Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-07-01

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  mu!FK ch
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gr« ©c^lSa Hurlevlnt*     S j
<mii ^ i
hi    ,
\d  ii
PURCHASE TICKETS fiQSGDS AT hob.ca OR ticketmaster,ca ti
^RSUN | Province I 7" p. 4
fucking bullshit p. 5
strut, fret, & flicker p. 6
dj profile p. 6
radio free press p. 7
kill your boyfriend p. 8
over my shoulder p. 9
panarticon p. 9
under review p. 18
real live action p. 20
charts p. 23
dial p. 24
datebook p. 26
...designed by Paul James at j
Thunder Perfect Mind
ad rep:
Steve "Goat" DiPasquale
art director:
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Your Boss" Kiessling
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Andy "Developer" Midgett
real live action editor:
Duncan "Black Candy"
editorial assistant:
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Zarathustra" Schaefer
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Doretta Lau, Donovan,
on the dial:
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us distro:
Richard Trimble
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© "DiSCORDER" 2002 by tlie Student Radio Society of the University of British Columbia. All rights reserved.
Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of tlie I
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From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major I
cable systems in the Lower Mainland, except Shaw in White Rock Call the CiTR DJ line at 822.2487, our office at
822.3017 ext. 0, or our news and sports lines at 8223017 ext. 2. Fax us at 822.9364, e-mail us
citrmgr@mail.ams.ubc.ca, visit our web site at www.ams.ubc.ca/media/citr or just pick up a god- I
damn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Open: 9pm-2am
Club: [604] 683.6695
printed in Canada ■ rid
Summer's here and the
time is right—not for
breaking into a Supremes
number, but for giving you our
latest 7" scoops good and proper. First on the agenda is, well,
THE AGENDA! They're a
group out of Georgia who definitely have what it takes to start
a panic on the dance floor. On
the A-side, "I Want the Panic,"
they do updated R&B-infused
punk a la The Mooney Suzuki
or The Make-Up. The flip,
"50,000 Watts Of Love," drives
home the party platform of hip-
shakin' rock and roll and makes
these guys a band to keep an
eye on. (Kindercore, PO Box 461
Athens, GA 30603 USA).
Hip-shakin' is certainly
something THE SCAT RAG
BOOSTERS bring to the party
on their latest Sidetracked EP.
Even though the songs were
recorded in 1997 and 1999
respectively, 1 suppose it doesn't really matter considering the
scorchers laid down here.
"Something For You" and
"Tarzan" show the SRBs' affinity for crazed '50s rock and
rollers like Hasil Adkins or
Jack Starr, yet with their two-
by Bryce Dunn
The Oblivians or The
Revelators. "Sidetracked" and
"I Long For My Woman" are
more blues influenced numbers
channeling the spirits of Willie
Dixon et al., particularly the
slower tune "I Long For—".
Look for more stuff to material-
still together, guys, pie
to the West Coast, all right?
(Zaxxon Virile Action, 1816 East
3rd Avenue, Vancouver, BC
V5N 1H2).
paid a visit to our coast, and
easily enough for them consid
ering they're only from
Portland. You may have even
seen them and picked up their
most recent waxing of a Bo
Diddley classic ("Who Do You
Love") which receives
an interesting treatment of
Melvins-y trademark jagged,
heavy bottom end alongside
guitar-no-bass attack it also ize on an upcoming compila-
brings to mind dearly departed tion from Sympathy For the
contemporaries of the style like      Record Industry, and if you're
rag-time piano accompaniment,
while "Mad Power" continues
in the same vein, creating the
feeling that you walked into a
smoky underground bar in
France circa 1930 with the smell
of cigarillos and red wine in the
air. How I get these visuals is
sometimes beyond me, if you're
at all frightened by what I just
described, then I'm right there
with you. (Gravity, PO Box
81332, San Diego, CA 92138
The folks at Modern Radio
Record Label have been busy
little beavers—sending us a trio
of releases that span a pretty
diverse section of the musical
talent pool.
First there's MIRAH,
(we've spoken about her in a
previous column), who returns
with a collection of songs
recorded between 1999 and
2001, mostly acoustic fare,
(switching between
guitar and ukulele),
sung with softness
and subtlety, but
all eschewing some
quirky personality.
On the track
"Dreamboat*' she
gets a little randy
with her lyrical content and on "Lone
Star" the sound of
hands sliding on
strings takes on an
additional melodic
Secondly, there's
the party collective
known as GENE DEFCON.
