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Discorder CITR-FM (Radio station : Vancouver, B.C.) Jun 1, 1994

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 from CITR 101.9 FM
m> CARGO'S MOST WANTED
MERLIN
A Noise
Supreme
Merlin la a 24-year old wizard-,
who crunhea metal, pop, hip hop
and funk bits Into his power
blender to produce no-BS,
Interne and soulful pop with
dark, angry edges... a hot-shot
^&d 0 MCA
SUPERCHUNK
Foolish
The acclaimed Chapel Hill,
NC foursome return with
"Foolish" - Catchy, guitar
fueled, diverse... brilliant!
In Concert (w/POLVO)
June 16 at Starfish RoomI
MALHAVOC
Get Down
The best yet from MC.J.C.
and crew. Check out
"Naked", "Discipline" and
"Wasted Away (Da Big Y)",
Find the hidden track! Watch
for tour dates I
MCA
OFFSPRING
Smash
I Exploding at retail!
I Exploding on the Cargo
I office turntable!
I (Damage in the
I thousands). Set to
j explode at radio !     £
MEKONS
Retreat From
Memphis
Angry, triumphant,
bittersweet... this is a
mighty fine follow up to
93's popular 7 v
Mekons"
JOHNNY HANSON
PRESNTS PUCK
ROCK CLASSICS
VOL.1
Hockey + punk rawk = 1 rockin
record ! 21 tracks artists
including Hanson Brons.,
SNFU, DOA, Wheat Chiefs,
U.I.C., Huevos Rancheros and
Joey Shithead with cub.
"Escaping Arrest Since 1987"
OFFSPRING
The band's
i^'i'.ragi
(f f/r/f Y/ftf - *sj'</ /jt/tj
unparalleled live
band is
undisputed, and
their third studio
-   ^
longplayer, It's
if  m     -^
All right captures
g|. ^ej^tmJ^^M
that essence. An
■H^Ai-^/d
absolute
♦^KO^
winner!
^^^&£»             M&js^-' "
mm   *>•■«*&
	
"Garage Orchestra
clearly owes its greatest
debt to Pet Sounds - era
crin4y
Brian Wilson.. In all, the
album is a deliciously
It*
different delight."
I          MrryhfN
-Billboard (Apr. 16/94)
L«i__                                           Safe.'-      "'Ch......
On Garage Orchestra,
■   k
ii
Berryhill's third release,
H                   \ '^-"1*jH
n
she once again breaks
■ w"T                *   - ^wIh
all the rules with a
I  ^LJl    •*       ' ^-—^1    ~   ^lam
m
collection of songs
■ wjj& 'y«*k* "*    Jt.    7J
saturated with stark
WmWr*       *+^)m -:*
originality and  j                              "*f   SI      -
cutting-edge musical   f% ^^                ^^UKB^Mmi^
\
■
■ W* K^T | ] I [ 1 fcf ( {11 j 1
sJAfttttiv i.AArcrA
Ottawa's
J*lor*"J. ^VV1&
w
favourite (and
\ **     *    «         1 v *
only) 8-piece
Pop /Celtic/
-t.:
Punk/Rock/
*r.
Whatever
5       .4p^&                                                    ■*&*#"■         '
*k
Band
A Mooch c<f Sunt!ays- PRODUCTION MANAGER
Anthony Hempell
EDITOR-IN-TRAINING
Dylan Griffith
WORD PROCESSING
Bryce Dunn, Dylan Griffith.
KimKinakin, Sean Raggett, Sara Laps ley,
Eric Thorkellson, Fern Webb
GRAPHIC DESIGN/LAYOUT
Tania Alekson, Holly Anderson,
Dylan Griffith, Anthony Hempell,
Mark "Atomos" Pilon, Kerry Reynolds
PHOTOGRAPHERS
Paul Clarke, Joel Fraser,
Eric Thorkellson
EDITORIAL ASSISTANTS
Dylan Griffith, Lisa Wayne
PRODUCTION ASSISTANTS
Dylan Griffith, Lisa Wayne
SPINLIST
Megan Mallet
TECHNICAL SUPPORT
Paul Malcom, Grant McDonagh,
Lisa "mO" Wayne
$15 (US); $24 (CAN.) to anyone elsewhere. Sinjle
copies are %7 (just coverinj the postare). Please make
Deadlines: copy deadline for July SM (# I 38) is June I 3;
for August (#138) its Jury 11. Please reserve ad space
'   ' y calling Tania Alekson at (604) 822-3017. Our
photographs,   and  ti
ie @ (60<) 822-CiTR. our office
#233-61 38 SUB Boulevard
uver.B.C. Canada
V6TIZI	
dis-cover
For the second month in a row we went out of town
to have our cover designed; and for the second
month in a row we went to Calgary. Russ Bugera did
a splendid job in giving Mr. Jaap Blonk his rightful deed
with no more direction than "We want Jaap on the
cover" from us. We've been waiting a long time to
bring you this interview, we hope you embrace Jaap
and Paska into your hearts as fondly as we have.
dis-contents
Life With the Family Enndye
Chipmunks and Squirrels
Talkin' Loud and Pavin' Nuthin'.
3 scenesters give their impressions
of the little conference that
couldn't, and shouldn't.
All phallic allusions aside,
Boneclub rock hard.
Clutch
Four on the floor-core.
King for a Day. The very last time
we mention Urge Overkill in this
mag, ever.
Inbreds
Jaap Blonk vs. Paska:
The European vocal artist battle
royale! Paska claims, "I'm shit"
while Jaap babbles for retribution.
A white towel event—you be the
judge.
Classical Beat
7"
A comic potpourri
Vancouver Special
Spinlist
Real Live Action
Mofos Psychosonic Pix
Under review
On the dial
preferred listening during...
Ass Ponys Grim, Beastie Boys III Communication, Johnny
Cash American Recordings, lick Cava and tha Bad Saada
Let Love In, Combustible Bdison I, Swinger, dba Catch
22, Sir la Against Boya Sexy Sam, Jesus Christ Superstar,
Maracury Rav Yerself is Steam, Pavement Crooked Rain,
Crooked Rain , Rav. Horton Heat/Supersuckers "Caliente'7
"400 Bucks," Oil Soott-Haron Spirits, Saawaad four.
Slowdiva Souvlaki, Sonic Xouth Daydream Nation,
Swarvadriver Raised, Tha Tha Solitude, Unwound New
Ideas,     Wadding     Prasant     Peel Sessions   1987-90
TABOO
TRIBAL WARE
Body piercings and Branding by
Mike Bear Walsh
trained by Fakir Musafar
Taboo Tribal Ware
is in the process of
relocating, and will
temporarily be working on
a house call basis. We're
By   Appt.   Only
Fully Guaranteed
6 6 7 • 6 1 3 8
WHAT S THE MATTER
WITH YOU?
If you're in a band and
haven't sent your demos and
promotional material in to
Linda at CiTR, you don't
DESERVE to have us take
your shit to the
National Campus and
Community Radio
Conference
in Fredricton, N.B. and
show it around to all the hip
swinging people that'll be
there. Since we're feeling
conciliatory, however, we'll
give you another chance but
you'd better hurry because
►this mood isn't likely to last.
CALL 822-3017 NOW! CAN'T FIND IT? SAM'S has Western Canada's Largest Selection and Most Comprehensive Request Service
AVAILABLE AT 568 SEYMOUR ST. (DOWNTOWN) FOUR FLOORS OF FUN! C/O 6138 SUB blvd.
Vancouver B.C.
V6TI1Z1.
MM.I=M.
neglect, the iss
pitted in this m
n very poor
Congratulations tolast month's Live
Through This May prize winners
(you know.who you are), stay tuned/
keep reading for your chance to
capitalize on even more giveaway
opportunities! If you haven't received your copy of Hole's newest
CD release yet, patience—those
civil servants are doing their
darndest. Thanks for the postcards
and the lesson that even those non-
private forms of print c
lion can be recycled.
THE MULTIPLE-CHOICE
QUESTION?
Sonic Youth is still "punk" even
though the respective members axe
ALL nearing 40 because:
a) an average live performance allows more time spent for repairing
equipment than the actual playing
of music;
b) Kim and Thurston's soon-to-be-
born child is already for sale on the
Black Market;
This month you're not getting
off so easy because MCA has been
kind enough (yet again) to donate
TEN copies of Sonic Youths new
< ieffen Records release, Experimental let Set. Trash and No Star...on
VINYL!! That's right, just when
you diought it was safe to sit bare-
I Kicked and sweaty (excuse me, la-
ilk-s) on the seats of your Valiant
Discorder throws a skill-testing
question at you. Write tlie correct
answer to tlie following inultiple-
choice question, in its entirety, on a
postcard and mail to:
Sonic Not-Very Youth-ful
c/o Discorder Magazine
rm #233-6138 SUB Blvd.
Vancouver, B.C.
V6T 1Z1
c) they still put out vinyl;
d) "Fuck you, man, Sonic Youth
e) given the inherent instability of
modern alternative music marketing in a society which relies heavily
on test market data, wherein said
band, Sonic Youth, fall outside of
the post-punk demographic infrastructure, the designation of Sonic
Youth as "punk" erroneously implies that, as a band, they neglect to
subscribe to tlie credo of capital
generating artistic creation and all
of tlie rhetoric associated with a
predominantly white, anglo-saxon,
bourgeoise philosophy.
Dear Discorder,
loin Bagley's portrayal of a midnight feeding of a child on your May
issue is very disturbing to me. In an
age of increasing child abuse and
My only hope is that your readership is educated and caring enough
not to spike their childs' late night
bottle with alcohol.
Jennifer Sutton
Steveston, B.C.
Itwas my intention, within the drawing, to show that the baby is the
corruptive influence, with the parents depicted as harried, overworked pawns. The evil, albeit contented-looking tyke, is using them to
cater to its baser desires: perpetuating its filthy smoking habit, satisfying its poor taste in liquor & literature, etc.
Jennifermay be happy to know
to learn that the parents have since
cancelled the evil fruit of their loin's
subscription to Wildcat.
Tom Bagley
Dear Airhead,
In reference to the review last issue
of the April 2nd ANZA show; our
band name is "July Fourth Toilet"
not "Fourth of July Toilet"; my name
is Robert Dayton not Rob Dayton;
and it was Joe Preston (-ex of "The
Melvins"), not John Preston, who
played with "Superconductor."
Also, neither I nor "July Fourth
Toilet" have any friends named Peter Menard (unlike what he stated in
Victoria, B.C.
V8W 3R7 (604) 595-2870
Dear Discorder,
I h vein Springfield, MO, the buckle
of the bible belt, about 30 miles
from Branson, that country music
Anyway, there is a really big
underground scene here because the
few clubs here are owned by pricks
who don't give a shit if the local
bands whither into extinction.
I have been putting on shows
in my house, The Pink House, but
die cops busted the last one. Well, I
talked to my mom yesterday and
she said I could do a show in her
field on June 4th. It's the perfect
place!
I'm doing this to give all the
area original music bands to play.
Bul I want it to be BIG!! So, any
bands from anywhere can play if
diey want. I'm not sure I'll make
any money off this whole thing, but
if 1 do I'll dish out cash to the bands
there
w).
Ta-ta,
Robert Dayton,
July Fourth Toilet
Follow me here: July Fourth Toilet
was a one-off, Joe Preston ("The
Melvins ") is a has-been, and Superconductor is not only a circle-jerk
disguised by a smoke machine but
they 're all date-less; so who gives a
fuck? The beauty of print is being
able to write under a pseudonym
and nobody but I will ever know
who "Peter" is. Tsk-tsk, Bobby.
Discorder,
This is a call for all you Asian film
fans out there. I want to produce a
Asian film resource guide to provide info on venues, video stores,
dieatres which specialize in Oriental movies and soundtracks here on
the west coast.
I am in contact with Colin
Geddes who has published an excellent fanzineout of Toronto called
ASIAN EYE. He is currently working on #2. Those interested can write:
ASIAN EYE, c/o Colin Geddes,
253 College St. # 108, Toronto, Ont.
M5T1R5 (416)533-6172
I want to delve into the less
exlored aspects of the Asian film
community While I do not want lo
ignore Hong Kong, 1 would like to
cover Japanese, Philippineand less-
represented Asian nationalities.
What I need is names and locations of good video stores and
theatres diroughtout Chi natown and
the rest of Vancouver, widi a small
sample of recent or more unusual
titles.
Anyone interested in writing
reviews would be most appreciated,
and anyone interested in trading videos and Asian film materials, or
inquiring about already written reviews, Asian film 'zines and other
info, is welcomed to write. Please
based on how far they had to travel.
I just want as many musicians as
possible to get exposure. It really
pisses me off that 6 million people a
year are flocking to Branson, and 35
minutes away, here in Springfield
some of the best bands in the world
are getting no attention.
So, as of yesterday the Mid-
West Summer-Fest is set to begin at
12 NOON on June 4th, 1994, and it
will last until it is over. I already
have a dozen bands confirmed to
play and I don't think it will be long
before that number is tripled.
The price for all that entertainment will be $3, but people
traveling from out of state will only
be charged $1. It is going to be a
long event, so I am encouraging
everyone to bring camping gear,
food, etc,; however, I am going to
set up at least one kitchen, and I
have some places already set up to
let out of town bands crash. We are
going to build a good size stage, and
we will have as big a P. A. as we can
get.
Well, I don't know how much       P1"1
you can help with all this, but I need
to get the word out. Tejl everyone
and anyone that Springfield, MO is
going to be a fucked up scene on
June 4th, and all are invited.
I am enclosing a flyer and a
map; feel free to make copies and
redistribute. I am doing this for you,
me, and whomever believes in real
shit going on in America's Heartland.
If you haveanyquestionscall,
write, or something.
THANX,
Mitch Potts,
1324 W. Walnut
Springfield, MO
65806
(417)869-1674
Your initiative and motivation is
inspiring, Mitch, I only wish that
you would have sent us this letter a
month ago. As well, you forgot to
include the flyer and map so we 've
taken the liberty of hiring an artist
to draw a composite sketch of how
we think it's best to get to your
Good luck!
ERIC ERIANDS0N (guitar), C01WT8EY LOVE (weals/guitars), KRISTEN M. PFAFF (bass). PATTY SCKEMEl (Awns)
Lnz Through This
featuring
CJ   "MISS  WORLD"    V
"VIOLET"
"DOLL PARTS"
S^it'K
m    YOUR TOTAL ENTERTAINMENT CENTRE
O&Osouno
JUNE  Q UNDER THE VOLCANO Festival Presents:
INTER-NATION-ALL HIP HOP FESTIVAL
i   FRIDAY, JUNE 24
|\ DIRECT FROM LOS ANGELES:
1 SOULS OF MISCHIEF
|\ & CASUAL
w
FROM PORTLAND:
I        m
fis
R.O.W.E.R.
FROM VANCOUVER:
i *mT~*
%Tf
CUB
aW                 1
r     1
SPARKMARKER
JEET KEI
y^:
.
KELLY WHITE
FROM SAN DIEGO:
JULIA
DJs, CRAFT MARKET, INFO TABLES, FESTIVAL FOOD
KITCHEN, ARTISTS, SPEAKERS & MORE.
Tickets the low price of $7 (advance)
$9 (day of Festival) Charge-by-phone with
Community Box Offices (CBO) 280-2801. Tickets
also available at: Track, Scratch,
Highlife, Zulu, Odyssey Imports.
Festival site is 23rd & Lonsdale, North Van. Shuttle bus up
Lonsdale from Seabus, 15 minutes from downtown
Vancouver by car
(corner of Hwy #1 & Lonsdale)
Gates Open 4pm with Djs, First Band 5pm
All proceeds benefit PowerSmart Sport &
Culture Tour Legacy Fund.
Call to volunteer and receive a t-shirt, food and pass.
Info: 988-2787
^^^^^^^^^^^m JUNE © MUSIC
WEST;
Hangin' Out And Soakin' Up The Tunes
;t fell short of the e;
Music West is Vancouver's annual "International Music
Conference, Exhibition and Festival" featuring over 200
performances at venues around town, with a seminar-
style music conference and information sessions during
the day. Glancing over the band line-up/roster, it becomes apparent that the corporate masterminds running
the show seem to care more about the mystique and luminescence of potentially uncovering the Next Big Thing
(read Moist or Bryan Adams), rather than the quality of
the bands. I marvel in the fact that more indie bands worth
time and exposure through a medium such as this highly
publicized event fail to play (through a dodgy selection
process, or by choice) when other crap rockers proliferate the festival weekend. This is very sad. There IS a
thriving music scene in Canada, and it is surely not accurately represented by the bands at this festival. Fortunately, a handful of decent Canadian
acts did perform and I tried to catch
as many as I could. Perhaps next year
more decent indie bands will push
for exposure in the midst of all the
corporate cheese, or maybe none will
play at all.
My Friday night experience
began with Thrush Hermit, a Halifax group which has been quite active back east with recordings on the
independent Cinnamon Toast label
(Ammo 7") and now a 7-song release
on the Sloan-owned Murderecords
MUSIC
WASTE
Why does it take the big business of the music industry to bring so many
good independent bands together? Is it the lure of the oh-so-tempting major
record deal, or is it just the organizational skills and resources of big business? Do we really need the sponsorship of mainstream newspapers and
Swiss watch companies to bring musicians together? These were the kind
of questions that were racing through through my head as a slew of great
bands that I might not have otherwise had a chance to see played at the
MusicWest Festival. Everyone seemed to have a different reason for coming to or participating in this event, and most thought it was obvious that
local musician types would want to join in on the festivities. So why am I
so critical? I like music—all kinds of music—so I should have enjoyed it,
but something just didn't fit right with me and I have trouble pin-pointing
the problem. Most of the people I talked to agree that corporate sponsorship and organization aren't necessary to bring bands together, but also
acknowledged that the financial support was helpful. But the question remains: who exactly is being helped?
THE DREAM
Just for fun, let's pretend that you are a member of a hardworking local act
that's played around for the last year or two. Let's pretend you are the guitar player, and there isn't anything else in this world that you would rather
do than play guitar for the rest of your life. So, hoping to kick start your
careers, you and the other members of your band decide to enter the
MusicWest Showcase—and you get picked. You will have a write-up about
your band in their info-guide as well as a listing of where and when you're
going to be playing. You've read all the hype on this event and you know
about all the music industry types who will be there. This is the event that
everyone will be watching.
8 nsfesau^a
label. Their set got off to a slow start, but the Hermit
laid down some seriously barby pop hooks with some
thick molasses-pop vocals from front man Joel Plaskett.
: voice is rash and cutting and gives Thrush Hermit a unique quality which stands above all other recent Canadian pop artists. As a venue, The Max provided a less than ideal ambience for these east coast
slackers—more suited to a stand-up rock'n'roll style
venue—but the foursome provided a well blended mixture of underhanded vocal melodies and noisy guitars
in their short, entertaining set.
My next stop was the Blues Pub for another heavily Sloan influenced quartet, Newfoundland's Hardship Post. Their recordings to date consist of a few
single releases as well as the Hack EP on Murderecords,
all of which are reminiscent of sounds from south of
the border. Tonight was their night to prove that they
could move away from a sound which has been done a
kabillion times already but, unfortunately, Hardship
i hype and were as pla<
as my sister's Barbie™ collection. Stiff. Stale. Stinky. A
friend visiting from the east
coast agreed, adding that
Hardship Post pack the halls
back home and usually give
and take much more energy
than they did at this evening's
rather average performance.
Leaving the Blues Pub, I
wandered down the street to
Hockey Night at the Commodore where the Wheat
Chiefs were about to take the
stage. Featuring three members of SNFU, the Chiefs sound
comes from the same power-punk vein as that band, but
less powerful or together. Check out the Wheat Chiefs' song
"Joe Murphy"on Wrong Records new Puck Rock Vol. 1 release, featuring bands such as the Smugglers, SNFU, Bombshells, Cub (with DOAfrontman Joey Shithead), Tankhog,
and the next band of the evening, Calgary's instrumental
surf punks Huevos Rancheros. This was the third time I
have witnessed the Huevos live in the past two months;
their past shows were lacking in both energy and the grooves
found on Endsville, their latest Cargo release, but, fortunately, their Commodore performance was definitely more
upbeat, kicking phat Link Wray vibes from the first note.
