this band is incredible, just bursting at the seams with showmanship. Their set included, but was certainly not limited to, flaming cymbals, leather G-strings, miniature guitars, flaming ex-members, battling crustaceans, flaming miniature guitars, operatic singing voices, baritone sax, riffs to make Iron Maiden weep, and stage presence in the league of Gwar. All this enshrouded in epic amounts of smoke ... this is one amazing Trevor Fielding GARY NUMAN SWITCHBLADE SYMPHONY Thursday, May 14 Starfish Room The mood inside the Starfish Room that night was one of in tense anticipation as we all waited for the arrival of Gary Numan. The black-clad group huddled close to the barrier put up to protect our hero from overzealous fans. And, trust me, the fence came in handy The opening band, Switchblade Symphony, put on a respectable show. I liked the music, but more than that, their hair was amazing! With the crowd geared up, the red lights shone on stage and out walked the man everyone had been waiting to see (some for up to 20 years). Having never put much stock in rock stars, I was shocked to feel myself swoon in his presence. But the real thrill of the night came when Gary hit the first few chords of "Cars," and the crowd started to dance in unison until the ground shook under our feet. In an interview with the King of the Synthesizer, Gary mentioned that he would have to win back all the fans he lost in the mid-'80s with a great live show, and he delivered. He was so well received, this trooper played two encores, finishing the evening with an outstanding rendition of "Me! I disconnect from you." A fellow Numanoid told me at a bus stop after the show that someone offered him $100 for his ticket, but he wouldn't have sold it for anything. I think this is a fitting tribute to a man who played the best concert I have ever been to in my life. Shane Vander Meer NEW BOMB TURKS Sunday, May 17 Starfish Room Even though it had been about three years since the last time they were here, it didn't take long for The New Bomb Turks to blast off and take everyone along for the ride. Actually, bassist Matt Reber seemed a little pissed off during the first couple of songs - - maybe it was that bass sound, which didn't appear right to me at first either, but then we both got used to it. Singer Eric Davidson commanded the most attention, steering the rock and roll juggernaut through four albums (OK, five if you include the Pissin' Out the Poison double LP) and numerous singles. He made the most out of the newly erected partition around the stage, much like a troublesome toddler tries to escape the confines of his playpen. And we, the audience, were more than willing to set him free. I don't think I've yelled louder, sang along more, and jumped around with such excitement than at this show. Prime example: when guitarist Jim Weber slashed out the chords to their cover of Wire's "Mr. Suit," the result was a pure, manic and intense moment of unbridled energy that I haven't seen out of a Vancouver crowd in a long time. If you haven't got any New Bomb Turks (including their brand new boss platter At Rope's End), do yourself a favour and add the Columbus, Ohio, crew to your collection. You won't be sorry. Bryce Dunn 19 ®LR§2t!2l3ffi On The Dia SUNDAYS ARE YOU SERIOUS? MUSK 8:30- 12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00-3:OOPM Reggae inna all styles and fashion. BLOOD ON THE SADDLE alt. 3:00- 5:00PM Real cowshit caught in yer boots country. WIRELESS alt. 3:00-5:O0PM QUEER FM 6-00-8-OOPM Dedicated to the gay, lesbian, bisexual, and -al of Vancouver and listened to by everyone. Lots of human interest features, background on current issues and great music from musicians of all sexual preferences and gender SUN identities. HELLO INDIA 8:00-9:00PM 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 Ihe 1930's to the 1990's, semrclassical music such as Ghazals and Bhajans, and also Quawwalis, folk songs, elc. THE SHOW 10:00PM-12:00AM Strictly Hip Hop - Strictly Underground - Strictly Vinyl With your hosts Mr. Checka, Flip Out & J Swing on the 1 & 2's. IN THE GRIP OF INCOHERENCY 12:00-4:00AM Drop yer gear and stay up late. Naked radio for naked people. Get bent. Love Dave. Eclectic MON MONDAYS BREAKFASTWITH THE BROWNS 8:15- 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 each weekly brown plate special. Instrumental, trance, lounge and ambience. THE STUPID RADIO SHOW 11:00 AM- 1 KK) PM Playing a spectrum of music from garage band to big band, acoustic to