Originally this began as a fun
offshoot of '70s-inspired new
wave from like-minded
Olympia scenesters The Bangs,
The Primadonnas, and Tight
Bros From Way Back When
among others, but has since
dwindled down to just Gene
Defcon himself and his mystery
partner. The four songs on this
EP punk up the kitschy party
with punchy keyboards, shout-
a-long backups and danceable
grooves and come with titles
like "Baby, Hallelujah," "Pick
Up The Party," "Come Party
With Me," and the pseudo-funk
of "Only A Man-Girl." If Gene
Defcon is Olympia's #2 Party
Band, as stated on the inside of
the record, who on earth is
number #1?
And finally, a compilation
of Minneapolis bands completes the Modern Radio roster.
This record appears to be the
first in a series, part of the
label's attempt at profiling the
great talent of the region. AMP
176 and THE HIDDEN
CHORD kick off side one, with
both bands tipping the proverbial hat to Minneapolis'
favourite sons Hiisker Du
(Warehouse Songs And Stories
era, mind you). Crunchy guitar
leads the charge on these two
mid-tempo numbers, while side
two perks up a bit with THE
FORTY FIVE mixing early Joe
Jackson power pop with mod-
punk Jam-inspired songcraft on
the track "Take Action." THE
SELBY TIGERS (another previous column attendee) clock in at
just over two minutes with
"Pomona," a speedy pop-punk
number with trade-off boy/girl
vocals and a sweeping organ to
fill the choppy guitar gaps.
Overall, not a bad way to check
out the scene without leaving
the comfort of your living room.
On second thought, now that
you're done reading, get outta
here and enjoy the sun, boyo!
(PO Box 8886, Minneapolis, MN
55408 USA) •
it/pew 6
'!/«/„ (.-J/nH OO-t. cS?-/. 9773
Local Music Directory
Our annual directory, chock full of contact numbers and
addresses of bands and the people and businesses that support
them, will be in the September issue. The deadline for entries is
August 15, 2002
Send your vital statistics in by fax or email:
URL: :w:i:wm^
j^^^     «^ ^ Ill
Get your Gigstar prepaid membership card at these participating outlets.
More information at
or call 604-806-0333
toll free 1-888-805-STAR(7827)
:LinQ biflllWhlx
Rock and roll is dead
because everyone who
made it choked on their
puke and died. Or maybe they
turned their arms blue or the
sides of their skulls red. Or
maybe they just turned old.
Rock and roll is boring. If
you asked someone how the
last show they went to was, the
best they could say was that "It
was pretty crazy. The lead
singer got totally out of control
and got his white pants a little
dirty." No one poos on stage
anymore. There's no excuse for
that. It's bullshit, I tell you.
Let me suggest some onstage antics that could liven up
even the crappiest rock band.
During the slow song, the lead
singer could cut off her toenails
in her beer and drink it. The
drummer could piss on the hi-
hat as part of his drum solo. Or,
I like this idea the best, the lead
guitar player could play slide
guitar with his erection!
Rock and roll needs more
erections. I don't mean backstage groupie erections. I mean
real live on-stage erections. I
bullshit by Christa Min
don't kjiow what it feels like to have been around forever, you
have an erection, but I'm guess- know), but pretty soon, once the
ing if you're singing or playing on-stage erection is as common
bass or something, it could feel as cleavage, people will be saylike it's in the way. Maybe it's ing "This band sucks! Where
even uncomfortable. Maybe it's are the erections?"  Cock rings
equivalent to the feeling some
women get when they get
banged in the face by their
gigantic knockers while running to catch the bus.
1 guess it might be difficult
to keep an erection the entire
show, especially when everyone's looking at you like you're
a creep, or if you're thinking
about the music or something. I
say get your mind back in the
gutter! Rock and roll needs
hard-ons! The key here, is that
after a few years, people will
get used to the on-stage erection. I'm not saying that it'll lose
its charm (boobs, for instance,
will soon be more populai
leather wristbands
I am willing to bet that the
next true rock and roll legend
will die of Priapism. That is the
condition where the penis stays
erect for too long and the blood
is not circulated throughout the
rest of the body. That is bad.