The combination of the Commodore's large stage and exposure to the punk rockers that Huevos were sandwiched
between seemed to add zest to an already happy, hardcore
Next, after a brisk walk through Gastown to the Lux
Theatre, my ears were bombarded with the sounds of Fifth
Column, a ragin' riot grrl band from Toronto. Tonight
was Stonewall Was A Riot, the 25th Aniversary of Gay and
THE HANSON BROTHERS
Lesbian Civil Rights and a night of celebration. Fifth
Column lived up to the mood of the evening and
moved a good many people to dance directly in front
of the stage; the audience only shyed away when
lead singer Caroline Azar took her raucous vocal
attack to the catwalk. As the set progressed, the huge
walls of the Lux and the waning enthusiasm of the
audience began to affect events onstage and I lost
interest in the band for a few songs. But then they
played their latest single, "All Women Are Bitches,"
and gave the audience another taste of the raunchy
energy the set began with.
Back at Hockey Night at the Commodore, a
flurry of NHL hockey jerseys and nerdy glasses
pushed and slammed together in a confusing circle
of energy, pounding the club's spring loaded floor.
Onstage, a guy in a backwards baseball hat, broken
and taped nerd glasses and scuffed hi-top sneakers
screamed over backbreaking drums and ballbreaking
gee-tar. There was a goalie in the house, Mr. Hanson
himself, with the lyric "dumb" painted across the
forehead section of the hockey mask he was wearing. There was even a uniformed referee backstage
to keep things in order, and a roadie supplying oodles
of Slapshot-sXy\t glasses to keep the team players
looking sharp. This was a Hanson Brothers show,
as Canadian as they come. The Hansons gave a consistently energeuc, kickass punk-rawk, hawkey-saturated performance, prompting cheers of approval
from the near-capacity crowd. Fortunately, you can
capture some of this energy yourself on the aforementioned Hansons' compilation, Puck Rock Vol.
1. Powerful, deafening, and 100% Canadian, the
Hansons' may be the best puck yet.
Sean Raggett _~^
^4.
'>*•***
Wake-Up Call To The NAivE^rbfia^Yw8^i,^^ta^^
THE SHOW
It's the night of your show. You've practiced all week long, you are ready,
you will perform the best you've ever performed. You get on stage, turn on
your guitar, and you rock.
REALITY
On stage you realize that you're playing to your friends who came early
just to catch your show; you're really happy that they came but where's that
A&R rep from Rockstar Records? Where are all those industry types that
were almost promised to you? They didn't show. Most industry types are
either finishing dinner while you play, resting from a long day of panel
discussions, or off watching a band that they've already signed to their
label. If the flight didn't tire them out, then schmoozing with the other
industry types did. And besides, your bio/write-up just didn't compare with
all the hype on that newly signed band from Toronto. These industry types
are people after all; they can't watch everyone, and hell, they're just here to
collect more frequent flier miles anyhow. They'll go see the bands that
their boss wanted them to see (i.e. that band from Toronto that just got
signed).
Before you even finish your set you are hurried off the stage because
time has been cut short. You leave the stage feeling a bit swindled but you
refuse to believe that you lost your chance. Someone whispers in your ear
that last year the local bands got paid $100 and a free wristband. It turns out
that you get $100 or a free wristband. You choose the wristband—at least
you'll be able to get into all the shows for free and besides, you might bump
into some industry person.
THE OTHER SHOW
Checking your MusicWest guide to see where that "buzz band" from Toronto is playing, you find that it's just down the street from where you are.
And as you keep reading you see that this band is playing two more shows
and that they've been given prime billing on every show. That's weird, how
come they get to play three shows? They've already been signed and you
would think that in an event that is supposed to expose new talent those
three shows would showcase bands that have yet to be signed. Then your
friend informs you that a band had to cancel a show and guess who got to
Toronto. Is this fair?
You decide to go and check them out. When you arrive the band is
just coming on and the place is packed. But hey, this isn't a local band and
all of these people aren't their friends. So why are all these industry people
here to see a band that is already signed? You watch and you listen, but all
you see and hear is just another sad rip-off of the current music trend. They
look right.they sound right, but the whole thing just doesn't feel right.
O.K., maybe that was a bit melodramatic, but it's true. Local bands
are usually given little consideration when it comes to booking these shows.
They are told that all local bands get equal pay ($100 or wristbands-last
year it was both), yet some "bigger" named local bands were paid more
than $100 - why? Many of the bands that headlined were already signed to
major labels and some even got multiple billings; it seems that if you know
the right people or have the right booking agent you got treated a lot better
than most. Now, I'm not completely naive, and as far as I'm concerned this
would all be fine and dandy if it wasn't for the fact that MusicWest was
touting itself as a spotlight for new and unsigned acts. Local bands play
MusicWest thinking that it could be their big break but they are quickly let
down. The organizers leave the event patting each other on the backs while
the bands who came in with nothing leave with nothing but the illusion that
it was money and time well spent. For some reason it just doesn't seem
right.
As luck will have it, I just heard of another music festival happening
in Olympia, Washington July 12 - 16th. It's called the Yo-Yo-A-Go-Go
Festival, and it features tons of bands, including the Softies, Built To Spill,
Antioch Arrow, Codeine, Fagbash, Tattle Tale, Girl Trouble, Karp, Lois,
Mecca Normal, Crayon, the Spinanes, Lync, Unwound, Kicking Giant, Beck,
Cub and many, many more. It's sponsored by a local recording studio and
label and is completely independent (I think). Tickets for the 5 day festival
are $40 (US funds) and you can call their info line at (206) 352-2597. It will
be interesting to see how it goes as compared to MusicWest. Could it be
better or worse? It's funny, I have good feelings about this one already, and
I don't know why.
P.S. - I wasn't going to use a pen name, but I was advised by Superconductor that it might be a better career move if I did. They were kidding,
right?
Brad Snotter •MUSIC
• WASTED
Slammin' Back The Free Hootch
WANNA PARTY?
Over the four days of MusicWest I
saw an assortment of shows splattered all over town, so I'm basically
gonna start at the beginning and tell
you what I saw.
On Thursday night at the Railway Club I got to use my all-access
wrist band for tlie first time to see
Ford Pier and the Wallets—an all-
star line-up featuring ex-Jr. Gone
Wild and present Tankhogger Ford
Pier on guitar, backed by an ex-
RooLs Roundup guy on bass and an
ex-Sarcastic Mannequin on drums.
Unfortunately, MusicWest felt the
need to bring a larger PA into the
uny Railway, which did nodiing but
mar tlie sound in the usually cosy
arid sound-friendly front room. The
bass fed back annoyingly for the
greater part of the show, almost
eclipsing Ford's quirky, rockin' pop
songs. After die set I retired to the
far corner of the back room for some
hefty drinking before the last bus,
successfully missing the final acts
Nowhere Blossoms and tlie Touch
and Go's.
Friday night meant hockey
action for this wrist-band totin'
MusicWest non-delegate, and I was
in like Flynn to the Commodore for
tlie Hanson Brothers' musical
version of Hockey Night in Canada.
I arrived too late to see the Wheat
Chiefs and Calgary's Huevos
Rancheros were already playing
tlieir land-locked instrunientals to a
rapidly filling house. I was sort of
surprised to see that these bastards
actually showed up after the
Canucks kicked Calgary's collective ass in the first round of the
playoffs. But Huevos successfully
managed to hide the egg on their
faces and played a rockin' set.
I've never been a big fan of
Tankhog, who took the stage next,
but they managed to pull off dieir
screeching diunder better dian I've
seen before. Maybe the new addition of keyboardist Ford Pier has
whipped them big piggies into
shape. Who knows, but they rocked.
After a twenty minute intermission during which Slapshot
played on the Commodore's huge
video screens, the mighty Hanson
Brodiers stormed the stage and blew
everyone away with their vicious,
no-rules hockey punk. The audience
was a mass o' flying bodies, most
of them sporting the logo "Puck
Rock" on tlie backs of dieir brand
new Hansons' tees. I eventually got
tossed out of the bar for being a
drunken fool and dancing on the
Hansons' merchandise table—my
apologies to anyone who was injured during my flight and to the
Hansons if I broke any of your stuff.
Tlie next day I headed down
to the Vancouver World Trade and
Convention Centre to take part in a
couple of panels I had the honour
of being invited to (which explains
my free wristband and my constant
drunkenness: there was free hootch
everywhere). After die panels had
wrapped up, everyone involved was
invited to a VIP "dinner" and booze-
up before the night's rockin' and
rollin'. Performing acoustically was
some Aussie guy from Men At Work
who sounded hke a bad Phil Collins
(which is pretty damn bad!). He
stopped playing after about four
songs or so 'cuz he was drowned
out by the near fever pitch of industry shmoozing going on. Meanwhile, I was chowing down on
weird bits of chicken and cheese and
doing my part to empty as many
kegs as possible before being
thrown out into the night.
Outside, someone handed me
and my partner in crime Keith Parry
a couple of invitations to an Italian
restaurant in Gastown that was hosting a MusicWest party, so off we
went for more free hootch before
my eagerly anticipated first witnessing of Change of Heart and Forbidden Dimension at the Hungry Eye.
Alas, the free beer flowed so steadily that by the time I looked at my
watch it was 12:30 am, halfway
through Forbidden Dimension's set!
I decided to forget it and instead
hightailed it over to Automotive to
catch San Francisco's premier gay
rockers Pansy Division. I got
there early and was able to catch the
bizarre techno-karate stomp of Japan's GPP. With their hysterically
cool synchronized dance moves,
they were like a cross between Girl
Trouble and a Macintosh computer.
After GPP wrapped up 1
headed next door to see the terrible
Boiled In Lead at Tlie Starfish
Room They were playing some sort
of strange mythological-type
Tolkienesque crap, and when die
drummer started in on a long solo I
couldn't resist flicking on the Starfish's spotlight and pointing it at
him. Surprise, surprise, I got
chucked out of yet another bar, just
in time to stumble back to Automotive to catch Pansy Division putting
smiles on everyone's face with their
hilarious power-poppin' queer-core.
Ironically, I found their music to be
extremely straight at times, lacking
power or any sort of punchy edge
to speak of. Nonetheless, their
charm and positive vibes won over
both myself and the crowd—I even
pushed my way to the front after the
show to buy a t-shirt.
Finally, Sunday rolled around
for one more day of rock. I had
planned to catch at least a few of
die acts at Slam City Jam, but my
head ached so much from the past
two days that I could barely make
it to the shower let alone to the Plaza
of Nations. I decided to hold out
until night fall, when I bussed down
to the Town Pump to see Calgary's
favourite "boy-rockers"
Chixdiggit. This last night proved
to be the screwiest of them all.
My plan was to zip downtown, see Chixdiggit at their
8:00pm slot, and be home in bed by
10:00pm. It turned out that I got
home the next day at 7:00am!
Here's what happened: Chixdiggit
took the stage right at eight and
played a great set of their Ramones-
meets-77ie Wonder Years spread-
legged rock'n'roll. Next up were the
amazing White Trash Debutantes. From San Francisco, WTD
are an eight member she-male/
txansvestite punk band made up of
four "females" and three "males"
who belted out tune after tune of
bizarro-rock with all the gusto of a
Broadway production (if it starred
a bunch of fucked-up punks). Included in their set was a special appearance by "Punk Rock Pat," an
elderly woman (she must have been
at least 75) who sang "I Want To
Party!". We were also "treated" to
lots of nudity (male and female)
throughout the set, including the
attack on the Town Pump soundman
when a naked female singer shoved
her crotch in his face.
After that incredible set, I was
on my way out when I ran into the
irrepressible KJ, lead singer of
Chixdiggit. We started talking, and
widi a little encouragement and free
beer, I ended up staying at the Pump
to see locals Sex With Nixon
(who were surprisingly great) and
the incredible Cadillac Tramps,
who blew the roof off die joint! I
was constantly trying to leave, but
there was always another beer or
two waiting for me from KJ, and in
no time I was dancing on tables
again. At least this time I only got
kicked off the table and not out of
I ended up spending the next
eight hours with KJ as he led me
blindly staggering from booze can
to booze can hke a drugged puppy,
getting so plastered in the process
that I not only missed my last bus
but kept on partying until I noticed
it was daylight. I realized diat it was
probably time to go home so I bid
KJ a slurred adieu and hopped on
my bus. But, to add insult to injury,
I fell asleep and ended up at Lighthouse Park! After catching another
bus back in the right direction, my
head finally hit my pillow at a pa-
dietic7:00ain.
And so I thank you.
MusicWest, for such a wild weekend and for all your warm hospitality; I hope I didn't knaw on die hand
diat fedtoumuch...hopetosee ya'll
again next year! —burp—
Grant Lawrence
COME DOWN WITH ALL YOUR FRIENDS!
LIVE BANDS EVERY
THURSDAY NIGHT!
ADMISSION IS FREEH Bonedub's Arashiba brothers, Andrew and Dacey, were through town
lias spring with a new band line-up, a
new album [Bellow], and a whole lotta
mid-west energy. On the first leg of a
tour that would take them dear do wn
toTexas and across the southeast US,
Andrew and Dacey, both from the
original 1989 line-up, bassist Ben and
"rookie" drummer David took the
time to talk with Discorder.
Boneckib has played Vancouver several
times. What kind of a response does the
band get hoe?
Andrew: Well, we find that fourteen
year-old boys Italy dig us!
Dacey. The higher we hike our pants,
the better the response we get
Andrew: It's a hormonal thing,
a dually-a sexual thing. No, to answer
seriously, it seems the response is decent We like playing here!
You're constantly on the road, is that the
way you like it?
Dacey: WeD, it's absolutely necessary.
We've made a lot of friends this way
You'regomgonyourfifmtcurofEirope.
What is touring in Europe like?
Andrew: We play, hke, two thousand-
people festivals in Belgjun, which Ls a
big deal to us, and Holland, England
and Austria are happening.
You were signed to Imago/BMG. What
Andrew: What happened was typical
in the sense that the A&R person gets
let go and the bands eitherget dropped
orre-signedSo, basically, when welost
our A&R support about seventy percent of the entire staff got fired within
a three-week period That entire staff
being our support, we were eonse-
qumtfy released Wewereterminated
So the new album. Bellow, came cut on
Rocketscund?
Andrew: Yeah, this is our third album on
our independent label, Rocketsound
Aie you happy with the album?
Andrew: Yeah, we're qutehappy with it
Where did you record Bellow'}
Andrew: We recorded it at Rumbo Studios in Canoga Park, California—
Dacey:—which was leveled by the earth-
There were two line-up changes during the
recording of Bellow. Did that put a strain on
you guys?
Dacey. Once we get into the studio, once
we're each doing our thing, we're very
focused You can't be thinking about any
of that outside stuffifyourtryingtoget the
tracks right
Andrew: Wehadeverythingprettymuch
mapped out before Andy Ma pies, a realty
good session player, came in to do the
drums. He was able to pick up the vibe,
take directions super weD and play what
we wanted, and that's the basis of the
record that the rhythm tracks are more
than competency'know. Ben came in a
bit late, during the nixing, so it was Pat
KaDemeyn and then a guy named John
Pierce, who played on Mick Jagger's
records and with Paul Westerberg, on
bass. Those guys are so good they make it
look like butter: Diey just do it
Except for three songs on the
record, Ben played every one of those
songs. He's been in the band for a year
now but a year-and-a-half before that he
left because ofacar accident As it stands,
we've cujTenuy been demokigabunch of
stuff for a new record with this line-up.
When did you join up with Boneclub, David?
David: I joined in November of '9\ It's
great; it's challenging
WhatwereyouinvclvediibefoceBoneclub?
David: I played in a number of bands
around Minneapolis, including the New
Power Generation.
What other bands from Minnesota are happening''
Dacey: Walt Mink, Guzzard, SuperbaJJ
63,RunWestyRun.
Andrew: Nova Mob.
Is thcMinneapolis/St Paulmusic scene very
supportive?
Andrew: The scene is thriving and the
scene is splintered There are a lot of
different groups of music out there: the
pop vein, the noise thing, the punk rock/
grunge amalgamations and the folk and
traditional type of music m the scene
itseff there's a lot of distrust, jealousy and
hatred but there's also a lot of love and
people who genuinely Kke each other's
bands.Iguessthatwouldbenkeanyother
scene [in the] USA.
Why and when did you start up ihe Rocket-
sound label?
Andrew: I started the Rocketsound label
four-and-a-halfyearsagalstarted it with
the intent to create a medium in which I
could release my friends' bands' and
most importantly, my own music and as
a vehicle for good distribution and press.
I was successful with everything except
for great distribution—distribution is a
monster that can't be harnessed But I
started it with the intention to put out
good music and I've been successful at it
As the CD can attest, we're kicking butt
with Rocketsound!
So you do other bands as well
Ajiclrew: I usually decompilation records
but I'm going to be doing the first full-
length record of a non-Bonedub band
called the Mighty Mofos.
Are there advantages to releasing music on
Andrew: Yes and no.
are that if y ou want to get something to
someone you make the attempt and you
send it out If you're on a bigger label, or
a labd that isnt your own, and you want
to get an advance copy out to your best
friendin Kalamazooit'ssort of a pot-shot
unless you walk it through, which is what
we da I think it's great this way. IT this is
as bad as it's going to get for us, no
Throughout the line-up changes that
Boneckib has gone through, Andrew and
Dacey, you twohaveremainedtheconstanL
Do you share the same musical vision?
Andrew: We may not share the same
vision,exacth/,butweacccnimodateeach
other and that's the key. We'll entertain
each other's ideas.
Dacey: Through all of the line-up changes, both Andrew and I have been gong,
' WeD, this can stil work. We can figure
Andrew, you write all the lyrics What's
your inspiration?
Andrew: Pretty much personal experi-
Does the name Bcnechib mean anything?
Andrew: Dun, it means penis!
Ben: A dub of them!
Andrew: No, just kidding.
What's next for Bcnechib?
Andrew: We're gonna tour bke nuts!
We're going down to Texas and then to
New Zealand and then we have some B-
sides that we're going to release with
some singles from the album. We're
gonna keep on trudan', God wiling!
Discography:
Bless This (Rocketsound 1991)
BeautijTu EP. (ImagoBMG.1992)
Bellow (Rocketsound 1994)
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10E£^S[lLgj3 Discorder: You'
ft Sepultura right now. When y.
started in Clutch did you e
imagine anything like this
happening?
Neil: By the time we wen
this tour we had already dot
tours with Monster Magnet.
Religion, Voivod and Biohi
ft From Bad Religion to Biohi
there's definitely a different
crowd. We knew that on this
tour we were going to be ph
to a metal
East West records?
We received some but most of
the shit we received was from
people in other bands, or
people who used to be in other
bands now perpetually working
at Tower Records. We still talk
to those kids, we don't have
egos that we know of, but
sometimes the quantity of
people [at a gig] is hard to deal
with. Our first shows were like
10 people, maybe 50 on a good
I we don't have the energy to
hat I'd just rather poke
at [pop-culture] than
lire [about it]. When we put
i show we want to entertain
pie more than we want to
rate them. I'd rather have
n smiling than scowling
ressive with whatever
sage we have; so we don't
Will these pop
culture
references
thing—and that we wou
uch harder time going
with that crowd. The th
though, they're big show
200 people like you at th
that's 200 people you wou
have played for. When w
started out we would pla
hardcore bands, and if t
anyone who was even
different we were like,'
don't want to play wit
Now we'll play with anybod
their brother because there'
reason not to. When we
eventually have our own
I'm hoping that we'll have
pretty diverse crowd. This t
been killer, we've had a bla
but I would have never ima
doing it.
Clutch is from Washington, I
see Washington as being very
Dischord-dominated. Clutch
definitely doesn't fall wit
realm of things so how ar
looked upon in the Washi
DC. scene?
I don't really know how pec
perceive us. I think some of
hardcore fans might think <
sell outs because we're o
with Sepultura—we kne
was going to happen. The
us just as long as we're
I think they feel someth
special to them is taken
we play somewhere else
different crowd. Everyt
been under the shadow o
Dischord since 1982 bu
lot more to D.C. than D
there's an indie-pop see
metal scene. We've alw
considered one of the hare
bands that isn't associa
Dischord. There's a kin
person in Washington w
Dischord. You can go t<
and tell by the way they
and what they're doing t
listen to Beefeater all of
which is line. Dischord
there; it's still the same
M far as Washington's
hardcore scene goes it's
kind of lame. The whol
skinhead gang thing too
Washington just like it did
York and Philadelphia. It j
got really violent and pcop
stopped going to shows. Th
course, the bands didn'
shows to play and things ju
died out
Did Clutch receive a lot of fl
from the D.C. kids for signir
9:30 Club. We still see people
that came to our very first
shows; they're still there.