electric. NEEDLEPOINT 1:00-3:00PM Mismatched flop rock, a quick ride downtown. Don't miss the Snow White Float. I love the Snow White Float. THE MEAT-EATING VEGAN 3:00- 4:00PM 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 humarvanswering EVIL VS. GOOD 4K)0-5*00PM Who will triumph? Hardcore/punk from beyond the grave. BBC WORLD NEWS SERVICE 5:00- 5:30PM BIRDWATCHERS 5:30-6:00PM Join the Sports department for their eye on the T-birds. HANS KLAUS' MISERY HOUR alt. 6*00-7:00PM Mixofmostdepressing, unheard and unlistenable melodies, tunes and voices. RADIO BLUE WARSAW alt. 6:00- 7:00PM Join Library queens Helen G. and Kim on their inlo quests set to only the best music. HIP HOP HAVOC 7:OO-9fl0PM THE JAZZ SHOW 9£0PM-12:00AM Vancouver's longest running prime time jazz program. Hosted by the ever-suave Gavin Walker. Features at 11. June l:"Boss Tenor", A classic by saxophone master Gene Ammons. June 8: Ira Sullivan w/"Blue Stroll." June 15: 1998 Jazz Festival focus TUE WED THU June 22: Canadian-born trumpeter/ composer Kenny Wheeler, "Siren's Song." June 29: Pianist / compsoer Mai Waldron with soprano saxophonist Steve Lacy and The Super Quartet. DRUM'N" SPACE 12:00-4:00AM Vancouver's only drum 'n' bass show. Futuristic urban breakbeatat 160bpm. TUESDAYS J-POP WONDERLAND 6:30-8:30 AM Japanese early morning imports! AROUND THE MIDDUE EAST IN AN HOUR8:30-9:30AMMiddleeaslern music for your morning drive. THIRD TIME'S THE CHARM 9:30- 11:30AM Torrid trash-rock, sleazy surf and pulsatin' punk provide the perfect scissor kick to your head every Tuesday man. There's no second chance when Kung-Fu is used for evil with drunken fist Bryce. Kilfyaa!!!! FIVE HOUR LUNCH 11:30AM- 1:00PM "Have a rock V roll McDonald's for lunch today!" POLYFILLER 2KX)-3:30PM TWO WORDS: AVANT GARDE FOLK. LADY DEATHSTRIKE'S BENTO 3:30- 5:00PM Power to the people! Feminist FRI news, hiphop Iracks, lesbionic rock and sushi galore! DIGESTIVE TRACKS 6:00-7KX)PM Underground hip hop music. Live on-air mixing by DJ Flipout. Old school to next school tracks. Chew on that shit. THE UNHEARD MUSIC 7:00- 9:00PM Meat the unherd where the unheard and the hordes of hardly herd are heard, courtesy of host and demo director Dale Sawyer. Herd up! New music, independent bands. RITMO LATINO 9:00-10:00PM Get on board Vancouver's only tropical fiesta express with your loco hosts Rolando, Romy, and Paulo as they shake it and wiggle it to the latest in Salsa, Merengue, Cumbia and other fiery fiesta favourites. Latin music so hot it'll give you a tan! jjRADIO SABROSA!! WITCHDOCTOR HIGHBALL alt. 10*O0PM-12KX)AM Noise, ambient, electronic, hip hop, free jazz, christian better living Ip's, the occasional amateur radio play, whatever. AURAL TENTACLES 12KJ0AM-VERY LATE Warning: This show is moody and unpredictable. It encourages insomnia and may prove to be hazard- SAT J3J3C BBC j 1> o P wonderland suburban jungle fillin Caught in tlie red BBC T/IE ?ATUKDAY EDGE are you serious? ihusic Breakfast with the Browns around the middle east teenage dream date the last desk Steve G. third time's the charm DISKAL ALfVm CHfOhOtt€fc€r music for fOBOt// Filibuster Ska-t's Scenic Drive the STUPID RADIO SHOW Five Hour Lunch CANADIAN LUNCH MOCKERS SHOW love sucks These are the breaks wonderland needlepoint Colonel Sander's Hicaeoiat Steve and Mike POWER CHORD B.A. Sugarcube Factory Justin's t i rb e Little Twin Stars WIRELESS/ BLOOD 0]S TJJE SADDLE ThcMeat-f^linSVc&n motor dAddy FLEX YOUR HEAD Luckv Scratch CADY DEATWSTRIKE'S BEWTO MBDYUAB & evil vs. good hearsay gOEER PM rdrfo t*ie wdr_w digest iv-e tracks c-sotcriK/ SOLID StfltC Out For Kicks Far East £ ide "sounds/ Alrican Rhythms BADIO FBEE AMERICA hip hop havoc THE UNHEARD MUSIC and sometimes why/ mary tyler moore show on air with greased hair Hello India /HMttK /AhDVKH C,eeT_N.laLi T/IE JAZZ snow KITMO LATINO Folk Oasis LIVE FROM THUNDERBIRD RADIO HELL BA55 T/IE S/IO¥ (hiphop) Venus Flytrap/ witchdoctor hiqhball str8 outta jallundar live at the hi-hat rebel 1 jazz Slippery Slot / Groove Jumping IN THE GRIP OF INCOHERENCY TY §PPiC€ AURAL TENTACLES open $€A$on Limp IDE.BC Plutonian Nights Filet of Soul/ Earwax 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 7 8 9 10 | 11 j 12 I 1 2 3 4 5 6 7 8 9 10 | 11 j 12! 