Just like drug addiction, alcoholism, and suicide. But who
cares? Rock and roll is in need
of s
i. Drink i
shoot up, and get those coe
up. But don't kill yourseh
yet. At least wait until you
recorded a good album. •
Newer! Bigger! Belter!
7      2n 16/24 track
No Bullshit, Just Good Recording
Satisfaction Guaranteed!
"}   (206)525-0628
hbgrant fhcords
m* *   U        4E4TTIE   UJA
email- studio@vagrantrecords.com
H4TTLE WA /strut, fret,
and flicker
performance/art by Penelope Mulligan
RADIX Lifestyle Theatre
The Swedish Play
Thursday, June 6
IKEA Richmond
I've been carried off by Radix
too often to believe that the
grand masters of site theatre are
losing their touch, but for the
first time, the company seems
to have been defeated by its
surroundings. Either that, or it
needed a completely different
approach  to  setting a  piece
about our relationship to consumer culture within IKEA's
big-box blandness.
The Swedish Play claims to
examine the nature of desire,
the future of theatre and our
search for "home" against the
backdrop of "IKEA's ready-
made worlds." Understandably,
some conditions must have
come attached to the super-
corp's permission to use its
store, but it needn't have been
concerned. Nothing short of
swinging a machete at the merchandise could have ruffled the
benign calm of the place. It felt
impenetrable, and needed to be
infiltrated very slyly in order to
shake loose the kind of theatre
at which Radix usually excels.
Instead, the company opted for
a polite neutrality which came
off feeling clunky and strained
when it wasn't being annoying-
ly obscure.
Before setting off on a guided tour, each audience member
chose either Comedy or
Tragedy and was given a headset tuned to the appropriate
channel. Our tour started well
enough. Swinging through the
office furnishings section, we
passed two ridiculously large
photographic prints of the pre-
9/11 World Trade Centre and
our guide commented that this
was our first tragedy of the
evening. Thereafter, things got a
bit laboured as the promised
"invisible theatre" became all
too visible. The actual shoppers
didn't look especially fucked up
by consumerism, but the performers behaved like anxious
acting students trapped in some
stalled improvisation exercise.
They dashed around measuring
the same things over and over;
a young woman threw a
tantrum with plush toys in the
childrens' bedroom department
and a couple had a loud, pouty
row in a model kitchen before
going off to stare at a blank, 50"
TV screen. Particularly grating
was a cell phone conversation
between our guide and his girlfriend  about what brand of
suits were buried waist-high in
the ground. It's the kind of
thing you only have to look at
and your guts do the rest. At
this point, I decided that the
show could have worked better
as a gallery tour with disturbingly animated exhibits.
What came through the
headset was at times very
engaging, but at others, sounded like arty waffle. Even the
good stuff didn't so much
enhance the tour as distract
from it. (I was blissing our on
The actual shoppers didn't look
especially fucked up by
consumerism, but the performers
behaved like anxious acting
students trapped in some stalled
improvisation exercise.
soymilk to pick up on the way
home. Yawn. Of course there
was a message in all this, but I
kept thinking that there were
bigger fish to fry and subtler
ways of frying them.
When we passed a bed
occupied by three women,
mewling and waving catatoni-
cally, I finally recognized the
Radix that I know and love. The
tableau recalled a scene from
one of their past shows, in
which performers wearing vintage bathing caps and swim-
we offer technical
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mon - sat
Arvo Part and snatches of
Mahler's Third when apparently, I ought to have been paying
attention to our guide.)
There were a few clever
link-ups— such as a reading of
the Bible's begat section as we
lay on the beds, and a sentence
in German whose meaning
depended on whether we were
in the bedroom or the kitchen. I
also liked the sudden statement:
"The landlord always wins,"
but this nastier aspect of home
wasn't explored.
A programme note advised
us that the show probably
wouldn't be "an indictment of
the corporate paradigm." And
why not—while we were in the
neighbourhood? A few gentle,
oblique pokes in that direction
would have been a lot more satisfying that all that hammering
away at trivia.
On the evening I'd intended to stay in and write this, I
skived off to the cinema instead
and saw Songs from the Second
Floor—a Swedish film, as it happens—and couldn't help noticing how the filmmakers dealt
with uniformity in their own
society. Absurd, outrageous and
deadpan, the film said volumes
about how our sanity and sense
of home are affected by corporations and consumption. In the
end, perhaps The Swedish Play
just wasn't Swedish enough.