Everyone wants to let us know
that they're still there.
What sort of numbers axe you
playing to on a typical night this
It's usually over 1000—the
biggest show was in Montreal:
3500—anywhere between 1000
and 3000 people. We don't get
nervous, we just get really
bored before these shows. It's
iany people, all
those faces, but you can't pick
out individuals and you've got
a barricade and security
guards, that's really no fun for
us. It's cool but the intimacy is
lost. When you're in a small
club you can pick out people's
reactions. Out of 3000 people,
though, if 100 people like us 2(1
will come to our next show.
We're doing this tour with that
reasoning behind it so we can
eventually tour ourselves. If
and when we headline our own
tour we'll do our best to keep
things as close as possible. We
play better that way. If the
crowd is 8 feet away we can't
get into it.
One thing I've noticed about
Clutch's lyrical content is that
almost every song seems lo be
made up of pop-culture
I, like millions and millions of
ther American and Canadian
w—know thest
catch phrases and melodies.
It'll come to me in a rhythm; 1
never really did it on purpose.
It may sound silly at first hut
when you put [pop-culture
references] into a different
context you can change their
entire meaning and people
instantly know what you're
talking about: they've seen thi
exact same commercials or th.
know that when I make a
reference to the "flavour
country" I'm talking about
Marlboro cigarettes. Some
people have said it's sort of a
Jello Biaf ra thing, which I'm
not criticizing at all, but there
are enough bands that preach
and let you know what they
think—we all think differenth
That's -II very w.U and nice
they'll be
but I think they'll
be a little more diverse.
you heard of a rap band
led New Kingdom? They
>ut with a new CD
d their lyrics have so much
lhat shit in it that at the
ttom of each song, under the
pes, they've had to put this
of trademarks: Pepsi™,
>si Co; Cadillac™, General
•tors. I don't think we'll go
far but it's hard to say. I
't think the next album will
s serious. We'll just have to
Restraints seems,
[haps, more focused: it's very
n your face. Did you
isciously do the album
■ansnational Speedway
ague: Anthems, Anecdotes and
deniable Truths] differently
m Passive Restraints^.
lappened that way because
rache asked us to record and
id them the masters within 3
for our E.P. We went and
in a day at a friend's
:, on a 16 track, and then
>uriered] it to England—that
it; we didn't have time to
ike things sound different,
ith Passive Restraints we
into a studio with all of
toys. We had never really
■n into a studio before; and
studio with a big
•sole and assistants! The
ly places we had been were
'nds' houses, sitting around
inking and smoking. We
:w what we were doing as
as playing goes but
ixing just went right
our heads. I think we
owed the producer to
too technical
Id play with the effects
much. We know what
doing now; we know
ictly what we want: the
album is not going to
d like the E.P. but it
1't be as fancy as the
i, either. The more I
to Passive Restraints
are I dislike it
se of the production,
that I think it's bad
I'm constantly criticizing,
all this reverb here?"
too much of a good thing.
MPassive Restraints more
firesentalive of how Clutch
is live?
e major complaint by most
>ple in D.C. is that the E.P.
and 7" really sound like us live
and the album doesn't. I
honestly think that's because
the E.P. and 7" sound like shit
from a production standpoint:
technically, they're really raw,
which some people like—I like
it! That's how we sound live
because it's just guitar, bass,
vocals, drums. When we play
live we don't use reverb or
panning effects. I think that's
why people thought the album
didn't really represent us
live....another thing we'll do on
the next album is play together
and track everything at the
same time. On
the last album
we did
everything
separately, which
is the dumbest
thing. We're not
we have to look
at each other to
know when to
play louder or
softer. And we're
a click track.
The produci
Fudge Tunnel—we shared a
bus with them on the beginning
of this tour—mentioned putting
it out on a label he's starting. I
don't know for a fact that he
will put it out but we own the
material and there's no reason
not to. We don't have the
money to do it ourselves so
we'll just have to wait.
Coincidentally, there are a lot of
people that actually like the
songs from your 7" better than
any of your other recordings.
A lot of people, especially back
home, will come up to us
, click
track and having
to play to that
sucks! I'd rather
have the tempo
go up or down 15
beats per minute
by the end of the
song than play to
a click track ever again. It
sounds sterile. Songs should get
faster and slower.
Did you put your first 7" single
thinking it's a compliment to
say, "the fuckin' 7" is the best
thing you've ever done." Well,
what about the other 15 songs
we did after that!? If I listen to
something by another
band for the first time
and I'm really into it
anything after that, 9
out of 10, just
isn't the same. It's like
meeting somebody for
the first time. People
that hear our aT
first and then hear the
7"are like, "what the
fuck!". They don't like
another 250 after that We
mixed those 4 songs knowing
that it would be a 7" and it
sounds good as a 7". When you
hear [those songs] on CD they
don't really fly: they don't
"pop" like a 7". We've been
talking about putting it out on
vinyl again and Dave Riley of
How did you hook up
with Earache and why
did you have to have
the Passive Restraints
E.P. ready in three
days'.' That's a atory in
itself!
Earache is a story
itself. Earache is probably one
of the worst labels ever put
together. Jim Welch from
Earache America is a great
guy, we got along with him fine,
but Digby Pearson, who owns
Earache, likes to make life
difficult for bands. Fudge
Tunnel is on Earache and when
they were on tour with us we
would sit down every other day
and listen to what news from
Nottingham would come over. You
would not believe the crap that
they've gone through. To watch
Fudge Tunnel sweat its balls off
every night and then just get
fucked over for monetary
purposes.... Sleep is going through
the same thing. I'm not going to
tell you the contents of their
record contract but, believe me,
it's fucking ridiculous.
I think a lot of kids
stereotype major labels as being
the sleaze bags, and there are
plenty of sleaze bag
major labels out
there, but If a label
is going to fuck you
over it could just as
easily be an indie.
There are plenty of
indie labels that
just destroy bands.
unfortunately, is
one of them. I think
they succeeded in
destroying a couple
of bands—bands
simply broke up
because being on
that label sucked so
bad. That's really
depressing. We
agreed to do the
E.P. with Earache
but I thank our
lucky stars w
EastWest was a "major label" but
we wouldn't be here right now [if
we had]. I wouldn't be speaking to
you if we hadn't have signed to
EastWest because we wouldn't be
able to get tour support and the
distribution just wouldn't have
been there.
It's not a matter of
wanting to get big so much as it's
just wanting people to get to hear
your music. There's nothing
wrong with that at all—the more
the merrier—however, there is a
point where that can become
superficial. Let's just say that if a
year from now we're
playing to 10,000 people
and then 5 years from now
we're playing to 300 again
it would have been worth it.
Every band has its ups and
downs, we're just on a
plateau right now.
Since Clutch is on the road
so much are jobs something
that enter the band's
vocabulary'.'
We don't have jobs because
we can't We need jobs. We
all live at home with our parents,
which is the only reason that
we're able to do what we do,
because we don't have to pay rent.
We haven't made money on a tour
before and this will be the first
which we've ever broke even on.
We've had to borrow money from
our label to eat, rent a van, buy
equipment and pay our 2 roadies
and when you're on the road for 8
weeks that's a lot of money. We've
got to pay the label back through
our royalties and we're not going
to see royalties from our record
until we, literally, seU 480,000
more copies!! That's when we'll
break even. I know there are
plenty of other bands that are 10
times worse off than we are so
we're not taking this for granted
in the least.
JUNE (£ sort of like drunk, he was just like
weird, he was making no sense and he
tried to prevent Blackie from going into
like physicallVjI think
"'    '
t
but only expert-.as§telackie hit him and this
confident Urgj^ ■ ,.,■ broke his rib and his wrist
Overkill   will     '
endure     and ...   He had his rib broken that night? He
grow   larger jt'ip didn't find that out inyancouver
long after die       though...
S h a nn en       No. itwas senous....(Yawn)...fliafsall
Hoons of this       itwas The guy was just really weird
..rid i
faded"' :
::;:
cook] didn't even know what was go-
ing on you knuw...probably hadn't
half       talked fato the promoter or anything.
my '    Ancl Blackie didn't say anything rac-
Hmmmm. ..Did you do the rest of the
tour?
Yeah, amazingly enough, a broken rib
and a broken wrist. All of sudden we
had to play a bunch of songs slower,
that's all.
Fear not, dear readers, I have no intention of subjecting you to more of my
sycophantic groupie inspired nonsense.
Rather, I will be presenting you with a
brief update on the recent activities of
the alternative rock darlings Vancouver loves to hate. Only a few months
since my last interview, Urge Overkill
are nearing the pinnacle of
superstardom with nary a hair out of
place and not a drop of liquor spilled.
Now they tour in a swanky bus and
gaggles of fans wait for them after the
show, hoping for a glimpse or an autograph. "Sister Havanna" is being used
in a TV commercial and Nash makes a
cameo appearance in Wayne 'l World 2.
Perhaps the best part of all
this is that their live show is more exciting that ever before. The big stage
spondent. Luckily, I caught King leaving soundcheck. The others had left to
get an early start on the pre-pre show
cocktails with Pearl Jam.
King "Eddie" Roeser was
'feeling philosophical' about the death
of Kurt Cobain when I conducted the
following Q&A with him in the lounge
of UO's bus. King noodled happily
away on the guitar as we spoke
Discorder: Last time you were in
Vancouver Blackie got in a fight
right? A lot of people in Vancouver
were really curious about exactly
what happened. I guess he should be
King: Um...yeah.it was the guy who
was making our food for some reason.
You had to go through the kitchen to
get to our dressing room. This guy was
What were you like when you first
began? What kind of music were you
I guess it was...we wanted to do something different. We thought we were
doing something very unusual for the
time. And it was...it was really like
noisy. It was like.. It was like grunge
but there was no grunge. If you listen
to our first single it's like, you know,
sort of like us and Dinosaur were doing it. touch and go. The first single
was "Witchita Lineman" and that was
a bizarre thing to do.cover a Jimmy
Webb song made popular by Glen
Campbell. The idea wasn't that 'oh-
isn't-this-cooky' or 'isn't-this-funny';
it's like 'yeah check it out! This is music, this is brilliant songwriting.' This
is sorta what we wanted to bring to
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INCREDIBLY STRANGE MUSIC VOLTWOo,.
SCRATCH MNDSUVEf
ZUMPANO •
MWiCUfl,WED.M29
NIMROD (with Three toy Stubble)
mmcommir(CEHm,uim2s
tWm
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VANCOUVER. B.C.CANADA VSB 7MH 1
PHONBFAX. 160m 681'0H8S
punk rock.
Jimmy Webb wrote a lot of great
Yeah, that's for sure. We've become
friends. He's come to the bank and
partied with us and stuff. He wanted
us to get on stage with him.
Where does he live?
He lives in New York but he tours and
he plays.justhim and a piano. It's cool.
.;!\yHen you hear him play and sing you
''/eel pretty small. We might collaborate.
-c go
ing to do something
Now I'm really impressed, that's
That's cool, that you'd.be impre-al 1
Did you hit the rap charts in the
U.S.?
Well no. Our producers were noted hip-
hop producers. They did Cypress Hill
and sadly enough they did Kriss Kross.
But they're richnow, so nobody's complaining.
Rich now from you?
No, from Kriss Kross. They're definitely not rich from us.
Did Saturation do as well as you
thought it would?
Record companies always have secret
hopes that they're going to sell a lot of
copies. They didn't tell us this cause
they didn't want.they thought it would
be pretty big and it is relatively big. It's
not like...I mean, we don't have a gold
record or anything, but it's doing realty really well. Who else have you
been interviewing?
Well actually, Urge is the first band
Really? You're doing really good.
Why thank you. Did National get
penis plaster cast?
Not yet I don't know if it'll
pen, but she did offer.
Japan is the farthest you've travelled?
I think Australia might be farther
Do you think your life is different?
How have you changed going from
playing clubs to...
Well, I guess we're better at playing
our stuff than we've ever been. Sometimes people walk up to us and want
our autographs. It's satisfying at any
venue large or small when people come
up and say T think you guys are really
cool,' you know or, 'Your music speaks
to me' We've all been so involved in
music, we've been around. We've been
around enough people that are huge
rock stars, it's no big deal. tj§P«
Aside from Jimmy Webb and N&-J
Diamond...
Nicholas Cage is into the band. And
we have met Quein in Tarentino. i le's
using "Girl You'll Be A Woman" soon
What was she like?
VERY nice. I didn't know she was a
supermodel until the guys at the other
table were like, 'Did you know you
were just talking to Naomi Campbell?'
Are you the wild and crazy bad boys
you're made out to be? It looks
pretty clean in here.
We like to havca good time, [but] we're
not gross. We're not mental or anything. I mean, I'd like to think we're
all perfect gentlemen who enjoy having a good time. Now this is for
your, you're going to put something
out, for yourself?
No, I write for Discorder Magazine
in Vancouver.
DISCORDER'. I know them! Why did
they pick you to do this? Did you vol-
Umm...What's your favorite place in
Well, I really have a problem.
Oh?
I don't pick favorite things. TO's
fantastic. Montreal s
fantastic. Vancouver is really good.
Those are my favorite cities for sure.
Do you have a car?
Yeah. It's like an "urban assault vehicle. It's a ghettocaiiit's beat up. Blackie
has a '63 Valiant, it?s really cool. Nash
Do you have any superstitions or
rituals you do before you play?
There is an Urge ritual, but I'm not at
liberty...it's top secret.
When you're finished this what are
you going to do?
I'm going to sit on my back porch for
No, I mean when Urge breaks up or
;   ends?
I hope to be able to do some travelling
in a way that I can see things. I don't
know what my affairs wdl be like at
that time.1 Maybe I'll have to be a
teacher or something.
Did you go to art school before this?
Neah, I went to regular school. I made
it through. I'm a really educated per-
Tell me a bit about you're fan club?
The magazine for that is called
BoFonics. You get a single with it You
know it's for those very special people
who want the available-nowhere-else
Urge package.
(At this point Tony comes on the bus.)
Tony: I'm sorry.
King: This is Tony, our new bass player.
Tony: And you are?
I'm Kimberly. What did you do before you played bass for Urge?
Tony: Well I was in the priesthood for
about six years (He actually played on
Liz Phair's Exile in Guyville) and then
II don't know, I'm just a dreamer.
On tour since they were last
in Vancouver, UO are headed back to
Chicago for a summer of rest and relaxation before they record their next
album for Geffen. Maybe he got me
mixed up with Courtney Love, but
when 1 met Blackie that evening he told
me he heard through the grapevine that
I, Kimberly J. Rowan, had had a baby I
No guff. He also highly recommends
Combustible Edison's new album on
Sub Pop, entitled I, S winger and available at yer local record store. Until next
time. I bid you a humble adieu.
CiTR Mobile Sound
am.
r than Jei^Pyi^
Call us for
12 EEg^ J&
the Vancouver-based
duo Mecca Normal,
Kingston, Ontario's
The Inbreds well
know the economic
(andartisticbenefiLsof
recording, self-
promoting and
touring as a stripped down rock band. In a field
in which the age of the artists roughly parallels
that of the audience, The Inbreds understand the
long-coined adages "anybody can doifor'Sre're
just like you," yet brilliantly manage to maintain
theirown standards and aesthetic In otherwords,
The Inbreds seem content in developing
themselves, gradually, over a series of consistent
releases, ventures etc
The Inbreds is comprised of Dave
UDrich on Drums and Mike O'Neill on bass
guitar. Over the course of their estimated 24
month span they've put out 3 cassette releases on
Dave's P J", label as well as, recently, a compact
disc entitled Hilario. In speaking with Dave from
his New England-style bungalow in Kingston
one is immediately impressed by his knowledge
of recording, pressing and distributing music
and, amongst otherthings, both the folklore and
geography of the region. The following captures
some of both, as well as Dave at a moment when
most folks are arranging lunch plans.
Discorder: Dave, are you and Mike keeping busy?
Dave: Yeah, it's pretty busy right now. We're
supposed to be leaving for Toronto soon to play
a show at a nice dub downtown called Ultra-
And how many peoplecan you expect at that show?
On a Tuesday, maybe 100-1 SO.
That's not bad for a Tuesday. Anyway, what about
your more recent plans?
WeD, we've got to do some video editing for a
song called "Noah's Cage," all before we go on
tour with the Rheostatics on June 6th. In fact, we
did the video for free one day with some guys
from Toronto who werefriends of the Rheostatics.
So, once the editing is done we're free.
And men you'll send out to MuchMusic? Do you
dink being near MuchMusic is a good thing?
We can bug them and they'll play it but, really,
it seems that they just receive stuff and decide
if it's good or not and if it's what they want But
there are some other public access, community
type shows that take [indy videos] and play 'era.
What's their angle?
They do reviews, spotlites, features and interviews of mostly indy stuff: basically, all home
8mm quality stuff. They like things like Eric's
Trip and Nardwuar.
Could one call it lo-tech stuff?
Yes. Stufflike the one for the song "Prince"(An
early Inbred video project likened to Gunther
Grass's "Cat and Mouse" because of its quarry
imagery). Our new video has some Super8
footage plus some higher quality video camera
stuff but no 16mm quality stuff, so some people
won't play it
If it's like the last video it sounds like those people
are miss ing out Anyway, are there anyhassles that
come with being out east?
Not at our level. Getting signed to a small
Canadian label might be considered a hassle
because we've done a lot of work and to turn
things over to someone else would probably
mess things up or they'd become disinterested
with us. For us, a group comprised of a bass
player and drummer, we're gonna end up as a
circus side show, a wacky, Canadian oddity
band, on a small label. So we figure that if we're
going to screw up well do it ourselves.
What is "Noah's Cage" about?
That's a fiction story Mike made up about a
monkey in a zoo and a kid The monkey, behind
bars, is taunted by the kid, gets rowdy and
snatches a bag of peanuts from the kid. A big
fuss is made and they have to put the creature
down ["they shot Juicy from behind"). That's
what it's about on the surface level. If you want
to make out what it says al
general you c— you know, the whole symbolism of the bars and cage, and the lad and
the ape. Anyway, it's just a 3 minute song...a
You know, I really think that Mikesounds hlcethe
vocalist from Refrigerator. The drummer of that
band is sometimes the singer and the singer is
sometimes the drummer. As a drummer do you
talk to Mike about the vocals?
I make small suggestions about words to fit the
feel but Mike is really good at it: he has all the
ideas and stories to fit into a song. He sings
about stuff that has affected him. Forexam pie,
on a new song about Emilia Airheart he really
identified with the fascination of a person just
disappearing.
Part ofthe mythology of contemporary existence,
that sort of stuff?
Mike's not really into myths but he leans
towards Venus.
Then what about the references in your songs to
TS. Eliot? Is it the mythologizing of his words
within culture, is it a hip literary reference, or is it
kinda like REM's "Voice of Harold" in which at
a lack for words someone suggests to the singer to
have a drink and read something in the closet to
the music?
I'm not sure how that came about, really.
Mike put it together when he looked through
a TS. Eliot book on my brother's shelf and the
words he pulled out just stuck.
Is there a childhood theme to your songs? ^r^|
No, they're just stuff about being here and
growing up in Oshawa with the Generals. Our*
other songs are about experiences here     ""—
landscape. For example, the song "Russ" is
about meeting this guy
ice cream cone. In term* of
rveneverbeentos
just the kind with the
track, and our si de of aPF. split 7inch with the
Shermans. Plus it has 7 new 16 track songs
recorded in Toronto with help from
Dave Clark and one song Mike
recorded to a Sony tape deck.
So the Rheostaucs kicked in some help'1
Yup, Dave Clark, their drummer,
offered to help produce or, basically,
just offer advice with the mechanics. On
the business side, he knew some mor
sympathetic people down with the cause. II
a real believer in doing our thing just as
want it—since we don't always believe in it
Then what's next for The Inbreds?
We're going to do another full-length album
and see how it does. We want to record it a bit
differently from the last one, on our own or
with friends again, by writing all the songs
around the same time. It'll have about 12 new
songs all from one period so it'll be more
What about the bands you grew up with?