1 2 3 4 I I 20 June 1998 ous to your health. Listener discretion is advised. Ambient, ethnic, funk, pop, dance, punk, electronic, synth, blues, and unusual rock. WEDNESDAYS SUBURBAN JUNGLE 6:30-9*00AM Some cheese for your morning bagel DIGITAL ALARM CHRONOMETER 10*OOAM-12:OOPM electronic LOVE SUCKS 12-00-2-00PM Music at work. (Cut up mixed genres — eclectic, electric included but not mandatory). MOTORDADOY 3:00-5rf>0PM "eat, sleep, ride, listen to Motordaddy, repeat." NOOZE 5*00PM-5:30PM On vacation. RACHEL'S SONG 5:30-6*00PM Info on health and the environment, with a focus on Vancouver. Topics ranging from recycling and conservation projects to diet, health, and consuption and sustainability in the urban context. Comments and ideas are welcome. ESOTERIKalt.6:00-7:30PMAmbient/ electronic/industrial/ethnic/ experimental music for those of us who know about the illithids. SOLID STATE alt. 6:00-7:30PM Featuring the latest in techno, trance, acid and progressive house. Spotlights on local artists, ticket giveaways, & live performances. Hosted by M-Path. AND SOMETIMES WHY alt. 7:30- 9:00PM dirty three, longstocking, nutter butters... these are a few of our fave-oh-writ things, la la lal MARY TYLER MOORE SHOW alt. 7:30-9:00PM Girl music of all ' shapes and sizes. FOLK OASIS 9HX)-10:00PM The show that's not afraid to call itself folk. Featuring the best in local and international acoustic-roots music: Singer-songwriters, Cajun, Celtic and beyond! STRAIGHT OUTTA JALLUNDHAR 10*00PM-12*O0AMletDJsJindwa and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay." Listen to all our favourite Punjabi tunes — remixes and originals. Brraaaahl OPEN SEASON 12*00- 4:00AM Mixed bag of suprises coming your THURSDAYS THE ARMO CONNECTION 6:30- 8:30AM Bringing you the best in west coast rap. THE LAST DESK 8:30-10:00AM Listen carefully as Johnny B brings you CiTR's classical music show. Featuring Canadian composers, amateur hour & more. Radio con fuoco, for the masses. FlUBUSTERalt. 10*00-1 l:30AMFrom accordiantofhebackwoodsvia swingin' lounge sounds... this show is a genre free zone. MUSIC FOR ROBOTS alt. 10:00- 11:30AM Viva La Robotica Revolution. Estrogen-charged robots on Planet Noiz. CANADIAN LUNCH 11:30AM- 1:00PM From Tofino lo Gander, Baffin Island to Portage La Prairie. TheallCanadian soundtrack for your midday snack! SIEVE & MIKE 1-00-2-OOPM Crashing ihe boys' club in the pit. Hard and fast, heavy and slow. Listen to it, baby. (hardcore). JUSTIN'S TIME 2-00-3-OOPM Serving up your weekly dose of Shirley Horn and other jazz-filled confections. FLEX YOUR HEAD 3:00-5:00PM Hardcore and punk rock since 1989. www.geocities.com/SunsetStrip/ club/6479/ BBC WORLD NEWS SERVICE 5:00- 5:30PM ENTERTAINMENT DESK alt. 5:30- 6:00PM Movie reviews and criticism. OUT FOR KICKS 6*00-7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn right we have fun wilh it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30- 9:00PM Roots of rock & roll. UVE FROM THUNDERBIRD RADIO HELL 9*00-11-OOPM Local muzak from 9. Live bandz from 10-11. SLIPPERY SLOT 11:00PM-1:00AM Farm animals, plush toys and Napalm Death. These are a few of my favourite things. It's all about shootin' the shit and rock n' roll, baby. FRIDAYS CAUGHT IN THE RED 6:30-8:30AM garage rock and other things. VENUS FLYTRAP'S LOVE DEN 8:30- 10:00AM Join Greg in the love den for a cocktail. We'll hear retro stuff, groovy jazz, and thicker stuff too. See you here ... and bring some ice. SKATS SCENE-IK DRIVE! 10:00AM- 12:00PM Scotty and Julie, playing the music that gets them dancing and singing in the DJ booth... (no, really!) LITTLE TWIN STARS 2:0O-3:30PM Underground, experimental, indie and women. Jacuzzi space rock at its finest. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM NOIZ 4KK)-5KX)PM seMed. NOOZE 5:00-5:30PM On vacation FAR EAST SIDE SOUNDS alt. 6:00- 9:00PM Sounds of the transpacific underground, from west Java to east Detroit. Sound system operator, Don Chow. AFRICAN RHYTHMS alt. 6:00- 9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa & African music from around the world. 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. LIMP SINK 12:00-6:30AM The show that does not hate you. Lullabies for the christ-child with Mister G42 and the late Postman Pat. (Industrial- ex per i m ental-psych edeiic-noise- gothic — complete with a German- English dictionary and a shiny space suit). Alternates weeks with Tobias' Paradigm Shift (Rant, phone-in and kiss your mother with the guests). 1:00PM All kinds of music spoken word, interviews. Phone in for comments or requests.Tune in and expose yourself to new music and ideas. POWERCHORD 1:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. LUCKY SCRATCH 3:00-5:00PM Blues and blues roots with your hosts Anna and AJ. RADIO FREE AMERICA 6:00- 8:00PM Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think. Originally broadcast on KFJC (Los Altos, Cal.). LIVEI AT THE HI-HAT!! alt. 10:00PM-1:00AM "Live!