I listened to a lot of stuff. Mike hstened to the
Beatles but had a punk phase, mostly because
of the Exploited records in his brother's
collection. Today we listen to most of the indy
bands, Superchunk and Fugazi, but some of
the regionality effects that We're big fans of
the Rheostatics.
you're going on tour with them, that's
:can one expeclhye? What's the basic
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Seamonsters. We'vesecuredmy folks' Cutlass
ide from around here
fcvWbJ*an£cjV
B for the IT
ANOTHER %@#!
MUSIC STORE
CD S/CASS/VINYL/PLUS
•BAND
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2412
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WAV MORE PUNK"
«ert
JUNE  ® irpfc/ji,-/*
"The voice is the first and ultimate instrument °it is the one means ofexpre^
ure.
the continents, they
"esameactoss
although different instruments often have relationships with each other across the col
come indifferent forms, they areplayeddifferently.but thevoiceremamsbioloyicallythi
all people. Themeansby which it isused. thesoundsdifferentpeoplechoosetoemulateisfascmatmg. The
i your blood supply! Because of this biologicalrelationship, it is always going to be
ct.uour soul and your emotion°rather than your intellect."
BEPICRGSPfin
closertouourin,
° Sheila Gl
aDuuiaiiuy. iuc
uays going tote    *
linUITGS^
Enter Mr. Jaap Blonk and Mr.
Paska, a hyperventilating double scoop
of Einsttirzende Neubauten's Blixa
Bargeld on a Nardwuar prescription. Amsterdam's Blonk redesigns Cocteau
Twins/Sheila Chandra gibberish by
blending in series of tortured shrieks,
calls of the wild, and imitations of sounds
generated from various respiratory ailments. Armed with a kazoo, Helsinki's
Paska graced CiTR's airwaves afewyears
back with "I'm Shit" frof
also included tributes t
Motorhead. Yoi
Bruce Allen Runm
the Red Leather Pants:
tapes. If you're looking for in-
soul and unfettered emotion, We
nt Paska and Jaap Blonk.
cd Bjork? KQflE
Paska: Sunny ice from the Mars.
Jaap: Bjork, they say over here, was
invented one horny night by the greedy
grandson of the late Professor Prlwytz-
kowsky, which knowledge won't help you
much since Prof. Prlw is only famous
among 40-year old children in this coun-
the sense that I like to make machine
sounds with my mouth.
Do you do many live performances?
Paska: Not this year because I have sort
of quit temporarily. But those years when
I do gigs I had one/two every week.
beautiful thing to do. I try to get as many
as possible but it's up and down of course.
Would you comment on your beginnings?
What life experience lead you to pursue the
spoken (non-)wordVrant thing? What were
you doing before this?
Paska: I did nothing before Paska (Paska
had first gig when I was seventeen in
1985). I just wanted to show people that
you don't have to learn to sing or play
before you go to stage—the energy is
important The idea in punk was
everybody can buy guitar, learn to play it
ami make a band. My opinion is that you
don't have to buy an instrument, you
don't have to learn to play anything and
you don't have to make a band, just go to
Jaap: Only after the fact can I state that
I have always been looking for an area
before music and speech. At first I had no
idea there could be such a territory but I
remember trying to make sounds on the
saxophone my teacher judged illegal, in-
irning my lessons in the local
I read poems at that
yyjwas attracted
most by those that had nonsense language in them. I started to learn those by
heart (notably the "Trsonate" by Kurt
Schwitters) and recite them to people,
first at parties or in the street, but then I
started to get invitations to perform in
places that paid me for it. Then I went
into improvising with my voice instead of
trying to make weird sounds on the saxophone—the voice was so much more
direct! What I did before? I studied physics and mathematics for some time and
had the usual odd jobs.
Could you jiivc me some details about your
box set with tlie book and 3-D glasses?
Paska: No. ^E^H
Jaap: The box is called Llederen uit de
Hemel (Songs from Heaven). It's a kind
of "Collected Early Works" of me as a
In 1985 I i
vising, and, in the best
ing ideas that could be worked
a little longer than one improvisation.
This is part of the explanation of the title:
little songs taken from very inspired moments ("heaven"). There was also a theater show I made called Heaven; some of
the "songs" were in this. Later, parts of
the book/CD resulted from more deliberate writing after I studied phonetics,
etc: the series of eleven variations on
Demonologikaas resulted from a commission for a special occasion. To get
more variety in sound I included some
tracks with musicians and some over-
dubbing of my voice. The graphics were
executed by Jan Maartern Buissant
had a close collaboration—long
sions, quarrels, etc.
ating ideas for the typography but pi
tically all of the book
CD recordings were I
Have you ever heard of Jaap
Holland/Paska from Finland"
Paska: Jaap who?
Jaap: Never heard of Paska.
What does a traditional Finnish/Dutch dinner consi*iw?
Paska: Salt (it's true).
Jaap: Traditional Dutch dinner's not my
favorite: potatoes, beef stewed much too
long, vegetables cooked much too long.
Only some winter dishes are good (various types of hotchpotch).
How much recording have you done?
Paska: Three E.P.S.
Jaap: I recorded one LP, four CDs and
Hfeulcl you attend a public castration? What
HjWi were on the Polygram guesllist?
Paska: I have been on the Polygram
^^Eatf*° I (frank beer.
Jaap: Do you mean a public castration or
pubic castration? Depends on who it
largylop!
•
■Kastrati
Fuck Mm,
Do you often ai ue with your relatives?
What do you argui about?
Paska: I haven't argued with my relatives since I was 19 because after that I
[touch with them.
t (I guess you
knew that) a   " "
few writing a tlTINCTf
1
unpBLoncKnnDpnsKnTonBHTTLeoPTHcmouTHs
k about that
k, titied "!".
. I just published my first
book, titled "!". It is based on my traumas by the time I was in high school.)
I Jaap: It's a long time since I argued with
H relatives. It's not much use because
i.thay belong to a very strict church and
Goal's always on their side.
'What part of Finland/Holland do you live
■ in? What are some of the characteristics of
the villagers...their dreams...their fears?
'< Wfcat are some of the culturally significant
'ffljmctions of your home town?
Paska: I live in south of Finland, in capital Helsinki. Villagers dream about dull
L'taffr and are afraid about anything which
Knew. The culturally significant attractions in Helsinki are foreign tourists.
Jaap: I live in Amsterdam; not many
villagers around here. The more "cultur-
r<4*y significant attractions"...maybe
you'd better quote a travel guide here,
this would take too much time for me.
Steve Perry, Neal Schon and their San Francisco-based rock 'n' roll band enjoyed
moderate success with the release of this
song in the early-1980s. I cannot reveal the
^ne of this song to you, nor its chart
^sition, but I would like to use this song as
' part of a gift to my lover. Unfortunately, the
; record sleeve is faded and stained with the
tears of a thousand broken hearted me's.
. Can you help me? I can only read tlie odd
lines of the song Can you fill in the even
lines of the song? Can you help me write a
beautiful poem to my lover?
Just a small town girl, livin ' in
a lonely worltl
Paska: Just a city transsexual livin' in
fully packed hotel
Jaap: O nas niilit, skurzy cor bo
For,
they can share the night
dime they can share the
Paska:
AIDS
Jaap: Lost a jamais my Ukrainian loth
Paska: High school teacher waiting in
the middle of the road
Jaap:  Bruchtigt al dente to smell the
Paska: Emotional people just dying to
find streetlights
Jaap: My  my my jtvhO! [t4wo; q3 my
Working luird to get my fill
l'aska: In the social office trying to kling
somebody's fiU   —
Jaap: Stillnonil wiUrrin.'qL'P{w2(KMIth
Paska: Yes, with me.
Jaap: Yes, bat I'm not gonna tell you her
name. It's such a pretty name, let's at
least not spoil the name, no.
My friend, David Marsden, is looking for
work right now. Can you suggest some fast
food joints in your hometown that might be
hiring? Please provide phone numbers with
the city routing code.
Paska: He can come to work in my kitchen—number (358)0-1351603.
Jaap: Will be difficult to find such a job
over here: lots of unemployed, lots of
reli
the fact that I always keep producing and
trying new sounds—when I get tired of it
my mouth doesn't. When this stops I'm
finished.
Paska: By the way, I
phone show
Radi,
(like BBC in
C-B). In my
Jaap Blonk
Bestevaerstraat 67-1
NL-1056 NJ Amsterdam
Pays-Bas
Netherlands
fax:011.31.20.689-5649
I'uyin ' anything to roll the dice
l'aska: Some lose, some play lotto
Jaap: Come with me around the bends
Smne will win, some will lose
-. . iiiiiiik i cials before movie never ends ^U
lh< voulchoose
Oh. the mo, [e never ends
l'aska: Don! believe traffic signs which
say stop
Jaap: Feet my
Paska: Just a country person raised all
the Detroit's children
Jaap: Zeezichter much that zeazight
A singer in a smoky room
Paska: A burnout go-go packsingcr in a
smoky karaoke bar
Jaap: Dustier more than broom
Have you
years afterwards,
pulsed you and wl
Has your musical creativity ever jeopardized your marriage?
Paska: I'm not marriaged but it is easier
to get touched with certain people; for
longer period it makes some difficulties.
I never "sing" in my home, I live in
rented apartment
Jaap: Let's turn it around: I never let
marriage jeopardize my musical creativity. This I accomplish quite simply by not
marrying.
What's up wifh Mengele?
Paska: Who cares?
Jaap: Nobody's up with Mengele. I mean.
he and his friends are way down in hell
(eternally being roasted, so my father
told me).
II you could do a poetry thing wit
who would il be?
Paska: With Jean-Michel Jarre. I like his
lyrics.
Jaap: Difficult to say. It very much depends on what kind of thing I had in
mind. There's a certain type of thing I'd
love to do with John Zorn if I had the
chance, or a very opposite sort of thing,
for instance, with Gavin Bryars. I could
What's the  basic  ol :
musical creation? What experieni
attempting to provide your list
Paska: Complete anti-musical talents.
Jaap: I aim at getting things better and
better. When are they better?   When I
like them more when I hear myself back.
This is the only way of judging I use. I
never have a certain experience in mind
that I would attempt to provide my lis-
( .Iliada. It's
easy: only one microphone! No sound-
checks  or anything:
just me jumping around
on the stage and yelling like
shit...tell everybody that they will
Contact:
Art Peltonen (Paska)
Oikokatu8B 10
00170 Helsinki COZY BONES NOIZE THERAPY
BOUNCE
CO'/Si
BONICS
MANDELLA FLASHBACK
A new exciting quality of
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and rockabilly, percusive
high energy rocks your
socks off. Dance and
boogie along with this
intriguing experience.
Like a slapshot to the
face,  Noize Therapy
delivers some heavy
groove with serious
attitude. Friday June 17 at
Lunatic Fringe.
THF WORST     PLUTO
lliriWUKM     DEATHSTART
THE  WORST
Rock 'n' Roll 60's style
music with fuzz drenched
guitar and creepy, cheezy
organ. Out of the garage
and onto limited edition
import vinyl, a must for
your immortal turntable.
Mint Records has
released this, Pluto's
second 45, Death Star
b/w Million and Two. It is
a hook-riddled, driving,
hummable, melody-
packed, bouncing,
energetic, tightly-wound,
smooth single with
insanely catchy vocal
melodies.
GONCH
MESSIAH
Gonch Messiah - A fine
grind of Funk, Jazz and
Rock blended by bone-
crushing bass grooves,
ripe guitar riffs, tangy
horns and vocals...it'll
coax you on to your feet
and out of your clothes.
EVIL ROY
SLADE
Heavy Alternative from
Kelowna.
"A thick sonic wall...of
melody and mature
songwriting."
-Jack Scanlon, CKLZ
Be sure to buy an extra
copy for your mom.
SNOWDOGS   SOME SONGS
BRAG BY MARK
JP%
After releasing four indie
demos, Brag is the first
CD release from Toronto's
Snowdogs on Johnson
Recordings. 14 Pop/Punk
tracks including special
appearances by members
of Change of Heart, 13
Engines, King Cobb
Steelie and many more.
TASTE
Taste creates music to
make love to.
Lo-Fi, courteous, efficient,
reliable. Also in Good
Horsey.
"Somewhere between Tim
Hardin and Jad Fair."
-Gee-zuz Magazine
DOG EAT DOGMA
DOG MACHINE
Industrial-strength mix of
Metal, Funk and Punk,
refined to a high-pitched,
tightly-wound art form that
defies any category, while
attaining a pinnacle of
black-humoured punk-
metal power.
%
~~K
ATTENTION ALL BANDS!! Do you have an undistributed demo CD or tape? SAIAS carries
Western Canada's largest selection of independent product and can distribute them to
stares across Canada! Ash far Rah Zgaljic at aur 568 Seymour St. location.
AVAILABLE AT 568 SEYMOUR ST. (DOWNTOWN). FOUR FLOORS OF FUN! stasy of so many po-
sitions./And your
skin is so rosy/when
my
!"),
Okay metalheads, time to wake up
and grab your notepads! This
month's column could end up being your primary defense when you
£ end up in court after slaying someone's grandmother 'because Ozzie
Osborne told you to'. But before
we get into a collection of fourteenth-century music rife with blasphemy and urgings to wantonly
kill, a little background is in order.
By 900 A.D. European
W music began to have elements of
polyphony where a piece of music
would contain two or more distinct
melodies being played or sung simultaneously. Most of this music
was religious in nature and really
fairly simple. Over the next few
a hundred years it gradually increased
in complexity until sometime
shortly after 1300 radically different musical forms of a secular nature began toemerge. An increased
attention to rhythmic texture was
the major characteristic of what
quickly became called 'ars nova',
or the new art. It is from this
terminology that the Swiss group
Ensemble Project Ars No va (or Ensemble P.A.N.) takes its name.
Originating from the Basel
Cantorumin 1982, the group which
is currently based in Boston on a
teaching and performance residency consists of Laurie Monahan
(mezzo-soprano), Crawford Young
(lute), Shira Kammen (vielle - an
early violin-like instrument),
Michael Collver (countertenor and
corno muto), and John Fleagle
(tenor and medieval harp). I had
the wonderfully good fortune to
hear the Ensemble perform at the
Metropolitan Tabernacle on April
30th as guests of Early Music Van-
The program sampled
works of a number of composers
fromthelate 1300' sand 1400'sbut
focused mostly on the Franco-
Flemish musician Johannes
Ciconia. Although previously unknown to me, a little reading shows
him to be an important transitional
composer between truly medieval
works and early renaissance composition. Born in Liege around
1370, he seems to have been a
choirboy in that city by 1385 and to
have moved to Rome by 1390.
Coming in contact with the musicians in the service of Pope
Boniface IX, he was probably influenced by the new changes in
musical style. Moving to Padua in
1401, he remained there until his
death in the summer of 1412. He
was a widely recognized composer
at the time, with his works being
known as far away as Poland. This
popularity is partially responsible
June 1-4   EDDIE KIRKLAND
June  6, 13, 20  OLIVER & THE ELEMENTS
June 7 &8   TIM HEARSEY BAND
June 9-11   JIM BYRNES
June 14-18   FROM SAN FRANCISCO -
JOHNNY DYER
June 21-25   FROM CHICAGO - JIMMY JOHNSON
JAZZ FESTIVAL JUNE 24 - JULY 3
June 27&28 FROM CHICAGO - MIGHTY JOE YOUNG
June 29&30   FROM LA - SMOKEY WILSON
July 1&2   CLYDE ROULETTE
July 3   FRANKIE LEE
mi MISS ME MOBS'MS:
SATURDAY 3« PM  / SUNDAY BLUES MARATHON JAM 3PM - MIDNIGHT
MIKE JACOBS' JAMS ARE SPONSORED BY MOTHER'S MUSIC AND THE DRUM SHOP
OPEN EACH NIGHT FROM 9:30 PM TO 1:30 AM OPEN WEEKDAYS FROM 11:30 AM
for our having reliable copies of a
relatively large number of his works
still extant, when many of the works
of his contemporaries have been
Ciconia's works are
mostly for voice accompanied by
only a few simple instruments such
as would be practical for the travelling musical troupes of the age,
although a few instrumental-only
works are known. In style they
range from incredibly complex
works of the 'Ars Subtilior' style to
rhythmically simpler works intended to display choral virtuosity
The works are all similar in their
melodic elegance and lively nature, features which gave the works
of this concert an ability to charm
the listener such as few other styles
of music could. This outstanding
program gave the listeners a taste
of the whole gamut of Ciconia's
Before the program
Crawford Young gave a short and
rather too technical introductory
talk describing the state of musical
composition in the time of Ciconia.
He did mention some facts which
were to prove interesting, such as
that Ciconia's major patron was an
influential churchman in Padua.
This didn't make much of an impact on me until the concert opened
and I looked at the text translation
supplied with the program. Tlie
opening work Petrum Marcello
Venetum, while musically delightful, was a blatantly groveling work
to a local bishop (presumably in an
effort to gain fiscal support) and
contained the lines "I>et the Paduan
choir., sing praises to Jove". Given
ihe climate of the times I think
Ciconia was lucky that such lines
didn't bring the Inquisition knocking at the door, drooling at the
thought of having caught such a
blatant heretic.
Hie program continued
wnli a three-voice motet O Virum
Ommmoda. ihe instrumental lo
Crido Amor, and a truly stunning
ballata O Rosa Bella before exploring works by Francesco Landiru
with Nessum Ponga Speranca and
Caciando per Gustar, the latter being a musical version of a medieval
grocer vending his wares and bantering widi the customers; a truly
amazing work whose scene could
be understood easily without the
translation, so good wa.s the effect
of the voices in creating a setting.
This was followed by Antonio
Zachara de Teramo's Ciaramella.
Me Dolce Ciaramella (notable for
its definitely risque lyrics "Oh, you
make my bones fold/with tlie ec-
Panthera, Jacopoda
Bologna's Aquila
Altera, Landini's
Istampita: Cosi
Pensoso and Don
Paolo da Firenze's
Godi Firence, a work
in celebration of
Florence's victory
over Pisa m a local
skirmish with lines
such as "Little Pisa,
henceforth you serve
us/Devine Jove is
baptized with glory/Chaos to Pisa".
Not only heretical, but not exactly
modest either, were they?
After the intermission the
program continued with Jacob de
Senleches' L'Harp de Melodie.
Pierre de Moulin's De que ce Foul
Pense, and Baude Cordier's Tout
par Compass. This work is interesting in that as the title suggests it
the original text available to us as
the Chantilly Manuscript. Cordier.
probably a harp player in the service of Philip the Bold (Duke of
Burgundy), seems to have written
the work as a lighthearted play on
words; it is of the style known as a
rondeau or rondelee which involves
parts of the work being repeated,
and as his lyrics proclaim "Three
times around my lines you posed/
You can chase me around with glee/
If in singing you're true to me".
This sort of 'multi-media' presentation of a musical art form is remarkable not only for its being
centuries ahead of its time but also
being wonderful to hear. A good
many modern composers could do
with paying some attention to this
work; music can be different and
new without being hard to listen to!
Ciconia's ReginaGlorioso
and Aller M'en Veus followed,
along with Phillipe de Vitry's
Tnbuniqe non Aboruit and Jean
ValliantsParMaintesFoys. This
seemingly charming little song was
hiding messages fully on a par with
anything being put out by tlie speed
metal bands of today: the translation revealed lines like "The
nightengale cried oul/'I order that
they kill and slay you/kill, kill, kill,
slay, slay, slay/fie on you. lie. fie,
slay slay'". All of this in a much
more insidious package (han any
modern musicians put subliminal
homicidal suggestions in; after all,
when is the last tunc you heard
someone complaining that their
children were listening to overly
loud medieval music and being influenced to do all manner of unspeakable deeds'.' Clearly a case
could be made that works of this
genre have a long and noble (?)
history!
Tlie program continued
wiUiGuillaumede Macliaut's Rose
Liz, O Now Welcome Somer (to
words by Chaucer), and De Tout
Flours, the anonymous Or Sus. and
Bcrlet's He, Tres Doulz Rossignol.
The concert closed with three different renditions of Ciconia's Le
Ray au Soleyl. a cannon in wluch
three voices sing the same words
but at different tempos, resulting in
an intriguing interplay between the
This concert was a real
pleasure to attend and served to
open my eyes to the fact that modern music doesn't hold an exclusive right on containing lyrics
which are of questionable social
acceptability. Early Music Vancouver made a really great selection in bringing hosting Ensemble
P. A.N., and I hope to see them here
in Vancouver again within the next
few years (although preferably at a
larger venue with more comfortable seating and better acoustics).
If you were not lucky enough to
attend, then you still have a chance
to hear it; the concert was recorded
by CBC for broadcast on The Arts
Tonight sometime in the near future. If you miss this, then you still
needn't despair; Ensemble P.A.N,
has several CD's currently available, including Homage to
Johannes Ciconia and Ars Magis
Subtiliter , both from New Albion
Records (Cat. numbers NA048CD
andNA021CDrespectively). These
(along with another CD of the Ensemble's recent work) were all
available at the concert intermission, but due to some poor planning on someone's part only six
copies of the Ciconia CD were
available and these didn't last long.
Both of these recordings are superb
and rate as definite must-haves for
people with even a casual interest
in early music. Together they contain most of the works done in this
performance (although missing
Caciando per Gustar, one of my
favorites) along with quite a few
other works in addition.
Now for what to look forward to in the next month or so. It
seems that the warm weather of
June is expected to keep people out
of the concert halls, and the local
classical music schedule is less than
crowded as a result. But just incase
the weather isn't so great, here's
what's available.
Tlie VSO is presenting
pianists Ralph Markliam and Ken
Broadway for Poulenc's Concerto
for Two Pianos and Saint-Saens'
Carnival of the Animals, as well as
Satie's Gymnopedies and
Stravinsky's Petrouchka on the
2nd, 3rd, and 4di of June. In a
special benefit concert on the 9th.
Dudley Moore will be the guest
soloist in performances of W.A.
Mozart's Piano Concerto No.21
and Gershwin's Rhapsody in Blue.
(And you didn't know he was also
a respected pianist, right'1) On the
11th and 13th. Gary Relyea is the
guest musician on bass in a performance of tliree scenes from
Mussorgsky's opera Boris
Goduaov and Boito's Prologue to
Meplustophele. along with
Borodin's Polovtsian Dances All
of these ix-rformaiKcs are at 8:00
PM in the Orpheum
If you are into ballet, tlie
Vancouver Academy of Music is
presenting a demonstration on June
4th at 11:00 AM in Koerner Hall.
down in Vanier Park
Those seem to be die limit
of choices for June, but July will
make up lor it with no fewer than
six Early Music Vancouver concerts (too bad they couldn't have
split diem up a bit more!) Until
next time, good listening!
JUNE  ® P   \y^L    /       /^MasaM
^^knn
1 Ml 1 w     t^L^a^^P^'      m ^--^^_>  \y1
ilfl/.
/    Ik
i m
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^r^tA
BY GRANT LAWRENCE
In recent years it seems that the
original purpose of the 7" single
has been forgotten. When rock
' n' roll exploded back in the 50' s
a single was manufactured as a
radio-only promo device to promote an artist's "hit" from an
upcoming album. The A-side
usually featured the hopeful hit
(which would always re-appear
on the album) while the flip-side
would usually have a cover of
someone else's previous radio
hit (which would appear only on
the single). Soon, 7" singles were
being sold retail in stores where
rock 'n' roll starved teens could
snatch up the latest records in
their blank white paper sleeves.
This was the norm for the next
thirty years—bands would always release a single or two prior
to releasing an album. Whether
it was Jerry Lee Lewis, the Rolling Stones, Ramones or Michael
Jackson, all of the hit-makers
would release their very best on
7" vinyl. Sadly, the art of the 7"
single all but died out with the
corporate killing of vinyl and
CD and cassette singles have
never really served the same
function as their vinyl predecessors. The 7" hasn' t died out completely, though; it's still holding
out in the underground independent scene and giving people like
me, not to mention thousands of
indy bands from around the
world, a purpose and a hobby.
A 7" now, with most bands,
comes out as a one-off project, a
multi-song E.P., a collection of
album out-takes or an excuse to
put out product between major
releases. One of the very few
bands around today that has truly
embraced and mastered the ongi -
nal art of the 7" single is Victoria's Bum. During their relatively short (so far) existence,
Bum has released several two-
song singles—always featuring
their very best original song to
date on the A-side and backed
by an obscure cover on the B-
side. All of the original A-sides
ended up on Bum's debut LP
from last summer, Wanna Smash
Sensation (PopLlama Records),
while the B-sides remained exclusive to the singles. Still following this classic format,
Bum's first release of 1994 also
happens to be the best record
I've heard this year. "Mrs. Rock
and Roll" (an Andrew Molloy
original) b/w "I Won't Look
Back" are both SCORCHING
pop rockers that keep the house
shakin' until the needle pulls up
to end each side. Produced by
like-minded popster Ian "Mix"
WAKE UP!
IF YOU'RE IN A BAND,
FORGET YOUR PIDDLEY
LITTLE EXISTENCE FOR
TWO MINUTES AND FILL
OUT THIS FORM.
Jones (of Pluto), the single was
recorded locally at Vancouver
studios and released on One
Louder Records of England. One
Louder is yet another foreign
label sinking its teeth into Bum—
with records out in Canada, the
U.S., Australia, Spain, Japan
and, of course, England—which
may be as well known internationally as Victoria's other
world-wide success, No Means
No. Bum has never sounded any
better than this and I stand and
salute them for carrying on the
great tradition of the 7" rock 'n'
roll single. (One Louder Records,
P.O. Box 1NW, Newcastle-
Upon-Tyne, NE99 1NW, England)
My preference for the two-
song single is obvious but I still
appreciate any effort on the 7"
format, especially when four
great songs are crammed onto
one record. Such is the case with
Seattle's The Picketts and their
new E.P. Pick It.'!!. Worthy of
immediate note is the absence of
lead crooner Christy McWilson:
as the liner notes explain, she
has left amicably and temporarily to let her back-up boys let
loose on these four smokin'
instrumentals. The elements of
surf, rock 'n' roll and boogie
throughout these fine stompers
are all set to an energetic and
highly enjoyable country beat.
All hot; all cool! (Cruddy Record
Dealership, P.O. Box 95364,
Seattle, WA 98145-2364 USA)
Skipping across the country and to the opposite end of the
musical spectrum,
Furnaceface, Ottawa' ■ rayon-
clad kings of funky/punky music, has finally seen their hard
work pay off with packed venues after spreading their hilarious songs and stage antics from
coast to coast across Canada for
years. On their latest single,
Furnaceface has taken a political turn to face the issues that
are especially close to home.
YOU ARE A (Check one):_ BAND/MUSICIAN _PR0M0TER
 RECORD LABEL/DISTRIBUTOR LIVE MUSIC VENUE \
_MANAGER/AGENT STUDIO _0THER (elaborate below)
NAME:	
DESCRIPTION (15 words or less):.
C0NTACT(S):_
ADDRESS(ES):.
PHONE:	
FAX:
PLEASE FILL THIS OUT AND MAIL/FAX IT TO US BEFORE JUNE 15,1994 j
L -__l:B^^H^^SJ?^PailerJ?£iCANADAJfe^lZl to:J604]8229364_ _
Watch for the '94 Local Music Directory
out Canada Day!
"Nobody to Vote For" is an obvious slam at our last federal
election, charging forth with a
lot of frustrated, punk-rockin'
emotion and geared towards the
pathetic candidates we were
forced to cast our ballots for last
November. On the B-side, "Beg
The Question" strays into
techno-rap territory, which
would usually cause me to spontaneously vomit all over my turntable, but Furnaceface somehow
make it a little more palatable
than, say, Vanilla Ice. Hey, I'd
i  far
almost...rockin'! There's
Nardwuar sample on the track.
See Furnaceface at  a packed
Coming out of Moncton,
New Brunswick, The Monoxides liave put forth a nice four-
song slab of punk rock for your
critical approval. Sounding like
a lo-fi Doughboys, these guys
surprised me by showing off
some promising, highly melodic,
energetic songs with a very do-
it-yourself ethic. With better
quality recording and vinyl production these stinkers could gi ve
fellow Maritimers Sloan a good
kick in the ass. (Superbob
Records, 1580 Ryan Road,
Moncton, New Brunswick E1C
8Z4)
Whetheryou'rein Moncton
or San Francisco punk rock is
always available. Maximum
Rock TV" Roll's new hard-on is
for San Fran's The Rip-Offs
Like fellow "back-to-their-
roots" bands New Bomb Turks
and the Hempers, the Rip-Offs
excel in a drunken revolution of
stripped-down and simplistic
punk rock. Their second single
is another ultra-cheap, one-sided
slab featuring two vicious rip-
offs: "MakeUp YourMind" and
"Wild Jayne," the latter being
the pop hit of the month about
the  turbulent  life  of pin-up
Wyman.   Get   hip  to  the  old
sounds of today,today!
In precisely the same vein
as the Rip-Offs, although a little
less cocky, is Seattle's Invisible Men and their Frustrator
7". These transparent fucks are
into the punk rock thing, albeit a
little more in the 60's "Louie
Louie" fashion, and also moonlight as the incredible Fallouts;
adding up to some very high
rollin' fun. (Rat City Records,
221 SW 153 St., #230, Seattle,
WA USA)
Some of you bitter bastards
out there say I" m biased in these
here reviews. Well, shit-sacks,
here's a chance to prove yourselves correct. Vanilla
Trainwreck's new single "Kiss
me" b/w "Electric Guitar" is absolute bullshit from a cacophonic
shit-pop-wanna-be-huge band.
Both songs come off as slobbering self-centered pap; neitherthe
boring and off-kilter "Kiss Me"
nor the sickenly masturbatory
"Electric Guitar" deserve any
space on vinyl. Just about the
only good thing I can say about
this flavour accident is that they
once played with Bum - which
reminds me that I should play
that new Bum single again.
Thank-you, Vanilla Trainwreck!
(Mammoth Records, Carr Mill,
2nd Floor, Carrboro, NC 27510,
USA)
Do I consciously leave the
crap to the end of the column? I
try not too, but...Ontario, California's The Phuzz has a new
E.P. out. Entitled This Punk
Called Rock, it's generic pop-
punk spinning helplessly out of
control (at 45 rpm) like a lame
Screeching weasel - bad. There
are some fairly amusing spoken
word bits in between songs, but
altogether it's miles from being
noteworthy. If there's one thing
Ihate.it's self-proclaimed punk.
Now
itbai
gle? (Kantzalia Records, 1034
W. I St., Ontario, CA 91762
USA)
FREE SAfOT OF JESUS!!!
buy the co! get the stickers! wear the t-shirt! feel the snot!
phone the prayer lime! live the life! be one of us... today!!!
2* hour free prayer lime (604) 268-9952 or (503)768-4001 In
Canada if you r local groovy record store doesn't have
the "FREE SNOT OF JESUS" cd, get them to order it for you
from "cARao",or in the u.s.a., order through "Caroline".
write to us with your theological questions or problems...
and enclose a s.a.s.e. , you'll get (absolutely free) stickers
of this (see below) ad, and cartoons etc. T-shirts are 100%
cotton, x-large black, or white (specify) of the ad design,
send $14.95 (cash only please!) send $5 for genuine phleomata
INTERNATIONAL
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FREE SNOT OF JESUS
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INTERNATIONAL
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KEVOLYEK   TO   H/S  &LUSH HEAP  OME  S/fOSSY
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JUNE (£) The space I mentioned last month
now has a name, it's called the
Anti-Centre. It's sort of a drop-
in resource centre that houses
meetings for the Gest Quest Coop, Riot Grrri Vancouver, Food
Not Bombs and other organizations. The Anti-Centre is located
just up from Cambie St. at 311
West Hastings—just go up the
stairs. Call them at 689-8303 to
find out what's happening in this
fine city or to find out how you can
help/volunteer at Anti-Centre.
Drisleyland, the venue I mentioned last month, has been shutdown, so the punkest place in Van-
Did you check out Comix-
A-Go-Go last month? If not, you
missed out. Local fanzine and
comic editors got together and
hosted this benefit for Little Sisters Bookstore (a great cause that
still needs your help). It was interesting to see the faces behind the
'zines (I tried to keep alow profile
in fear that someone might beat
me up for a bad review) and I hope
it happens again soon. Pluto and
Kid Champion played the all-ages
show and they both impressed me.
especially Kid Champion because
I've never been to fond of their
recordings: they were much better
DEMOS!
Squelch — demo
I listened to this on the way to
Discorder and found it great.
Squelch plays upbeat, sing-along
punk in the same vein as Bum or
even Snuff. Sometimes I find this
genre kind of tiring but I was surprised—maybe I should listen to
stuff while driving more often.
(P.O. Box 18117, Tsawwassen
Postal Outlet, Delta, B.C. V4L
2M4)
CD'S!
Brand New Unit
Under The Big Top (Excursion)
I'm so psyched to finally see that
Brand New Unit's Under The Big
Top is out. Containing five songs
from BNU's Shindig recording, a
couple of live tracks recorded at
Bull Frog Studios and a couple
from their first 7", their music is
upbeat and melodic hardcore.
Along the lines of latter-day 7 Seconds or Dag Nasty, it's really
catchy—the song "Mr. Everything"
is amazing—and the really slick
packaging job compliments the
equally polished recording;sounds
great. I just wonder why there isn't
a Vancouver label to put this out—
all the good stuff seems to be going
to Seattle.
FANZINES!
Wow, it seems tl
getting better a
them. Licorice
teresting little publication by one
bored Nanaimo punk who comments on food, free food, his hair,
other peoples hair, stuff found in
dumpsters, finding dumpsters to
dive into and other little weird
stones and what not. Some people don't understand why I like
'zines like this or why I give
them so much credit. Heck, neither do I, but it's free so get it. 5
1/2x8 1/2; 8pgs. (Licorice Building A, 750-4thSt., Nanaimo, B.C.
V9R 6C5)
O.K., that's it - if anyone
else sends their 'zine with a hundred glittery little flakes, stars,
or whatever, I am seriously going to make them come to my
house and vacuum my room.
Geez! Anyways, this month's
glitter violator is Random
Thoughts #2; xX's\2pgs.; 5 1/2 x
8 1/2 and comes off as a friendly
'zine full of writing about life
and what is right or what is wrong.
It's more of a vehicle of personal
expression than of political rhetoric and it's the personality that
makes what might otherwise
seem like political ranting seem
real and sincere. The editor must
be real busy too, 'cause since
I've started reviewing #2 I've received #3,#4, and #5. I think it's
free so look for it. (P.O. Box 33,
345 East Broadway, Vancouver,
B.C. V5T 1W5)
Back from a six year hiatus
for one last issue is Urinal Slime
04 . Don't worry, though, it will
be re-born under the new name
Musick.    This issue has inter
views with Grief, B.F.G.'S, and
All, as well as record reviews and
what have you. One article from
the editor on what punk used to
be (to him) sort of sums-up the
death of Urinal Slime, but luckily his energies won't be wasted
as they will be pumped into
Musick. Look ahead, not behind,
I say. The 'zine is free so pick it
up or write them. Oh yeah, it's 5
1/2 X 8 1/2; 20 pgs. (P.O. Box
52023, North Vancouver, B.C.
V7T 3T2)
Some things never change -
but for better or for worse? Yum
#6 and#7 have recently reached
me and I almost find it weird how
each issue manages to seem so
similar to the last one while still
retaining an individual feel.
Maybe they've just got their
rhythm down. As one person
wrote about Yum, "it's like getting about 50 little letters or postcards in the mail all at the same
time." I agree. 8 1/2 x 11; 10 pgs.
Send a bunch of stamps, they're
cool. (6303 Beaver Cres.,
Kamloops, B.C. V2C 4V2)
Those guys in Crayon have
sandwiched together some more
pages of paper and called it Thrill
#11 . Sort of a collection of
indie-rock thoughts by an indie-
rock band, the 'zine contains reviews of records and fanzines and
a Crayon tour diary, plus an assortment of tasty odds and ends.
Thrill should appeal most to fans
of Crayon; it's probably free at
their shows, or write Thrill. Oh,
yeah, it's 28 pgs.; about 3 1/2x5
1/2. (c/o Sean & Jeff, 722 11th
E., Seattle, WA 98102)
Wow #1 isn't just a 'zine -
it's a ziney! With twenty pages
(8 1/2 x 11) and about as much
type as could possibly fit it may
not be the most eye-catching
'zine, but it makes up for it in
Wowis jam-packed with
i  of  r
favorites being the Top 10 Worst
Jobs and the article on an experience with telepersonals. It also
contains interviews with Cub,
Coal and Sister Lovers, and tons
of reviews. The fact that the photocopy fades in and out is kind of
a bummer, but I managed to make
it through. (Send $2.50 or trade
to Box 155-2496 E. Hastings,
Vancouver, B.C. V5K 1Z1)
My all-time favorite Canadian 'zine, Knife, just came out
with issue #5; it costs 50 cents
and is something you must have, JUNE 94 1
.ONG VIN
YL 50
1 PERFUME TREE
THE SUNS RUNNING OUT
ZULU
2 ALIFARKATOUREW/RYCOODER TALKING
TIMBUKTU
3 HEAVENS TO BETSEY
CALCULATED
KILL ROCK STARS
4 VARIOUS ARTISTS
HANSON BROS. PUCK ROCK
WRONG
5 GANG STARR
HARD TO EARN
CHRYSALIS
6 THRUSH HERMIT
SMART BOMB
MURDER
7 HOLE
LIVE THROUGH THIS
GEFFEN
8 KRISTIN HERSH
VELVET DAYS
YES DEAR
9 VARIOUS ARTISTS
A DAY IN THE PARK
THE NOW SOUND
10 A TRIBE CALLED QUEST
ELECTRIC RELAXATION
JIVE
11 THE LEATHER UPPERS
OK. DON'T SAY HI
PAST IT
12 LUKE KOYLE
STRUCTURED AMBIENCE . ..
GYROSCOPE
13 APHEX TWIN
SELECTED WORKS VOL. II
SIRE
14 SLANT 6
SODA POP RIP OFF
DISCHORD
15 VARIOUS ARTISTS
THE CROW (SOUNDTRACK)
ATLANTIC
16 KURIOUS
A CONSTIPATED MONKEY
COLUMBIA
17 RIPCORDZ
CANADIAN AS FUCK
EN GUARD
18 THE DENTISTS
BEHIND THE DOOR 1 KEEP . . .
EASTWEST
19 SLEEPYHEAD
STARDUSTER
HOMESTEAD
20 MATERIAL
HALLUCINATION ENGINE
AXIOM
21 VARIOUS ARTISTS
RARE ON AIR VOL. II
ATTIC
22 THE MEICES
TASTES LIKE CHICKEN
EXTERNAL
23 STOMPIN' TOM CONNORS
DR. STOMPIN' TOM. EH?
EMI
24 JAAP BLONK
LIEDEREN Ul Dl UEMEL
POEZIE PERDU
25 DAVID BOWIE
THE BUDHAA OF SUBURBIA (SOUNDTRACK) ARISTA
26 THE POGUES
WATTING FOR HERB
WEA
27 SUPERSUCKERS
LA MANO CORNUDA
SUB POP
28 THE CHARLATANS UK
UP TO OUR HIPS
BEGGARS BANQUET
29 VIC CHESNUTT
DRUNK
TEXAS HOTEL
30 VARIOUS ARTISTS
NOT IF 1 SMELL YOU FIRST
SONIC UNYON
31 BEASTIE BOYS
SAME OLD BULLSHIT
GRAND ROYAL
so go get it. Full of cool photos,
hand-written articles and paper
pull-outs, it's really clever and
original. (P.O. Box 26051, West-
£ minster Station, Winnipeg, MB
R3C 4K9)
32
TEENGENERATE
TEENGENERATE
CRUDDY
1
33
OVERWHELMING COLORFAST
TWO WORDS
RELATIVITY
34
STRAIN
STRAIN
LSR
!