-shows and bands — admission $6.00 — Performers are subject to change." REBEL JAZZ alt. 10:00PM-1:00AM High. Low. In the middle. All around. Sense. Nonsense. Happy. Sad. Context. Truth. Lies. Shiva. Shava. None of the above. All of the above. And a sea of synthesis. EARWAXalt. 1:00AM-DAWN "Little bit of drum, bit of bass and a whole lot of noize." Late-night radio soundclash destined to fist you hard. Zine features, phat experimental chunes, and the occasional turntable symphony. "Money, we'll rock you on 'til the break of dawn."—G. Smiley CiTR 101,9 fi it's the mary tyler moore Jf show! Harry Hertsd Thomas Hicks SATURDAYS THE SATURDAY EDGE 8:00AM- 12:00PM Music you won't anywhere else, studio guests, releases, British comedy sketche Production Shane Vander Meer Programming Namiko Ku Ala Hussey i AEsonCole folk :alendc icke? giveaways, plus World Cup Report at 11:30 AM. 8-9AM: African/World roots. 9AM-12PM: Celtic music and performances. LICORICE ALLSORTS 12:00- .. Linda Scholten Traffic Klaudia Zapala Vice President Jerome Yang Volunteer Coordinator Anna Friz punk, post- rock, pop, up, down, or just every which way but bad news, it's to be found here! sten to the good grrrl soundz of the mary tyler moore show, Wednesday mornings 9-10... and, starting June 17th, Wednesday evenings 7:30-9, alternating with And Sometimes Why. 2i ijmgsmm CiTR charts 1=14 WHAT'S BEING PLAYED ON 101.9 FM June 98 Long Vinyl June 98 Short Vinyl 1 evaporators/goblin i gotta rash nardwuar/mint 1 junior varsity pep rally rock! twist like this 2 fugazi end hits dischord 2 bonfire madigan s/t k 3 murder city devils s/t die young stay pretty 3 bunnygrunt/rizzo split 7" kittyboo 4 various artists selector dub narcotic k 4 the cannanes it's a fine line harriet 5 gaze mitsumeru k 5 gaze seedless k 6 chixdiggit! born on the first of July honest don's 6 the murder city devils dancing shoes die young stay pretty 7 perfume tree feeler world domination 7 sleater kinney... free to fight candyass 8 calexico the black light quarterstick 8 mant from u.n.c.l.e. friends to none lance rock 9 tullycraft city of subarus cher doll 9 the go devils end feline 10 david kristian cricklewood alien8 10 the kiss offs how to deliver ihe kiss that kills peek-a-boo 11 saboteurs espionage garage american pop 11 kitty craft kitty craft rover 12 red aunts ghetto blaster epitaph 12 sarah dougher s/t k 13 red monkey make the moment slampt 13 myiavajrte/mad planet split harriet 14 makeup in mass mind dischord 14 various artists fireworks ihl 15 the beans portage zulu 15 local rabbits pops & company murderecords 16 godspeed you ... f#a#~ kranky 16 ladies who lunch everybody's happy ... grand royal 17 dirty three ocean songs touch & go 17 the colorifics vista cruiser collective fruit 18 weakerthans fallow g-7 welc oming committee 18 jale true what you say sealed fate 19 various artists funkungfusion ninja tune 19 melt-banana! s/t slap a ham 20 braid frame & canvas polyvinyl 20 tullycraft/rizzo split 7" harriet kill rock stars jade tree 22 bangs 23 sloan 24 Joan of arc tiger beat navy blues how memory works third time's the charm top ten 25 little red car wreck motor like a mother yoyo tuesdays 9:30-11:303111 26 veda hille here is a picture page 1 new bomb turks at ropes end LP 27 compound red always a pleasure desoto 2 murder city devils dancing shoes 7" 28 tortoise tnt thrill jockey 3 the hookers salon's highway IP 29 new bomb turks at rope's end epitaph 4 chixdiggitl/groovie ghoulies live@starfish room 30 quasi featuring "birds" up 5 the vendettas s/t LP 31 June of 44 four great points quarterstick 6 avail over the james LP 32 forecasts farewell s/t independent 7 gasoline let's go harley 7" 33 various artists girl crazy! remedial 8 the chosen new world 7" 34 massive attack mezzanine virgin 9 tight bros take you higher 7" 35 dianogah as seen from above ohiogold 10 gearhead zine #7 HOW THE CHARTS WORK . The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by our djs during the previous month (ie, "June" charts reflect airply in May). Weekly charts can be received via email. Send mail to "majordomo@unixg.ubc.ca" with the command: subscribe citr-charts* June 98 Indie Home Jobs 1 full sketch sketchersize 2 captain cook and the nootka sc und i'm glad for you 3 run chico run pusha girl 4 london paris unmatched sock 5 the self esteem