35
FRACAS
GRISLY LOBBY DISPLAY
INCENTIVE
36
PRONG
CLEANSING
EPIC
37
GREEN DAY
DOOKIE
REPRISE
38
THE OFFSPRING
SMASH
EPITAPH
39
MADDER ROSE
PANCON
SEED
40
DAYTONA
CHICANE
ZULU
41
THE MISSION
SUM AND SUBSTANCE
VERTIGO
42
WEEZER
WEEZER
GEFFEN
43
JOHNNY CASH
CASH
AMERICAN
44
CODEINE
THE WHITE BIRCH
SUB   POP
45
COMBUSTIBLE EDISON
I. SWINGER
SUB   POP
46
HALE JAPANESE
FIRE IN THE SKY
SAFE   HOUSE
47
POLVO
CELEBRATE THE NEW DARK AGE
MERGE
48
ANI DIFRANCO
OUT OF RANGE
RIGHTEOUS BABE
49
YOTHU YINDI
FREEDOM
MUSHROOM
50
CRUNT
CRUNT
TRANCE
MAY 94 INDIE HOME JOBS
JUNE 94 SHORT VINYL 35
1 THE SMUGGLERS
PARTY PARTY PARTY POOPER 7
MINT
2 BITE
CANKER T
DERIVATIVE
3 THE EVAPORATORS
I'M GOING TO FRANCE T
NARDWUAR
4 JALE
PROMISE 7'
SUB POP
5 THE STAND GT
SUGAR BUZZ 7'
TOP DRAWER
6 THE FALCONS
FLY BY NIGHT
FALCON BEACH
7 ERICS TRIP
WARM GIRL T
DERIVATIVE
8 NIMROD
LAB36B
SCRATCH
9 REFRIGERATOR
DOWN WITH 7'
AJAX
10 KENT 3
MINNEAPOLIS T
EMPTY
11 UNREST
CATH CARROLL EP
4AD
12 COME
WRONG SIDE EP
MATADOR
13 SUEDE
STAY TOGETHER EP
NUDE
14 BUM
MRS. ROCK AND ROLL T
ONE LOUDER
15 BUM/SMUGGLERS
TATTOO DAVE T
TOP DRAWER
16 SMOG
A HIT T
DRAG CITY
17 SINISTER SLX
A PAIN IN MY HEAD T
GET HIP
18 THE DUMMIES
I'M GONE T
GET HIP
19 TAD
PALE CORKSCREW T
FUTURIST
20 EARL'S FAMILY BOMBERS
WINCHESTER 73 7'
EMPTY
21 SEDITIONARIES
ABOLISHED OF MINE T
TOMBSTONE
22 EDDY AND THE BACK NINE
UNDER TEN HANDICAP 7'
SUPER ELECTRO
23 VARIOUS ARTISTS
TERRIYAKI ASTHMA IX V
C/Z
24 FELT
VALENTINE T
ONLY
25 HOUSE OF LARGE SIZES
NORTH CEDAR 7'
RED DECIBAL
26 JUNE
STRIPTEASER 7'
FRICTDN MEDIA
27 MARY LOU LORD
JINGLE JANGLE MORNING T
KILL ROCK STARS
28 YO LA TENGO
FROM A MOTEL 6 EP
MATADOR
29 BLUR
GIRLS AND BOYS EP
FOOD
30 KID CHAMPION
JACLYNANDCHANTEL7'
MINT
31 VARIOUS ARTISTS
TOWN & COUNTRY IX T
SEDIMENT AL
32 THE RED CRAYOLA
4TEEN T
DRAG CITY
33 THE SURFDUSTERS
WAVES OF PLEASURE T
SURFDUST
34 PURPLE KNIGHT
NIGHT OF BLACK WATERS 7'
NIM
35 BRUJERIA
•EL PATRON' 7'                  ALTERNATIVE TENTACLES
Also from the middle of
nowhere - oops, I mean
the middle of Canada - is
Slot #J. Written with a
strong female approach,
this 'zine is really slick
looking, with interesting
layouts and just as interesting articles. And get
this, it's free (in Winnipeg at least). I wish there
was a 'zine like this in
Vancouver; it's not often that a 'zine has political integrity with an
equal amount of humour.
As well as the articles,
there are also interviews
with Sloan and Bullet
Proof Nothing and record
and show reviews. (Send
a couple of bucks to P.O.
Box 26143, 166 Sherbrook St.,
Winnipeg, Manitoba R3C 1E4)
There's obviously no lack
of 'zines in Winnepeg; out of the
U of W comes Stylus, a 36 page,
8 1/2x11 college rock/local rock
type of publication. Quite informative and objective, this
'zine came enclosed with the copy
of Slot, so the creators must be
pretty hip. I think I'm getting
bored reading about Winnipeg -
Weighing in at about five
pounds, the biggest 'zine this
month is Thora-zine. Costing
$3, it's a strong political 'zine
that crosses its dance/hip-hop
content with punk/hardcore content - something I've never seen
done before. 68 pgs.; 8 1/2x11;
on recycled paper. Great lay-outs,
interesting, informative...and I
was just looking at the pictures.
(P.O. Box 571562, Houston,
Texas 77257-1562)
Juxtsuppose Ml is probably
the D
st cleve
e lo a
go figure. (Send a buck or two to
Rm. 2L24, Lochhart Hall, University of Winnipeg, 515 Portage
Ave., Winnipeg, MB. R3B 2E9)
of this city. Full of interesting
quotes, comics and general insanity, it's witty and intelligent
and must have taken hours upon
fuckin' hours to put together. I'm
afraid to meet the editor. The
'zine alone costs $2, or for $5
you also get an equally as interesting audio cassette (which includes the Negativeland rip-off
ofU2). 5 1/2x8 1/2; 48pgs. P.O.
Box 30007, Parkgate P.O., North
Vancouver, B.C., V7H2Y8;orat
,    NOGGIN
UNTITLED
2   CHILDREN OF ATOM
MINORITY OF ONE
3   EUGENE'S AXE
ULTRAVIOLET
4   NC17
TRINITY BELWOODS
5   THEGOOCH
COMPLEMENTARY NACHOS
6    NFA
6961113
7   GROVER
UNTITLED
8   THE VINAIGRETTES
BLIND SPOT
S   ROACH MOTEL
LAUGHING
10   SINUS ENVY
CATHY TREE
11    THE REAL MCKENZIES
HAGGISES
12   BLAISE PASCAL
SPOTLIGHT KIDD
13   SCARLET BURLESQUE
SWEETER THAN SIN
14   BROCASAREA
METRO 9
15   TIGER BEAT
BOUQUETS AND KISSES
16   KREVISS
EXPOSE
17    10 DAYS LATE
GETAWAY
18   GOOD HORSEY
HOW OSWALD BASTABLE RUINED MY LIFE
19   CONSPIRACY A-GO-GO
MAMACITA
20   MARK
SPRING CHICKEN
21    MEET DAISY
SHINY
22   TICKLE TRUNK
NO MEANS NO
23   HJOULIE
PAVEDRVR
24   SPEEDBUGGY
WHEAT JEANS
25   SISTER LOVERS
DREAMING
26    SPARKMARKER
SPEAKING OF HEROES
27    SOURPUSS
ILL BE AROUND
28   GROVER FUR
1 LIKE YOU
28   BLACK EYED SUSAN
CHAMBERS
30   MOTORGOAT
WHATS UH THE DEAL?
HOME    BASS
COUNTDOWN    TO    ARMAGEDDON
1   TECHNO NATIONS II
THE MIND TRIP LP
KIC KIN/UK
2   WHITE LABEL
BAGPIPES IN EFFECT
KICKMAN/UK
3   DJUNGLE FEVER
012EP
?
4   HEXAGONE
BURNINGTRASH
FLOORDJAX/NTHRLNDS
5   YOKOTA
PANCWAVES
HARTHOUSE/GERMANY
6   WHITE LABEL
TB303
IMPORTANT/GERMANY
7   PSYCHIC TV
PAINKILLER
TELEPATHIC/USA
8   HARD LEADERS 4
INTO THE JUNGLE LP
HCWN/ UK
•   DJHELL
BUTTER SAURE
KIC KIN/UK
10   CYBERTRAX
VISIONS    RISING
HIGH/UK
Juxtsuppose
sues of Warm Fuzzy.
Maybe it's 'cause I'm
broke (financially and
physically) or maybe
not. I don't know why,
but I am now up-dated
with the most current
issue (#8). The'zine has
taken its first steps into
the computer age. but
it's still hand-written at
times and some of the
Thet
wit and I liked the piece
about name dropping
within the scene, like it
something. (You know,
it does, doesn't it?) Send
a couple of stamps to
#1-1338  Commercial
Mast. Dr.. Vancouver, B.C. .V5L 3X6.
I must have been sleeping       P.S. What does fuquamean?
e I missed the last three is-
JUNE   Q) Afghan Whigs
Redd Kross
Commodore Ballroom
Friday, May 6
Pairing the Wings and the Kross
together on tlie same ticket was
akin lo pouring gasoline into a pothole filled with pristine rainwater.
The incendiary qualities of the latter always float atop the former,
spoiling and eventually obscuring
il despite the latter's ability to
evolve and regenerate.
and purposeful to n
(even people on occasion) and the
Whigs were neither during their
fifty minute set.
Even though I hadn' t touched
a drop of firewater that night, I left
the Commodore marvelling at the
pretty colours floating in the sea
behind me and hoped that when
Messrs. Dulli & company return,
they'll remember to bring the
matches.
Rob Harrison
Despite their superfluous
shortcomings, Redd Kross parted
the Commodore's pretty puddle at
stage centre, filled by their fans
tliroughouttheirhour-plusset. The
McDonald brothers have gradually
learned over the years to pare their
70s worship into a controlled exuberance that subsumes tlieir chosen era's legacy of bubble-pop and
inclal without succumbing to it's
impotence. In other words, they
rocked.
Tlie Whigs spilled their inflammable sound forty minutes
later but tlieir motions and efforts
suggested that they wanted tospend
tlieir set being worshipped, unlike
die McDonalds'and company. Moses knew that you had to be devout
22 H^^mn^H
Forgotten Rebels
Sex with Nixon
White Trash Debutantes
Bif Naked
The McRakins
Lux Theatre
Saturday, May 14th
People complain every year about
Music West, but diey'd be complaining a lot more if something
like it wasn't happening in Vancouver. There's usually a real spar-
sity of musical venues in town, but
during MusicWest every place in
town erects a stage and has bands.
The Lux Theatre il a radier dark,
cavernous place and may not be the
greatest setting for live music - but
who cares. At least the Lux does
have a certain 'Night at the Bijou'
nostalgia to it, even thoughthey've
ripped everything out but the balcony seats. Still, it was probably
the scene of one of the most memorable gigs of the Music West weekend.
The McRakins featured a guitarist and bassist both dressed as
eggs and a drummer in a chicken
costume, and they had the front of
the stage barricaded in chicken
wire. Never really explained was
the psycho in a black combat uniform who stood at the front of the
stage shooting a water-pistol at audience members. Surprisingly,
these guys weren't all gimmick and
they played some not bad, eggs-
citing rock. With all the egg jokes
I think it would be really neat to see
them play at a pro-life rally.
Bif Naked was next, in all her
raven haired glory. With Gorrilla
Gorrilla, Chrome Dog, and Dying
to be Violent behind her, her new
'solo' stuff sounds very different
from her previous bands. But I've
always had a soft spot for Bif Naked. She began her set singing a
somber a cappella song about incest and then continued with her
great sounding new band (3 members of DSK), doing a fine one
called "You're My Dream" that
had a lot of guys nearby me swooning. Sounds great and worth a lis-
San Francisco's obscene
White Trash Debutantes followed
and were perhaps the weirdest act
of the evening (or maybe any
evening). The hilarious Debutantes
consists of a male semi-nude bassist in a G-string, an S&M clad drummer, and four female singers. Well,
at least three of them were female,
the dubious fourth, leadsingerGin-
ger Coyote, looked hke a fat David
Johansen with a sex change.
The bogus Tonya Harding
guest vocals publicity gimmick
aside, much of the subject matter in
many of their songs had to deal
with Harding, and there was even
one about Nancy Kerrigan called
"Bad in Bed." The band did bring
out their special guest 'Punk Rock
Patti,' an elderly grandmother
dressed up in pink hair and rappers
gear. And as the corpulent Coyote
proudly stated when introducing
this guest, she's been on the Geraldo
show. Patti went into a rap song
covering the themes of safe sex and
legalizing hemp to treat her arthritis, and then quaintly puffed on a
joint—much to tlie approval of both
the audience and the band. In a
following tune, one of the Debutantes' trashy female singers
jumped into the audience to pogo
and lost some of her clothing in the
fracas. Back on stage, she ripped
the rest of her clothing off and
lukewarm audience members
pressed forward for a chance to see
a bit of skin while she proceeded to
tap-dance naked at centre stage.
Unlike Coyote, her part of the act
certainly left no questions as to her
With a hard act to follow,
locals Sex with Nixon held dieir
own and played an energetic, high-
octane set. The 'yes-they're-still-
around' Forgotten Rebels went on
next and put on a good performance, but it couldn't clear away the
smell of cheap perfume that the
Debutantes left behind.
A.O. Chapman
Kristin Hersh, on the other
hand, has an abundant supply of
the stuff. She has a knack for coming up with crazy lyrics, like "I
could get a piece of meat from a
barren tree/Nothing ever spoiled
on me," and "This hairdo's truly
evil/T m not sure it's mine," that far
outwit any of Pooka's feeble attempts. And then there's that characteristically eerie, penetrating
voice that lies somewhere between
a nasal whine and a high pitched
scream. Once the driving force behind the Throwing Muses' music,
this voice has recently transferred
its distinct powerto Kristin Hersh's
solo acoustic effort Hips and Makers. Live, the voice is reenforced
by a persona which, hke the lyrics
and vocals, is a fusion of vivid
contrasts. Two wide eyes stare
intently past the audience into some
private oblivion while a huge grin
Recent Sub-Pop signees Zumpano played the Anza Club on May 12. Paul Clarke was
lucky enough to snap some photos of the sharp dressed men.
Kristin Hersh
Pooka
Starfish Room
Monday, May 16
I knew the night was going to be
low key when I walked into the
Starfish Room and found the usually empty dance floor laden with
candle-bearing tables over which
leaned whispering couples and serious looking solitary souls. The
whole scene reminded me more of
an open mike coffee house than the
local music venue the Starfish
Room usually serves as. And Pooka
definitely fit the talent show type
bill. These two homely waifs from
Manchester nervously strummed
and stumbled through a boring set
of bad acoustic folk tunes with lyrics   like   "Feel   the   breeze,"
"Whoopee sit under an apple tree,"
and "It's so easy to be greedy."
They were full of daring stage antics, like forcefully discharging saliva while delivering the
line "If anybody says when
are you gonna come down,
spit on them!", or setting
the mike free of its stand
and going vestless for a
song entitled  "Lubrica-
snapped a string during the
first song, which probably
had less to do with her actual playing than it did with
the fact that her guitar strap
barely made it around her
neck and thus left her guitar hanging awkwardly
under her chin looking
mammoth and menacing.
Yup, there was no doubt
about it, these girls were
professionals complete
with all tlie fixings; everything from matching black
Pooka duffel bags and
glamorously airbrushed
promotional posters to an
aging lour manager sporting a ponytail, tie, and
sideburns. In fact Pooka
had so many band accoutrements that diey didn't
have lo bother with anything actually resembling
musical talent!
In celebration of their month long engagement to Seattle (where, with production
credit to Steve Fisk, they initiated and completed the recording of their next full-
length release—slated for early-fall), the Wedding Present played Rockcandy on    > i
Sunday, May 22. We were there, we know you weren't. Joel Fraser kindly
donates this photo.
bizarre, image-laden phrases. The
last time I saw Kristin Hersh was J#
last fall at the Commodore when
she and the Throwing Muses
opened for Sugar. And although on
Monday night she came replete with
all of her enticing charms and even
threw in a few acoustic renditions
of such Throwing Muses favour- ^
ites as "Red Shoes" and "Pearl," I -•
must say that the Commodore show
was a lot more exciting. "Red
Shoes" at the Starfish Room
sounded bland and incomplete
without the steady back beat of
drums and an occasional squeal of
electric guitar. Kristin's approach.j|
was much differentthis time around
too. The glaring eyes and evil grin
were still there but this time they
were coming at you from a single
stool on stage and the usual in-
between song silence was replaced
by cutesy anecdotes about her self-
shapes itself around the outpour of      proclaimed 'acid casualty' father, -» '
> a cozy home in the Catskills, and
her two-year old wunderkind
Ryder. She quietly strummed
through most of the songs off the
™ new album, including a solo version of "Your Ghost," which appears as a duet with Michael Stipe
on the album, and then came back
for a two song encore of older
material. All in all it was a quiet
eveni ng during which not too many
A\ feathers were ruffled but afew chills
were still sent up the spine by
Kristin Hersh's trademark vocals.
Kazi
Scrawl
Bite
— Starfish Room
*" Wednesday, May 18
I'm the kind of person who gets
nervous about crossing the street
when the light says 'don't walk,'
so when a poster says it is going to
be an early show, Linearly. Unfortunately I'm a rare breed and I was
St the only person who was on time,
so I sat in a corner for about half an
hour before anyone else arrived.
But hey, the Starfish Room is a
cozy place and I wasn't too bothered by my solitude.
Bite went on at about 8:45
pm. I have played Bite's seven-
Jr inch on my show at CiTR and found
it quite good, so I was looking
forward to their set. The three piece
outfit had a few technical difficulties such as broken cymbal stands
and bass strings, but they dealt with
their problems good-naturedly.
Both the guitarist and bassist sang
™ and I was very impressed with the
guitarist's voice when she finally
let go during the second half of
their set.
Scrawl have been around for
a while, which was obvious from
their skillfully played set. As with
Bite, both guitarist and bassist
shared singing duties, and while
their individual voices were strong,
they're combined voices were beautiful. Scrawl's slower songs, with
their distinct basslines, were the
best.
It is very fitting that these two
bands should play together. They
share some similar structure in
members, but it is interesting to see
what difference those member's
personalities make in the music
that comes out. Bite has a rawer,
younger energy that works quite
well and Scrawl have a more sophisticated, technical approach.
Overall, a very nice combination.
Neither band upstaged the other,
instead their differences just made
me appreciate their indi vidual styles
Trish Kelly
Hungry Eye
Saturday, May 21
It must be hard enough to get people into your music when you're
first on the bill and playing to an
almost empty bar, but it's gotta' be
that much worse when you're all in
your mid-teens and the general consensus among the few people
watching you is diat you're all very
sweet and cuddly. Not that it's necessarily a bad thing to have people
think that of you, but it's hardly
conducive to creating any sort of
punk atmosphere. Afterall, nobody
ever called the Sex Pistols cute.
That said, dbs wail. Guitarist
Andy Dixon shreds his way through
catchy blasts of punk rock/power-
pop with amazingly accomplished
abandon, while singer Jesse Gander combines the crackling urgency
of his vocals with smirking charisma and a bounding intensity that
reminds me of what life was like
before I needed drugs to have a
good time. Every time the band
stopped playing he looked like he
was about to explode - and then he
would, leaping into the air and vent-
ing another two minutes of
screamingly sardonic teen angst.
Rounding out the band were
Dhani Barges, the archetypically
cool bass player, and drummer Paul
Patko, both of whom kept the pace
fast and furious. In the forty minutes or so that dbs was on stage, the
band must have played a good 15-
20 songs. No masturbatory guitar
solos here, thank you very much,
just pure punk pleasure - sort of
like cub with a hard-on. And more
chords. (O.K., nothing like cub at
all; I just think 'cub with ahard-on'
scans well).
Cool songs, high energy, incredible intensity and lots of talent
- what more do you want out of a
band? Check 'em out.
As for SOL and DSK, die two
bands following dbs, I'm afraid I
was all rocked out - and out of beer
money - before they came on. I
heard that they were great though,
maybe I'll catch them next time.
Les Vegas
CD RELEASE PARTY
DOG EAT DOGMA
WITH AGING YOUTH GANG
PAINTINGS BY MICHAEL MANCUSO
JUNE 11th, 1994 - 9pm   at the BIG RED DOT
154 W.HASTINGS
Special Occasion - NO COVER
MOFO'S PSYCHOSONIC PIX
w Well, I've no half-baked conspiracy theories for you this month,
the key word is value, value,
VALUE!!! Liquidation and auction joints are great places for deals
and key in discovering
"Psychosonic" gems. For instance,
jjL I read on the BBS that Liquidation
World, a place with various locations around town, had a ton o'
CDs from Tower Records that were
slightly damaged in the L. A. quake.
The CDs are probably water damaged but thanks to those backward
American retailers their long boxes
9   should have shielded them nicely.
I don't know how many are left
but, hey, Tower's misfortune could
be your gain. Anyway, enough
about that, let's get on with it!