project you and your crew 6 the dirtmitts amaze me 7 the tremolo falls twister 8 verona war towers 9 emulsifier up the down side 10 the go devils trigger me 11 the hounds of buskerville blowin' off some steam 12 dreamy angel laundromatte queen 13 thee goblins golden tokens 14 touch & gos campus radio boy 15 the dirtmitts wee turtles 16 all purpose not fuckin' fair 17 reserve 34 sixteen, clumsy and shy 18 thee pirates the pirate song 19 jP5 fuzzyhead pills 20 celestial magenta in return •tuft %** e\ what we listened to ... inbreds (winning hearts) • promise ring (nothing feels good) • fugazi (end hits) • sloan (navy blues) • huevos rancheros (endsville) • versus (two cents plus tax) • Jessica bailiff (even in silence) • supergrass • rufus wainwright (s/t) • daau (we need new animals) • secret stars (genealogies) filibuster top ten overplayed albums thursdays alt. 1 O : oo-ii:3oam 1 bongwater power of pussy] 2 sook-yin lee lavinia's tongue 3 v/a planet squeezebox 4 captain beefheart trout mask replica 5 big rude jake blue pariah 6 calexico spoke 7 black cabbage "F160" (ok, sc it's a song, not an album) 8 zolty cracker flush 9 anything , by freakwater lOwaco brothers cowboy in flames live! at the hi-hat! top ten (more or less) s a t u r d a y's alt. io:oopm-iam 1 suicide 23 minutes over brusselsl 2 fugazi end hitsl 3 marlon magas them any moods of\ 4 murder city devils "dancin' shoes'] 5 transom surveillance and cybotron 6 the make-up inmassmindl 7 ...and you will know u s by the trail of dead "when we begin to steal' 8 pan american s/t\ 9 evan lurie "love lost'l 10 shellac "didn't we derseve a look at you...' discorder top ten chocolates 2 bar 3 milk U truffle 5 easter bunny VO doughnut covered coffee beans pecan pie 10 bittersweet 22 June 1998 Datebook. WHAT'S HAPPENING IN JUNE MAY FRI 29 Los Lobos@Piaza of Nations; Christine Duncan@WISE Hall; Velvet@Chameleon; Tara Maclean, Sean Macdonald, Dreamlogic@Victory; NewMusicWest@various venues SAT 30 Matthew Herbert@Sonar; Maggini String Quartet@Roundhouse; Crash@Chameleon; Thrill Squad, Hyperpsyche, Earthboy@Van Press Club; Brundlefly@Starfish; NewMusic West@various venues SUN 31 Vancouver Rape Relief & Women's Shelter 20th Annual Walkathon@Stanley Park; Vancouver New Music Ensemble@Vogue JUNE MON 1 Jazz Fish@Naam TUE 2 Breathe Underwater, Sometimes Y, Glimmer@Starfish WED 3 Enema, Vinyl, Phrapp@Starfish THU 4 Mike Watt & the Black Gang Crew, Kinnie Starr@Starfish FRI 5 Versus, Elevator Through, Tremolo Falls@Starfish; Citroen, Mi Novia@Brickyard; Friday Fest: Forecasts Farewell, Fridge Art Tiara, Paradigm Shift, Graphic Nature, Truck@Minoru Pavillion; 2nd Annual Int'l Sasquatch Symposium@lnternational House, UBC; People Playing Music@ltalian Cultural Centre; Deadcats, Rocky Craig@Railway ^ SAT 6 Paul Kelly, Bob Kemmis@Starfish; Esthero@Sonar; 2nd Annual Int'l Sasquatch Symposium@Freddy Wood Theatre, UBC; Trenchant, Malchiks@Railway SUN 7 CiTR PRESENTS: Tortoise, Isotope 217@Palladium; 2nd Annual Int'l Sasquatch Symposium@Freddy Wood Theatre, UBC The Abyss 315 E. Broadway (side entrance) 488 6219 Anderson's Restaurant (Jazz on the Creek) 684 3777 Anza Club 3 W. 8th (Mount Pleasant) 876 7128 Arts Hotline 684 2787 Bassix 217W.Hastings (atCambie) 689 7734 Backstage Lounge 1585 Johnston (Granville Island) 687 1354 Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087 The Blinding Light 256 E. Georgia (between Main & Gore) The Brickyard 315 Carrall St. 685 3978 Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195 Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant) 873 1331 Caprice Theatre 965 Granville (Granville Mall) 683 6099 Celebrities 1022 Davie (at Burrard) 689 3180 Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806 Chan Centre for the Performing Arts 6265 Crescent Rd (UBC) Club Mardi Gras 398 Richards St. 687 5007 CN Imax Theatre 999 Canada Place 682 4629 Columbia Hotel 303 Columbia (at Cordova) 683 3757 Commodore Lanes 838 Granville (Granville Mall) 681 1531 Cordova Cafe 307 Cordova (Gastown) 683 5637 Crosstown Traffic 316 W. Hastings (downtown) 669 7573 Denman Place Cinema 1030 Denman (West End) 683 2201 Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207 DV8 515 Davie (downtown) 682 4388 Firehall Arts Centre 80 E. Cordova (at Main) 689 0926 Food Not Bombs Vancouver 872 6719 Frederic Wood Theatre (UBC) 822 2678 Garage Pub 2889 E. Hastings (downtown) 822 9364 Gastown Theatre 36 Powell (Gastown) 684 MASK The Gate 1176 Granville (downtown) 688 8701 Greg's Place 45844 Yale Rd. (Chilliwack) 795 3334 The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057 SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO 822 9364, ATTENTION "DATEBOOK." DEADLINE FOR THE JULY ISSUE IS JUNE 15TH! MON 8 Big Bad Voodoo Daddy, Jazzmanian Devils@Richard's on Richards; Comedy Train: Dave Nystrom, Duncan Minette@Railway Club TUE 9 Shania Twain, Leahy@GM Place WED 10 Larry VoienDuo@Naam THU 11 Unit, Threat from Outer Space, Bill's Psychotic Mother@Starfish FRI 12 Roadside Monument, Rot:lronsmile, Fridge Art Tiara, Forecasts Farewell@The Space; Woebegone, Rootabeggars@Starfish; Surfdusters, Saddlesores@Railway SAT 13 CiTR PRESENTS: Dirty Three, Calexico@Starfish MON 15JazzFish@Naam TUE 16 Bruce Jefferson@Naam WED 17 K's Choice, The Tories@Starfish; Richie Furay@Rtchard's THU 18 Hum@Starfish FRI 19 NOW Orchestra@Western Front; Molestics@Whip; Wynton Marsalis@Orpheum; Mollies Revenge, Edgar@Railway SAT 20 CiTR PRESENTS: lnbreds@Starfish; Ray Condo and His Ricochets, New York Jimmy and the Vic Storm and the Cabaret Girls@Waldorf Hotel; Mollies Revenge, Edgar@Railway MON 22 Becca Jane@Naam TUE 23 Unsane, Kittens, Closed Caption Radio@Starfish WED 24 Garage Rock Nite with The Spitfires@Starfish; Time of Her Life: Daisy Duke@Jupiter Cafe THU 25 Swervedriver, Bardo Pond, Transistor Sound & Lighting Co.©Starfish; The Emptys@Railway FRI 26 Destroyer, Gaze@Vancouver Press Club; Jungle, Bionic, Tricky Woo@Starfish SAT 27 CiTR PRESENTS: Duotang, Weakerthans, Plumtree@Starfish; Hard Rubber Orchestra@Performance Works MON 29 Jesus Lizard, Firewater@Starfish; Grrrls with Guitars: Calliope, Anne Leader, Monica Lee@Railway Club; Man or Astroman@Doublewide, Bellingham TUE 30 All, Hagfish, Zeke@Starfish SPECIAL EVENTS Spring! 2nd Annual Vancouver International New Music Festival A rare chance to experience the best and most innovative composers today! Featuring orchestras, ensembles, & guest soloists performing 48 new works and 19 world premieres; plus feature artist, James MacMillan. Runs Friday, May 29-Saturday, June 6 at various venues. For info, 606.6440 or www.newmusic.org Modern Abstract Paintings 1984-1996 James K-M presents his first solo exhibition in 8 years, featuring bold, abstract paintings in oil and acrylic on wood and canvas. Runs May 29-June 19 at Moon Base, 231 Carrall St. Fore more info, 608.0913 du Maurier International Jazz Festival The Coastal Jazz and Blues Society continues to bring to Vancouver a diverse collection of jazzy talent. Catch new music faves, old standards, and more! Runs June 19-28 at various venues around the lower mainland, plus free shows in Gastown. Jazz hotline: 872.5200 VENUES • BARS • THEATERS • RESTAURANTS • RECORD STORES Hollywood Theatre 3123 W Broadway (Kitsilano) 738 3211 Hot Jazz Society 2120 Main (Mt. Pleasant) 873 4131 It's A Secret 1221 Granville St. (downtown) 688 7755 Jericho Arts Centre 1600 Discovery (Pt. Grey) 224 8007 Jupiter Cafe & Billiards 1216 (near Demon St) La Quena 1111 Commercial (the Drive) 2516626 The Lotus Club 455 Abbott (Gastown) 685 7777 Lucky's 3972 Main 875 9858 Luv-A-Fair 1275 Seymour (downtown) 685 3288 Mars 1320 Richards (downtown) 230 MARS Maximum Blues Pub 1176 Granville (downtown) 688 8701 Medialuna 1926 W Broadway Minoru Pavillion 7191 Granville (Richmond) Moon Base Gallery 231 Carrall St. (gastown) 608.0913 Mora 6 Powell (Gastown) 689 0649 Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151 Old American Pub 928 Main (downtown) 682 3291 Orpheum Theatre Smithe & Seymour (downtown) 665 3050 Pacific Cinematheque 1131 Howe (downtown) 688 3456 Palladium (formerly Graceland) 1250 Richards (downtown) 688 2648 Paradise 27 Church (New West) 525 0371 Paradise Cinema 919 Granville (Granville Mall) 681 1732 Park Theatre 3440 Cambie (South Vancouver) 876 2747 Picadilly Pub 630 W. Pender (at Seymour) 682 3221 Pitt Gallery 317 W. Hastings (downtown) 6816740 Plaza Theatre 881 Granville (Granville Mall) 685 7050 Purple Onion 15 Water St. (gastown) 602 9442 Queen Elizabeth Theatre Hamilton & Georgia 665 3050 Raffels Lounge 1221 Granville (downtown) 473 1593 The Rage 750 Pacific Blvd. South (Plaza of Nations) 685 5585 Railway Club 579 Dunsmuir (at Seymour) 681 1625 Richard's On Richards 1036 Richards (downtown) 687 6794 Ridge Cinema 3131 Arbutus (at 16th Ave.) Russian Hall 600 Campbell (Chinatown) Scratch Records 109 W. Cordova (Gastown) Seylynn Hall 605 Mountain Hwy (North Van) Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) Sonar 66 Water (Gastown) Southhill Candy Shop 4198 Main (at 