I was driving with my long-
suffering girlfriend, Jennifer, afew
weeks ago. I was a passenger, of
course, thanks to a combination of
two things: B.C.'s truly horrifying
auto insurance rates (I'm certain
ICBC calculate their rates according to Russian inflation rates) and
the swivelneck I get when I'm driving and see a garage sale sign out
of the corner of my eye. Well, we
were driving past Maynards, this
liquidation joint on 2nd Ave. by
the Cambie Street bridge, and in a
flash I saw the sign "Hundreds of
CDs and cassettes MARKED
DOWN!!!" After some truly embarrassing begging, my complete
pathetic-ness convinced Jen to humour me and drop in. Apparently,
Discus, acheezy 1'U shopping-mall
record store chain, had finally given
up the ghost and was unloading its
inventory. On this first visit there
was tons of stuff but the place was
too packed to have a real lookover.
The next time we went was a couple of weeks later and there wasn' t
much left except for the ridiculous
amounts of Debbie Gibson, Duff
MacKagan, NKOTB and Run
DMCCD'severywhere! There was
also alot of vinyl around so I really
got a chance to look it over. Bargains were to be had on some very
strange stuff, such as:
VIL LAERE OEM ENGELSK
English for Danish People
(Conversaphone)
BAHASA INGEERS
English for Malaysian People
(Conversaphone)
Sure, all of you have language
records but how many of you have
records that teach English? I picked
these up for .99? each—not bad for
a 3 record box set! Each set comes
with a nifty grammar book full of
tons o' cheesy drawings, plus an
unwieldy pamphlet teaching such
popular phrases as "I don't like rye
bread," "I bite with my teeth," "Co
caine makes it painless" and thousands of other equally useless
phrases. As for the languages, the
Danish is drier than flatbread and,
while Malaysian is far neater, I
couldn't find any phrases for "How
many bamboo strokes will I get for
that?". There may be an upswing in
sales of these records if those fucking Reformers get their way and
deep six ESL programs.
Genre: Say What?
Cheezability rating: 85
■
ENGLISH
vocabulary
4g&*
THEY'RE AT THE POST™
Special Edition
(Ronco)
Yep, from the man who brought
you the Pocket Fisherman™, The
Patty Stacker™ and whatever they
call that spray paint you're supposed to use to cover your bald spot
comes the weirdest idea for a game
since Hungry Hungry Hippos™.
What you get is a book of rules
which also contains all of the play
money, win/place/show tickets and
banker sheets. The record is neat,
with a groovy track system that
ensures a different one-of-eight finishes. That doesn't make it any less
boring, though.
Genre: Gimmick City
Cheezability rating: 50
THE SECTION  FIFTEEN
ORCHESTRA
"BalladofTomHenke,,(7")
This is a jock song, if you haven't
clued in yet. It's the sort of white
trash country song combined with
shouts and cheers that your booster
club membership will getcha. Once
Henke was traded this disappeared
faster than you can stomp "We Will
Rock You." It cost me .100—I got
what I paid for.
Genre: Smells Like Rub A535
Cheezability rating: 85
And last but certainly not least, a
special double PICK O' THE
MONTH!!!!!!!!!!!!(Thel2"was
provided by Mike Beddoes, from
one of the best bands on the planet,
The Falcons.)
EARTHA KITT
"Where is My Man?" (12")
"I Love Men" (7")
Eartha Kitt was the second most
awesome Catwoman on the 60's
Batman show—definitely sexier
than, but not as cool as, Julie
Newman (Lee Merriwefher was just
ridiculous.)—as a singer, however,
Eartha Kitt had a voice that was the
aural equivalent to the stuff in the
middle of butter tarts. She recorded
quite a few LPs but her star dimmed
in the early 70s and she hasn't aged
very well since; seemingly, she's
turned into one of the few female
drag queens. She was, however,
very popular in gay clubs and
Jaques Morali, the Svengali-like
producer of the Village People, took
on the task of producing these two
gaudy masterpieces: Eartha purrs
and slides over top of a totally
goofy disco track, parodying herself every step of the way. Morali,
knowing his audience, fills the
songs with the same cheezy double
meanings that put the Village People on the disco map. Purr-feet comedy party records!!!
Genre: The Vegas Idea
Cheezability rating: 95
S'all for now! If you wanna send
me goodies to burn my ears with,
drop me a line c/o Discorder.
^P^^
©  SONIC YOUTH
Experimental  Jet  Set,
Trash and No Star
(Geffen)
Imagine, if you will, that you are
f the foetus currenUy gestating in
Kim Gordon's womb. In a few
weeks you will come squirting out
into the world as a gooey red mess,
the mewling offspring of alternative rock's (now unchallenged)
First Couple. Now fast forward a
few years, past your idyllic if some-
9 whatwarpedchildhood.tothepoint
when you first start to really wonder about your parents. After all,
no one else wore matching feather
boas and leather teddies to Parent-
Teacher Night. Your curiosity
piqued, you cancel your 2:15 ap-
^ pointment widi your analyst and
flip through your parents copious
record catalogue until you find the
soundtrack of your nativity, Experimental Jet Set, Trash and No
Star. "Hmm," you say to yourself
as you pop another Prozac and listen to Mom and Dad moan, thrash,
* scream and wail through fourteen
tracks of demented ecstasy, "this
explains a lot."
The future of Kim and
Thurston's soon-to-be-hatched
lovechild aside, Sonic Youth's
tendi studio album is a welcome
return to the less structured, more
' inspired and experimental sound
of the band's pre-Geffen work. Not
that their other two major-label releases 'Goo and Dirty) were
sanitized sell-outs, diey're not, but
they did have a tendency to slip
into a monotonously heavy groove
I that was neitherinnovativenorpar-
ticularly appealing. It's somewhat
ironic that the song on the new
album which is closest to the sound
at Dirty is the insidious, inane and
ultimately dull "Screaming Skull;"
a perfect successor to the insidious, mane, and dull-froin-the-start
' "Youdi Against Fascism." Fortunately, there are dnrteen better
songs to choose from. Best among
Uieseare "Starfield Road," atnppy
reminder to shoe-gazers like My
Bloody Valentine that Sonic Youth
flicked their guitar sound beyond
recognition before such fucking became so fashionable; "Tokyo Eye"
and "Bone," die two latest instal-
WAlL!" style of rock V roll; and
"Androgynous Mind" and "In the
Mind of the Bourgeois Reader," a
couple of scorching romps through
Post-Punk Wonderland.
Lyrically, E.J. ST. & N.S. is
more obscure than its sometimes
painfully obvious predecessor,
drawing on such themes as the ups
and downs of show biz ("Bull in
the Heather," "Self-Obsessed and
Sexxee"), the ups and downs of
uppers and downers ("Doctor's
Orders"), plus a smattering of pop-
culture allusions ("Screaming
Skull," "In The Mind...").
My only real complaint with
the album is die stupid, surprise
nojse-fest at the end of the CD.
Okay, everyone, we all know that
technology can be fun but enough
is enough. I hereby declare a moratorium on all surprise second endings, run-out grooves and hidden
bonus tracks. My nerves just can't
take any more of this shit!
Les Vegas
BAD LIVERS
Horses in the Mines
(Quarterstick/Touch and
Go)
Bad Livers is a trio based out of
Austin, Texas whose style is pre-
donu nantl y molded from traditional
bluegrass music. Yet, unlike most
bluegrass bands who tend to devote
their energy almost solely to a traditional style, Bad Livers seems compelled to fuck with the recipe they
so obviously respect. Don't get me
wrong, diough, these guys are great
musicians. Fiddle player Ralph
White III is so smokin' that you
expect him to saw the damn thing l n
half—a thought reflected in his solo
track, "Chainsaw Therapy"— and
Mark Rubin plucks, slaps and drums
on his bass fiddle oh-so-seductively
that it would be safe to say lhat it's
him moanin' dirough his pick up on
the track "Puke Grub." Both of these
musicians take the songs on Horses
in the Mines into completely different musical realms—White is heard
exchanging his fiddle for a squeeze
box and Rubin can easily send you
into a groovin' strut when he puts
down his upright in favour of his
trusty tuba—but it's Danny Barnes
who heads up the trio on lead vocals
and a vast array of string instru
ments (check out his toadlickin'
picltin' on the new Biafra/Nixon
recording, Prairie Home Invasion).
Barnes' talent as a songwriter
is vast. Although he wrote almost
all of the songs on Horses in the
Mines you'd swear that you were
listening to decade-old tunes, if it
were not for the subtie musical humour and sometimes incredibly
strange arrangements that give away
their contemporary origins. His
songs can evoke humour, cynicism,
hope and despair yet, at the same
time, be downright mischievous.
This is truly twisted shit.
Paul Leary of the Butthole
Surfers produced the band's debut
release [Delusions of Banjer,
Quarterstick/Touch and Go] but,
with a nod of respect and thanks to
Paul and others such as Steve Albini
and Bobby Arnold, Mr. Barnes himself took on the role of producer this
time around, giving the record a
very unique and stripped down
sound. No studio is credited on the
liner notes—the only information
provided is that the record was mastered at Abbey Road studios in the
U .K—however, a close listen would
conclude that Horses In The Mines
was partially, if not completely, recorded in one of the band members'
own home. It's anti-sampling: you
hear the dog singing along or some
guy screamin' in the background,
and during breaks in a song one of
die Livers can even be heard walking across the wood floor. This approach wholly suits die music and
helps to confirm die possibility that
Bad Livers has been reincarnated
from anodier era. I'm as happy as a
maggot in compost in informin'y'all
diat Horses In The Mines is a a
hoedown, not a comedown.
Dave O'Rama
CARCASS
Heartwork
(Earache/ Columbia)
Call it what you will, thrash metal,
speed metal, death metal or
grindcore, Carcass is unbelievably
fucking heavy, loud and intense.
Heartwork is a literal slap in the
face and kick in die ass. While the
parents of many of today's alterno-
kids can be found listening to and
enjoying the likes of Pavement and
Nirvana, Carcass is guaranteed to
offend. Corrosion of Conformity's
Blind, Melallica's Ride the Lightning, Pantera's Vulgar Display of
Power and Slayer's Reign in Blood
are all lofty company for Heartwork.
They are also a handful of discs that
have had the rare ability to transcend musical boundaries and create something new, beyond metal or
hardcore. Taking an existing style
of music and pushing the envelope
further and further than ever before,
Heartwork is indeed on par with
any of diese. And along widi the
likes of Pantera, Pitch Shifter and
Sepultura, Carcass is helping to redefine the shape and sound of metal
Mr. Eric FYH
NICKCAVEANDTHEBADSEEDS
Let Love In
(Mute/Elektra)
Don't let the execrable cover throw
you off (a pale, out of focus Cave in
front of a lurid, pinkish backdrop),
Nick Cave's music just gets better
and better. Let Love In was recorded  by  Tony  Cohen,  who
worked with the Birthday Party,
and this inevitably gives the album
that vintage Cave quality. Because
Cave works with old friends on Let
Love In the album has a wonderfully relaxed and languid feel (witness the song "Red Right Hand"),
which the previous release, Henry 's Dream, lacked—but that may
be in part to Neil Young's producer, David Briggs, being "appointed" by Cave's record label for
the recording of Henry's Dream.
Even though there is a more relaxed feel to Let Love In Nick Cave
hasn't rolled over and died. The
Bad Seeds are given free reign and
cheesy organ lines and bursts of
crashing metal abound; in fact,
things can get quite noisy ("Jangling Jack").
On his previous releases Cave
commonly took the role of die storyteller, which served to distance
him from the listener and the lyrical content. This time out he is
writing, mostly, confessional snippets about himself and love: finding it, being screwed up by it and,
of course, losing it. My favourite
example of this is the nasty sounding country rocker, "Thirsty Dog."
The setting is a well-worn one, the
self-pitying drunk at the bar, but
Cave gives a personal and honest
spin widi lines such as: Tin sorry
for die odier night/I know sorry
don't make it right/I'm sorry for
things I can't even mention." And
"Lay Me Low," which chronicles
with sly humour die events after
his own death—"The sea will rage,
the sky will storm/All man and
beast will mourn/When I go"—
helps in displaying the much appreciated literacy, wit and honesty
of Let Love In.
Nick Cave may be one of the
few artists around who can record
an album that makes more than a
small nod to his musical past but
still sounds new. Nick must've
made a pact widi the devil.
June Scudeler
MATERIAL
Hallucination Engine
(Axiom)
According to producer/arranger Bill
Laswell, Material is "a mutated version of sounds that are put together
over time." Hallucination Engine,
Material's fifth album, couldn't fit
lhat description any better as it features Laswell combining ambient,
jazz, funk and dub sounds with diverse cultural influences. Taking
three years to assemble, songs such
as "Eternal Drift" and "Tlie Hidden
Garden" incorporate intricate melodies widi ethereal stringed instruments and appropriately utilize the
Arabic. Indian and African musicians and instruments enlisted for
Hallucination Engine. The jewel of
die project, however, is an Orb remix
of "Mantra," found on the album's
first single.
Each song is a unique collaborative effort—hke The Orb, Laswell
works widi a variety of composers
on instrumental songs that often
meander beyond the eight-minute
mark—and although the album ventures dangerously far into jazz and
funk territory, at times, this is well-
balanced by Orb-hke trippy effects
and dub rhythms. Overall, Hallucination Engine  is a worthwhile m-
Ted Koppman
THE KAISERS
Squarehead Stomp
(Imperial Records)
Following in die wake of fellow
Scottish rockers the Rezillos,
Proclaimers and Teenage Fanclub,
die Kaisers have just exploded onto
die world scene with its debut platter, Squarehead Stomp. Here are the
goods, quick and painless: 60's big-
beat rock n' roll in that vintage
fashion, sounding EXACTLY like
Billy Childish and die Milkshakes
did between 1980-1985 and, of
course, like die Beatles did between
I960- 1965. nus album is basically
Live <il the Star Club re-recorded
but it's still great. Tlie cool cover
graphics and sheer obscurity of tins
record make it worth having, never
mind the fact that it's a great party
album, pompadours, leather vests.
pointed boots and all.
Grant Lawrence
PIGFACE
Notes From the Underground
(Invisible)
Pigface has evolved and Notes From
the Underground is by far the most
fluid and focused album they've
created yet. One dieory of dieir evolution lies in die departure of former
members Chris Connelly, En Esch,
Mary Byker, Paul Raven and Will
Tucker. By combining a new lineup widi dream-pop noise, heavy
bass-dubs and techno beats, Notes
From the Underground transcends
die "industrial music" label and forfeits the deadi-metal affinity for a
much more stylish and, dare I say,
sexy sound (don't say I didn't warn
you if you notice a funk-metal
groove on some of die tracks).
Pigface has finally proven that
it is much more dian just an industrial side-project by blowing away
other sinular efforts (such as die
Revolting Cocks) and enlisting die
likes of Mark Walls, Duane
Dennison. Jello Biafra, Genesis P-
Omdge and Flea widi die remaining members: Martin Atkins, Nivek
( gre, Andrew Weiss and Lesley
Rankine. Pigface is still seething
with rage and vitriol and dus is
easily one of the best albums of die
Christian
THE LEATHER UPPERS
OK, Don't Say Hi
(Past It Records)
This smash platter from the Toronto-based garage-cheese/glaiiiirio
the Leather Uppers will keep the
kids down at die drive-in hopping
all night long. Originally formed in
1991 by classy Craig Daniels and
Greg Tymoshenko. die Uppers have
since added drummer Tone HB.
(lcky Boyfriends) to fatten the
sound. With two cassettes and two
r singles, including the catchy anthem "I   Don't  Like  You  (very
much)," tucked nicely under their
brown-studded lapels, ihe Leather
Uppers come out with a more produced and direct sound on OK, Don't
Say Hi. These crazee mobsters have
spent their hours in the basement
and it shows.
These boys are hot bananas
live, too, and ever the fashion
kings—when was the last time you
saw a group roll into town wearing
matclung brown platforms, fuzzy
pink vests and diapers? Witness their
cover art which supplies the uninitiated with a mid-70s style photo as a
prelude to their corduroy outland-
lshness, widi sideburns, greasy hair
and collars that knock the fuck out
of any "new" retro fashion these
days. Yesterday's fashion today.
Sean Raggett
NAILBOMB
Pointblank
(Roadrunner/Attic)
N.ulbomb is Sepultura's Max
Cavaleraand Fudge Tunnel's Alex
Newport, and Pointblank is a must
for anyone with a passion forangry
intensity. As he does with Fudge
Tunnel, Newport provides
Pointblank—n collaborative effort
widi fellow musicians from Fear
Factory and Wicked Deadi, as well
as Andreas Kisser and Igor Cavalera
of Sepultura—widi superior mixing and production. Nailbomb's
songs attack heroin fuck-ups, racism, closeminded-ness, materialism, apathy and religion and the
result is intense hardcore with angry punk lyrics.
I know, "Say no more, it's
metal." and all of you pop-rock
bores don't want to hear it. Well,
open your minds to a new insur-
gence of hardcore thrash. These
new thrash bands are far more creative and mind-blowing than the
hardcore that they grew up on.
Hooligan
THE LYRES
Some Lyres
(Taang!)
Tlie amount of Lyres material that
seems to be coming out since their
re-emergence with the Happy
Now... LP is reaching Mono Men-
eoniplain. Sporting a cover ripped
oil from the Rolling Stones' Some
Girls record, Some Lyres is
primarily a compilation of tunes
that have already appeared on
various Lyres releases dating back
to 1979 (with theinclusion of their
debut 7"). Rehashed, retro—call it
what you will—whatever it is, it's
rock and roll only the Lyres can
Bryce Dunn
UNE  @ tenor saxophonist, arranger/composer leads an all-
star sextet propelled by the drums ol "Phly Joe
Jones' - sounds youVe never heard until tonight
June 20: Eric Doiphy's birthday - he would
havebeen66. Dolphy was one ol tie great forward
thinkers on lute, bass darnel and especially the
alto saxophone. Tonight his famous Blue Note
album: "Out to Lunch".
June 27: In keeping will the Blue Note profile
this monti, another unissued session by composer
and piano greal Somy Clark.
SCREAMING INCONSISTENCIES 12:00-4:OOAM:
Jennie Pescevino & W bring you WAAUGH!
Avacados, E.T., Smurfs, Drak Pad, 'Just Say No",
Transfoimers,ValeyGirte&Peoplewho put animals
DEPECHE TOQUE 10:00PM-12:00AM Altemaing
Tuesdays with Wolf at the Door. II if s Tuessday,
I must be Eddy Vedder. No, no, turfs not right I
think, therefore I am Dave Gahan. Pooh! I'm al
confusednow. Lefssee...rmalitlebitsynliand
I'm a little bit Seatle.® Reach out and touch toque
wilh your hosts Bepi and Venus F.
AURAL TENTACLES MIDNITE- VERY LATE Warning: This show is moody and unpredictable. It
encourages insomnia and may prove to be hazardous to your health Listener discretion is advised. Avoid contact with lie eyes and ii taken
aurally...please look out! The musk:, news and
2:00 WWOD hosted by Pierre may not be suitable
w Wave d<
TUESDAYS
MADONNA DEATH WATCH 8:00-11:00AM Madonna's
days are numbered - her deali wil be quick and
painless. Stay tuned for Bryce and Brady's brand
ON THE DIAL
SUNDAYS
ARE YOU SERIOUS? MUSIC 8:00AM-12:00PM AH
ol time is measured by its art. Most broadcasting
shuns art tor incestuous market-music. This show
presents the most recent new music torn around
the work). Ears open. Hosled by Paul Sleenhuisen
and Ian Crutchley
THE ROCKERS SHOW 12:15-3:00PM Reggae inna
all styles and fashion. Mke Cherry and Peter
Williams alternate as hosts.
SOUL CHURCH 3:00-5:00 PM Altemaing Sundays
with Brent Argo Vancouver's only program devoted entirely lo African-Canadian and Alncan-
Amencan Gospel music. Your hosl, Vince Yeh.
BLACK MUSIC 6:0O-8:O0PM Everything from the
Alrican-Ametican tradition: Blues, Gospel, Jazz,
Soul. R&B, Funk, Hip Hop, and current Dance
Tracks Mouldy vinyl to shiny CD's. Your host,
Lacfilan Murray.
LULU'S BACK IN TOWN B:00-9:00PM No cotton or
even a cotton poly blend. Viimie Carpel! and
Sonny Prince bring you one hour of pure Ignite,
ball hugging, croonng POLYESTER!