26th) Squish'd Knish 4470 Main (at 29th) The Space 316 Hastings (downtown) Starfish Room 1055 Homer (downtown) Starlight Cinema 935 Denman (West End) Station Street Arts Centre 930 Station (off Main) St. Regis Hotel 602 Dunsmiur (downtown) StoneTemple Cabaret 1082 Granville St. (downtown) Sugar Refinery 1115 Granville (downtown) Theatre E 254 E. Hastings (Chinatown) Thunderbird Ent. Centre 120 W. 16th St. (N. Van) Vancouver E. Cultural Centre 1895 Venables (at Victoria) Vancouver Little Theatre 3102 Main (Mt. Pleasant) Vancouver Press Club 2215 Granville (S.Granville) Varsity Theatre 4375 W. 10th (Point Grey) Vert/Washout 1020 Granville (dowtown) Video In Studios 1965 Main (Mt. Pleasant) Virgin Mega Store 788 Burrard (at Robson) Vogue Theatre 918 Granville (Granville Mall) Waterfront Theatre 1405 Anderson (Granville Is.) Western Front (303 E. 8th Ave) Whip Gallery 209 E. 6th Ave (at Main) W.I.S.E. Hall 1882Adanac (the Drive) Women In Print 3566 W 4th (Kitsilano) Yale Blues Pub 1300 Granville (downtown) Zulu Records! 869 W. 4th (Kitsilano) 738 6311 874 6200 687 6355 291 6864 683 6695 876 7463 879 9017 682 4171 689 0096 688 3312 681 8915 988 2473 254 9578 876 4165 738 7015 222 2235 872 2999 872 8337 669 2289 331 7909 685 6217 876 9343 254 5858 732 4128 681 9253 738 3232 EXHIBITING THIS JUNE AT ZULU ome O^ Out ^avoutlte jAttlsts 3n T^escdence ARAB STRAP Philophobia CD/2LP Recently discovered at the Glasgow Art College, Matador Records wasted no time in inking these stark popsters to a North American deal. Here joined by members of Belle & Sebastian, this duo's sparse sound quietly queries the edges of love, despair, and the ebbing tides of procreation (read shagging!). A lyrically brilliant listen, sure to arouse any curiosity! CD 16.98 2LP 14.98 CALEXICO The Black Light cd/lp Zulu favourites and Arizona's famous sons, CALEXICO will be visiting Zulu and performing in the store on Saturday June 13 @ 5:30 prior to their evening show at the Starfish Room with The Dirty Three. The Black Light shines its dark glow on the ambient side of country as John Convertino and Joey Burns mix border radio instrumentals, moody acoustic numbers and mariachi to carry you off on a giant river of sand. Truly beautiful. Don't miss the opportunity to see one of the most celebrated rhythm sections of the past decade perform within the cozy four walls of Zulu Records and shine their Black Light on you! CD 16.98 LP 12.98 SNUFF Tweet Tweet My Love cd/lp Ever-consistent punkers, SNUFF returns to the Fat Wreck Chords frying pan with another strong outing of "bankers'n'mash" punk/pop. Following up Demmamusabebonk. this new platter features 14 songs waiting to rub you out! CD 16.98 LP12.98 PS... Vinyl available late June ROCKET FROM THE CRYPT RFTCCD Rock music has its share of talented tunesmiths and arrangers. If you haven't already heard of him, get ready to add ROCKET front man John Reis to the list. He's good, very good. Not to mention the rest of the band; they do what's right, true and necessary (oh those horns). And these boys are stylish enough to receive U.K. press too. They deserve it, if only for their haircuts and clothes. If Elvis, Tommy James, Boyce and Heart, Brian Wilson, Burt Bacharach, Phil Spector, Barry Gordy, etc. were all hip to garage rock, then they'd be into RFTC. This is it. RFTC have got the soul. CD 16.98 Available June 2nd ANION TOBIN Permutation CD ! TOBIN s first Ninja Tune record Bricolage was a top choice here at Zulu; I we all loved it. Permutation keeps up the jazzy drum and bass goodness. | And with more sophisticated and engaging song structures, things have got- :■ ten even better — TOBIN doesn't bother to trudge along the expected rou- : tines of the genre. A very fine "turn" to hear. ; CD 16.98 Available first week of June JEFF BUCKLEY Sketches For My Sweetheart The Drunk 2CD With mixed emotions, this much anticipated posthumous 2CD collection of song "sketches" arrives to our ears. Documenting much of the I recording sessions prior to his tragic death, we are here given a glimpse of JEFF BUCKLEY'S sublime world. A songbird'with pure goals, survived by s music in all its emotional complexity, his song is ours. 2CD 26.98 Abo available: 3LP import, $46.98 DUOTANG The Cons & The Pros CD From the land of cheap beer at the Royal Albert comes Winnipeg's tangy duo with their sophomore effort, twelve songs that contin- l ue up the escalator from where their debut album, Smash The Ships And liaise The Beams, left off. Engineered and produced by j TO hall-of-famer Brenndan McGuire, The Cons _ The Pros adds horns, organ and dynamic vocal harmonies to the equation. ; DUOTANG plays the Starfish Room on Saturday June 27 with Plumtree and The Weakerthans, preceded by a Zulu Records in- store performance on Wednesday June 24 @ 4:30. CD 14.98 NICK CAVE & THE BAD SEEDS The Best Of CD NICK CAVE & THE BAD SEEDS The Best Of spans the moods and modes of one of the most prolific and influential songsmiths in j recent history. After umpteen albums and a book or two, this pur- j veyor of the dark and dreary has decided what he deems his best | songs and it's all on one CD. A great starting point for all those ; who've wondered and a must have for all those who know. CD 16.98 GIRLS VS BOYS Freakonica CD Dark, dirty, sexy, urban and suave, the boys of GVSB know how to move your ass: with big bottomed grooves, of course. Freakonica is a major label debut that fulfills the momentum and promise of GVSB's indie discography. Yes indeed, the beats get big and loud, and the rock hooks are good and solid — like you like 'em to be. And no, they're not a dance outfit, but you'll give it up anyway. GVSB satisfy your urges. CD 16.98 SERGE GAINSBOURG L'Histoire De Melody Nelson CD (reissue) Best known for his notorious song Je T'Aime...Moi Non Plus — which features the sexy breathing and moaning of Jane Birkin — GAINSBOURG is now receiving renewed interest; his time has come again. For example, both Jarvis Cocker and Mick Harvey pay him tribute, and emulate his cultured persona, style and iconoclasm. Also recognized as a prolific songwriter for other artists, GAINSBOURG s own renderings have considerable charm: they are seductive, urbane and intelligent. Come get aquainted with this fount of suavity and taste. CD 16.98 MORE MORE MORE I | PLASTICMAN Consumed CD I BILL LASWELL Oscillations 2 CO I PETER GREEN The Robert Johnson Songbock CO I various artists Burt Bacharach Songbook cd Rx Bedside Toxicology CD I BARRY ADAMSON Can't Get Loose CD-EP/12" I JOAN OF ARC How Memory Works CD/LP I PROJECT 2 Space Groove 2CDs l ST. ETIENNE Good Humour CD/2LP Gl BLUES Gl Blues CD l BUGHOUSE 5 Everything Must Go CD BRADY: BEANS Portage (still) CUT CHEMIST MEETS SHORTKUT VERSION 1.1 Live @ The Futureprimitive Sound... REFUSED The Shape of Punk to Come MASSIVE ATTACK Mezzanine CALEXICO The Black Light DIRTY THREE Ocean Songs DESTROYER City of Daughters JOHN ZORN Circle Maker CHRISTINE: SAINT ETIENNE Good Humor VARIOUS Funkungfusion PIZZICATO 5 Happy at the End... (remix) BERNARD BUTLER People Move On RADIOHEAD Airbag/ How Am I Driving? CUT CHEMIST MEETS SHORTKUT VERSION 1.1 Live @ The Futureprimitive Sound... MASSIVE ATTACK Mezzanine PULP This is Hardcore OST The Knack & How to Get it (re-issue) VARIOUS 20th Century Blues GRANT H: PERE UBU Pennsylvania PAN AMERICAN Pan American DAVID KILGOUR And the Heavy 8's CALEXICO The Black Light DIRTY THREE Ocean Songs FUGAZI End Hits KEN: CALIFONE Califone BEVIS FROND North Circular FINLEY QUAYE Maverick A Strike MORCHEEBA Big Calm CALEXICO The Black Light GASTR DEL SOL Camofleur HAYDEN The Closer I Get KEVIN: QUASI Featuring "Birds" HAI KARATE Hai Karate NEW BOMB TURKS At Ropes End EVAPORATORS I Gotta Rash (w/ ; Goblins) : VARIOUS All Punk Rods PERNICE BROTHERS Overcome \ By Happiness MIKO: BANGS Tiger Beat ARTO LINDSAY Noon Chill SECRET STARS Geneologies RED MONKEY Make the Moment DIRTY THREE Ocean Songs FUGAZI End Hits SONG OHIA Impala QUASI Featuring Birds NIC: IK Push The Into the Sun 3 (yes!) Button SEAN LEI BEANS P ASTRUD new CD LE MANS Mi Novela Biographica ARAB STRAP Philophilia DONKEY ENGINE Donkey Engine PULP This is Hardcore PAUL DANKO JONES Danko Jones VARIOUS ARTISTS The Get It! HAGFISH new CD LOVE AS LAUGHTER #1 USA VARIOUS ARTISTS Pow City ROCKET FROM THE CRYPT RFTC SLOAN Navy Blues ROBYNN: SECRET CHIEFS 3 Huroalya EVAPORATORS I Gotta Rash (w/ Goblins) PRAXIS Transmutations Live MONEY MARK Push The Button GERBILS Are You Sleepy 1869 W 4th Ave. Vancouver. BC V6J1M4 tel 738.3232 STORE HOURS ZULU INSTORES THIS MONTH: CALEXICO Saturday J 13 @ 5:30pm... DUOTANG Wednesday June 24 @ -
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-06-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1998-06-01 |
Extent | 24 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1998_06 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 2909f6f7-a711-469f-9116-aca5080c7f3e |
DOI | 10.14288/1.0050111 |
AggregatedSourceRepository | CONTENTdm |
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