GEETANJAU 9:00-10:00PM Geetanjali is a one-
hour radio show which leatires a wide range of
music from India. This indudes dassical music,
both Hindustani and Carnalic, popular musk: from
Indian movies from tie 19 3ffs to the 1990*s, Semi-
dasacal music such as Ghazals and Bhajans,
and also QuawwaSs, Fc* Songs, etc. Hosted by
J. Dhar. A Pa lei and V Ranjan.
RADIO FREE AMERICA 10:00PM-12:00AM Jan
hosl Dave Emory and colleague Nip Tuck lor
some extaordinary political research guaranteed
lomake you brik twice. Bring your tape deck and
two C-90s. Originaly broadcast on KFX (Los
Altos, California).
MONDAYS
THE MORNING SHOW 7:30-8:15AMWakeupwiti
all the news, sports and wearer you need. Plus
what's happening at UBC each day with UBC
Digest, a feature interview and more. Witi tie
BBC World Service News al 8:00AM, live Iran
London, England.
BREAKFAST WITH THE BROWNS 8:15-11:00AM
Your lavounte brown-slers, James and Peter,
oiler a savoury Wend ol Ihe familiar and exotic m
an exabngly tusaousblend of aural d eights! Tune
n and enipy each weekly brown plate speriai.
THESTUPIDRADtOSHOW11:00AM-1:00PMWith
ycur hosts tie Gourd of Ignorance and Don he
Wanderer. What wil we play today? Rogwipul
MEKANIKAL OBJEKT NOIZE 1:15-3:00PM CiTR's
only al industial/ambient show with different features every week. Will your dj pals June and Ren.
Sarah is as dead as a bug can be.
THE MEAT-EATING VEGAN 3:00-4:OOPM I
endeavour to feature dead an, verbal latilence
(only when I speak), a work of muac by a 20th
composer-can you sayminimalist?-and whatever
else appeals tome. Fag and dyke posilve. Your
questions oi comments, well, your leedback is
appreciated. Dedicated lo anyone who - ake me
- is soaaly a emotionaly challenged.
STRAIGHT OUTTA JALLUNDHAR 4:00-5:OOPM
Let DJs Jndwa and Bndwa immerse you n
radioactive Bhungra! "Chakkh de phutay". listen
lo all our favorite Punjabi tones ■ remixes and
originals. Brraaaah!
THE CiTR DINNER REPORT   5:0O-5:3OPM  The
26 ns^a^^^n
mother ol all ne
ws broadcasts. Princess Andrea
and her team. Jedi Knight Angus, Leanna
Skywalker, and Gran Mod Slelan bring you he
took like much, but ifs got it where it counts." Han
Solo
FLAMING CATERPILLAR SHOW 6:0O-7:O0PM Paris
Green explores world-beat music will Captain
Kirk, Spock and occasional celebriies.
THE PEAKING CANUCK 7:0O-9:O0PM If you are
suffering an identity crisis you may want to tune
into this show more ban once. Your host Bob
Wilkstonchr endes Canada in 20th Century sound
THE JAZZ SHOW 9:O0PM-12:O0AM Vancouver's
longest running prime time jazz program Hosted
by the ever-suave Gavin Waker. Featores at 11.
June 6: Opening Jazz Feslval rnonti is a
cooker: 'Changing ol the Guard' by TS Monk. A
great band led by Thelonious Monk Jr. and Ins
second la he Blue Note label.
June 13: A teasure unearhed! A rare Hank
Motley session for Blue Note. "Pcppm"; he greal
BLOOD ON THE SADDLE 1:1S-3:O0PM Country
music to scrape he cowshil off your boob to. Wih
yer host-poke Jeff Gray.
MARY TYLER MOORE SHOW 3:0O-5:OOPM Women
in music and grrrls in music; two hours of info and
rawk. Ya dent need a penis to be a musical Genius!
Coral and Trish.
MEET IDA BEAN 6:0O-7:0OPM Rap, hip hop,and
Super Dope Lyrics- so ly hat youll do 3-5 just for
getting caught listening to tha stuff. Requests are
taken...if you can get through on he phone! Ida
Bean's on help!
THEUNHEARDMUSIC 7:00-9:00 PM Meat tie unberd
where he unheard and the hordes of hardy herd
are heard, courtesy of hosl and demo director Dale
Sawyer. Herd up!
RITMO LATINO 9:00-10:00PM Gel on board
Vancouver's only topical iesta express wih your
loco hosts Wend, Rolando, and Mateo as they
shakeitandwiggleittothelaleslinSalsa.Mefengue,
Cumbia and oher iery fiesta favourites. Latin
musicsohotirigiveyouatanlijRADIOSABROSA!!
WOLF ATTHE DOOR 1O:0OPM-12:O0AM Alternating
Tuesdays with Depeche Toque. The latest in dance
music and interestng drama every second week.
Wih Lupus Yonderboy.
WEDNESDAYS
THEYACHT CLUB 11:30AM-1:15PMA nautical tour
of he four corners of he musical world. Drop
anchor. Hosled by Mat & DJ. Gav.
NORMAN'S KITCHEN 3:0O-5:0OPM 'Its belter to be
(frunkonteHotySpfritbutJartDariersis harder"
(Bono)
ESOTT£RIK8:00-7:30W(es'o'«3r-k),ao1.,undasfc<)d
" r.onlyaselectnunilMoldisciples;
does). He plays guitar okay bo.
POPGUN 10:O0PM-12:OQAM Your host Justin Love
locks you into Thursday with the smoothest
selecton of pop found ANYWHERE on the dial.
Dig?
THURSDAYS
OH MY GOD, I THOUGHT IT WAS FRIDAY! 6:00-
7:30AM Everything and anyhing of even he
si ghtest irrelevance thafs comrhg up in Vancouver
over Friday and he coming weekend. Mixed wih
huge dollops of bizarre and often pointless
information and with a gorgeous coaling of local
music. With Dinos Kyrou.
SHOUR-OHAVA 7:3O-9:00AM Shour-c-nava are
names of two main modes ol Iranian music. This
show is dedicated to Iranian music ranging from
traditional, folk, ehnic, mysic, old and contempo-
rary pop. Music of various parts of Iran ie.
Azerbaijani, Kurdish, Lcri, etc. are covered. We
really like to hear tern al of our Isleners to be able
to geai he show towards heir tastes. Hosled by
happenin' women! We yack! We spin tones!
Hosted by Anna, Deb and Krista.
CANADIAN LUNCH 11:3O-l:0OPM Toques, plaids,
backbacon, beer, igloos and beavers. Eat your
lunch every Thursday wilh Skyter.
FILLET OF SOUL 1:00-2:00 Some ol life's taslesl
sonic morsels served up by Captain Hghliner &
his merry band of fools. Jump on board, but don't
forget your harpoon!
SUGARLUMP 2:00-3:00PM The abstemious paul j.
lump hoicks amongst sugar coated daisies whilst
the spiders enjoy heir tolly pop.
FLEX YOUR HEAD 3:0O-5:0OPM
----HARD ERIC---
--ERIC  CORE—
THEDINNERREPORT5:00-5:30PMSpeaalleatures:
June 9-sleep
June16-STCs
Jun»2THREE-iteracy
GET IN THE RING 5:30-6:OOPM Join Mike and Drios
every week to hear them tag learn he issues wih
guests torn all over he political spectum.
OUT FOR KICKS 6:00-7:30PM No Bikenstocks,
nothing poiicaly cared We don'l get paid so
you're damn right we have fun wih it. Hosted by
Chris B.
EDSVILLE, POP.6 7:30-9-.OOPM Roots of Rock W
RcJ - If you don't get kilo Rock Yi' Rol Heaven
don't blame me!
UVE FROM THUNDERBIRD RADIO HELL 9:00-
11:00PM Local muzak torn 9.
, June 23: Meet Daisy
RADIO TRANSUBSTANTIATE YEA!! - Alternating Thursdays 11:00-1AM Donotgo genlyinto
the good night, rave, RAVE against the dying of
the light!! Once he neede drops, make itloud..
. lis is Kapiton Nero, shal we dance:..
SUMMER OF HATE 1:0OAM-whenever we drop
Thrilling car chases, heart-stopping light
serquences, dashing young men ii tight itrjng
pants. Yes we do our own stunts. Spedal thanks
to Sam OBEN, Caffeine Charie, Zev Asher, he
pest contd guy, James Last, Jusin Sulivan and
Mrs. Mills tor all pitching in their damdest to make
the show a cuddy ball of fun with a sightly prickly
extertor. Chunks.
FRIDAYS
VENUS FLYTRAPS LOVE DEN 8:1S-10:0OAMGreg
is your guide on your journey to Venus Flytrap's
world reknown love den. Gelling there is half he
fun Remember to pack a lunch, some candles and
maybe a wire brush. Al aboard! love and hugs,
SUN MON
WED
■71
Are You
Serious?
Music
POCKEPS
SHOW
BREMT
ARGO/
Soul
Church
THE  CITR  MORNING  SHOW /  BBC  WORLD  SERVICE
Breakfast
with the
DON AND
GOURD'S STUPID I
RADIO SHOW
MEKANIKAL
OBJEKT
NOIZE
NLADONNA
DEATH
WATCH
HELEN'S
HUT
DIGITAL
ALARM
CHRONOMETER
LOVE
SUCKS/
the poetry show
ONE STEP
BEYOND/
RADIO FREE
AMERICA
wttc
GRIPOF
^COHERENCY]
Flaming
Caterpillar
THE PEAKING
CANUCK/
mwzwm
THE
JAZZ
SHOW
Ineontiitmdt
MEET
IPA REAN
PITMO LATINO
WOLF AT
THE DOOR/
DEPECHE
TOQUE
NORMAN'S
KtTOlEN
ttgOTOftlR
Tljis \NVt
AFP1CAN
VAP1ETY
/25Z23BZ7
Bill
Mullan
Gmpet Dim*
Radio Free
WOMEN
CANADIAN
LUNCH
FLEX YOUR
HEAD
OUT FOR
KICKS
UVEFROHX
7MMHURD
RADUHEU
RADIO T.T7
TALES FROM
THE INFINITE
FBI
Tlytrap's Toot
I Bee Normal
NEW SHOW
lo-fi
MMA
HOUSE
NraRWltAR/
CQCHALS WITH
DARTL
ADD
THE
SATURDAY
EDGE
ptyt r.n»rr pat, f ! ■ *.'M
HDIT1E
Limp
Sink
AFPICAN
SHOW
THE SHOV
(HffHO?)
JEFF&
WOZZLE
I BEE NORMAL 10.00-11:00AM Pioneers of Radio
Sound advocating lie mentaly^hysically dial-
,V/ld#)
NARDWUAR THE HUMAN SERVIETTE PRESENTS.. 3:30-4.-00PM Cleo! Cleo! Cleo!
THE CiTR DMNER REPORT 5:00-5:20PM Mssor^ ,
completed lor Hie International Rescue Team.
They pose for a photo before dinner on Tracy
Island!
COCKTAILS WITH DARYL AND SUSI 6:00-9:00PM
Underground sound system-stylemastermrx r actio.
FOR THE RECORD 6:30-6:«PM Excerpls from
Dave Emory's Radio free America Series.
HOMEBASS 9:00PM-12:30AM The original ive
mixed dance program In Vancouver. Hosted b« ,
DJ Noah, tie main locus of the show is techno, but
alsoricludessc(ne»ance,acKl,Hbal,etc...Guesl
DJa, inlerviews, retiospedives, giveaways, and
more are part of tie lavor of homebass.
UMP SINK 12:30AM-Morning: Join al of your limp
Sink pals as tiey share their social problems with
you. Hosled by the G42 players.
The Fritter A Pat Show - Formerly the 'Fire
Pipe' and/or 'The Postman Pat Show1 and/oq) \
■Pars Party1 aid or ■UmpSink". Fritter and Pal fry
on a new pair of socks.
The Doctor Kiklare Show -
Ingredients: f pinch of honesty
2cupsolwlingness
42 pounds of res
Stir constanly over med/low heat unil reduced to a
shiny texture of peaceful biss. ( J
SATURDAYS
THE SATURDAY EDGE 8:0OAM-12:00PM Now in
its 8th year on lie air, The Edge on Fc* features
music you won't hear anywhere else: new releases in lie realm of Celtic, Folk and Roots;
studio guests; British comedy sketches; and British soccer results at 11:30 AM. 8-9 AM: African/- .
World roots. 9-t2 noon: Celtic music and feature* '
performances.
POWERCHORD 12:15-3.-OOPM Vancouver's only
true metal show; local demo tapes, imports and
other rarities. Gerald Rattehead and Metal Ron
do lie damage.
THE AFRICAN SHOW 3:0O-5:0OPM Ifs a muse
thing from all "Africa" Ifs an awareness hng ol
self and oliers.  Ifs an African house party » \
Stories, music, da
e lun. Welcome! Your hoste:
THE SHOW 6:0O-!:OOPM Strictly Hip Hop - Sfridty
Undergound - Strictty Vinyl With your hosts
Craig G., Mr. Checka&J Swing on lie 1 4 ?s
HEATHER'S SHOW 9:0O-10:0OPM Decfcataled to
the gay, lesbian, bisexual, and transsexual
communiies of Vancouver and listened to by
everyone. Lots of human interest features^ •
background on current issues and great music
from musicians of al sexual preferences and
gender identities. This show has everything except
a name. Any suggestions?
GROOVE JUMPING 10:00PM-1:00AM Terry,
Woale, Jeff, Warren. Whowiitbe? Whoknows!
Who cares! It rocks! Goigure.
SOMETHING 1:(KM:00AM Completely pditcafly
correct content with Ihe fresh and del new ref )
leases Irofnal he Art School stodents that have
the balls to just get up there and doit Reinventing
the meaning of religion and Ihe reintegration of
Jesus Christ our Lord into todays you ti cut tore. A
woman's voice late at night. oozing pure
cocksucking sensually SI you rol over and go to
sleep.
WHOM   &   HOW,
ARTS IAN MCKINNON
BOARD CHAIR HARRY HERTSCHEG
BUSINESS MANAGER SKAZIA ISLAM
CURRENT AFFAIRS ANDREA SPENCE
DEMOS/CASSETTES DALE SAWYER
ENGINEER RICHARD ANDERSON
ENTERTAINMENT MIKE  WALKEY
LIBRARIAN VINCE      YEH
MOBILE SOUND NICK LEVENS
MUSIC JUSTIN L7MEGAN M.
BRIAN WIESER)}
PRESIDENT
PRODUCTION
PROGRAMMING
PROMOTIONS
SECRETARY
SPORTS
RYANO
MIKO HOFFMAN
ANDY BONFIELD
SELENA      H.
COLIN PEREIRA
STATION MANAGER  LINDA SCHOLTEN
TRAFFIC FERN      WEBB
VICE PRESIDENT SEAN RAGGETT
VOLUNTEER COORDINATOR JOHN RUSKN
BUSINESS UNE 604/822-3014)
DJ UNE 604/822-2487 (UBC-CITR)
NEWS UNE      604/822-5334 (822-JEDI)
FAX UNE 604/822-9364 r
L
s
WAST'ELA^C®    CLOTrtlVtQ 2607    ALMA
9&W  ArDfDIcTl09iAL   SPACE   OFEOt  MlTf-JUO^E
J
222-2669
2615   ALMA DON'T
BURE,   BE
HAPPY!
At last, something to make
even the most blaise
Vancouverite into a
£     **   Canuckle-head...
Various
•    Johnny Hanson Presents
Puck Rock Vol 1
Are you ready for a veritable Izvestia
Tournement of hockey-lovin' Canadian
bands? Love hockey in the summer?
Ever heard three Vancouver Canucks
songs on one album' Then check out
Wrong Records' tribute to Canada's
#1 sport!
From the kooky, Ramonesishness of
the Hansons' Hockey Night Tonight, to
the "gleam-in-Ntompin'-Tom's-eye" of
Jughead's Hockey Song; from I
famous  piano-(
Swampwatef, to
the Bombshells'
bawdy    Pavel
Bure tribute In \
Through The Pive
Hole; from the I
now     eerily
appropriate Our
Stanley Cup by
Ihe Smugglers,
to Joey Shithead's hilarious h
to Freddie Blassie in Pencil Neck Ceel
(with the cooperation of Cub) —then
isn't a journeyman minor-league in flu
bunch. Drop your gloves and throv
this albut
O 13.98
COUPON  TIME
Zulu invites
you to peruse
our fine
selection of
"experienced"
cassettes.
Proven in
the field,
guaranteed
trouble-free,
and waiting
for you!
Buy 2 used
cassettes, get
1 of equal or
lesser value
free with
this coupon
valid until June 30/94
1869 W 4th Ave.
Vancouver. BC
V6J 1M4
CANADA
tel 604.738.3232
STORE HOURS
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
Psst. We'Ve just marked down a whack ot one-of-a-kind import CDs to jaw-dropping prices!
SQUARE   DEALS   FROM   ZULU!
Come in and flip through our bins to catch some truly great deals...you snooze, you lose\
\ Pigface
®   Notes From The Underground
! The latest and greatest from Pigface mastermind Martin
| Atkins. Genesis P Orridge (Psychic TV), Dwayne
• Dennison (Jesus Lizard), Michael Gira (Swans), Nivek
Ogre (Skinny Puppy), Jello Biafra, Shonen Knife, etc
j —it's a who's who of "who's who". Yep, these folks
seem qualified to write some Notes From The Underground.
I 014.98    »9.98    IMPORT
The Verve
®    No Come Down
The Verve have just released a compilation of previously
unreleased material, live tracks, and original demo
versions. Whether with it's subtle charm or penetrating
beauty, this collection provides another angle to an
already three-dimensional band.
O 16.98 IMPORT
: Mekons
*    Retreat From Memphis
Much like their contemporaries, The Fall, this is a
band that's continued to explore new sounds
throughout their 15 year career, yet still earn the respect
; of yesterday and today's discriminating indie rock
j fans. Vital.
O 14.98    M9.98    IMPORT
Critters
Crappin' You Negative
Dirty, crumpled, blues rock riffs drunkenly swagger with a
Memphis attitude. Sweeping supercharged waves of bad-
assed distortion erupt from such seemingly nice guys. Crappin'
You Negative like spilt day-old coffee after a night of insomnia
driven mumblings of spaceships and misadventure. A most
appealing brand of squalor rock and a true Zulu fave.
© 14.98    1310.98 IMPORT
Eric's Trip
j ®   The Gordon Street Haunting
j  Pure beauty is found in the hiss and whisperings of these
I young mysteries. Their simple poetry vehicle coyly alternates j
! between quiet acoustic melancholy and electric pop j
melodies. Uniquely recorded with a shy demeanour and .
gentle energy in the shadow of a ghostly neighbourhood j
reference,  all  making  for a charmed  new ep. *■
Oep9.98
SJ5**
Velocity Girl
•    Sorry Again
Sub Pop's sugar darlings release a new four-song wonder
to hold you until the new album comes out. The songs
are pretty and tender — all about the simple things in
life, such as kisses and candy and pretty things and
Labrador. Yeah, that's right, Labrador. Buy it and you'll
Oep9.98
Polvo
'•    Celebrate The New Dark Age
Come celebrate the progressive and dynamic "now"
sound of Chapel Hill's Potvo. their oblique inventiveness \
unwinds with a careful almost randomness like a
gloriously tuneful collage. Although more
straightforwardly pop than their last effort, Polvo still
manage to rediscover and reinvent themselves.
©12.98    m 8.98    IMPORT
Tsunami
»   The Heart's Tremolo
lndie-pop masterminds Jenny Toomey and Kristin
Thomson wax effortlessly with poetic, emotionally-
charged songs and a clean pop appeal which resonates
beautifully with the fluttering indifference or sensitivity
of an aching heart. Pure pop truisms from the Simple
Machine Record's flagship band.
©12.98    » 10.98 IMPORT
Reverend Horton Heat/Supersuckers
•    Reverend Horton Heat/Supersuckers
Wow! Two great bands together on one cd. Mmmmm...
the Reverend Horton Heat's dirty garage rockabilly
and the Supersuckers' punky garage dirt. In the same
lineage as the Mudhoney/Jimmy Dale Gilmore ep of
a couple of month's back.
©ep9.98
All sale prices are in effect
until June 30, 1994.
© = cd
HI = cass
a» = boat launch

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