How to reconcile a love for
going to the cinema with the
need to inhale summer
evenings? Chose your venues
carefully, avoiding those which
require escalating between
floors or traveling along corridors. Make sure the lobby has a
view of and immediate access
to the street. Avoid multiplexes
at all costs. This simple Feng
Shui should ensure that you
remain aware of the world outside at a barely conscious, but
still important level. That narrows the field to about five—
and of course The Blinding
Light!! makes the cut. Some
suggestions for this month...
On July 4, there will be a
chance to see what European
animators were doing in the
aftermath of Disney's Fantasia.
Beautiful to look at and
trippily soundtracked, 1973's
The Fantastic Planet is a
French/Czech coproduction
whose sci-fi tale of a race of big
guys subjugating small ones
should have renewed allegorical relevance in 2002.
Rockaction! continues with a
new batch of commissions from
film and video artists invited to
make a filmtrack to any song—
without blundering into that
Rock Video thing. This time, the
talent includes some high-profile cameras wielded by
the likes of Oliver Hockenhull
and Mike Hoolbloom. See
Rockaction! 2 on July 17.
Local videographer and
filmmaker Flick Harrison has
gone through the cupboards
and collected material from his
10 years as both auteur and
hired gun. Some of his documentary assignments alone
sound fascinating and he's also
going to leak us a few scenes
from his first feature, Longshot.
But the real gobsmacker could
be his latest short, The Victory
Party. I attended the last few
hours of the shoot and still
don't know if it was excessively
relevant or relevantly excessive.
Had a fabulous time, though.
See it all in Flicks by Flick on
July 25. •
Daryl Wener
Wener's Barbeque
Mondays, $:00-6:OOPM
Sport most talked about on your show:
Unfortunately I'd have to say hockey. I say unfortunately because it's very unoriginal. We do talk
about nothing a lot of the time, and we love to discuss sports gambling. Wrestling used to be a big
thing, but not so much anymore.
Most memorable game:
I was 10 years old when Kirk Gibson hobbled off the bench to hit a home run and win game one
of the 1988 World Series for my lifelong favorite team, the Los Angeles Dodgers.
The worst game ever
One rugby game I called definitely takes the cake. I was hungover and I showed up at the stadium
unprepared but figured I'd be okay because there'd probably be 50 people at the game. Well, there
were about 4,000 and people could hear me, and were shaking their heads at some of my calls.
Pitcher UBC's Jeff Francis will most resemble in 10 years:
He's a lefty, and I can't really think of one. Not Randy Johnson, not Tom Glavine, or Jamie Moyer.
At best a left handed Mike Mussina, but that's asking a lot. I see Jeff Francis being a Paul Abbott.
Maybe a little better. A guy who wins 13 games a year, and tops out at 17,18 one year.
Best interview:
George Shea, the head of The International Federation of Competitive Eating. I also got a great
minute out of an in-character Honkey Tonk Man.
Worst interview:
I interviewed CFL quarterback Danny McManus while drunk. I didn't have a clue. Didn't even
know what team he played for. It's also one of my favourites. That was a fun one.
Athlete you'd most like to marry:
Martina Hingis. I actually got to meet her, but she didn't seem that interested in me. It would be
awesome to be a WTA tennis player's husband. If you find someone, email me at lookingforwom-
Favourite show on CiTR:
Maren's show, Stand and Be Cunted, when her and Kitty get out of control.
Strangest phone call while on air:
One time, and I say one time, a girl who sounded good looking called and said she'd take her top
off to win the prize. We said sure. • radio tree dfcaa
zines. etc. by Bleek
1 took my Canadian citizenship
test yesterday and, barring any
bureaucratic snafus, aced the
sucka. In the process of making
the big decision, there'd been a
series of final-straws and outrageous scandals that have led me
to believe that my homeland
(USA) is essentially no longer in
existence. I mean sure, the USA
was kinda fucked up before,
but I held out some hope for a
while. That was until the current administration in power
actually scrubbed thousands of
minorities off the voting rolls,
declared war on everyone but
the country that attacked it
(Saudi Arabia), gutted the constitution, and, to top it all off,
got applause from most of
the country. I thought the
Democrats might fight for some
justice—but no, they won't be
seen criticizing a popular
(shudder) president. All those
reasons were plenty but what
really scared me was the prospect
of having to travel with a US
passport. No thanks, man. O
Canada! You've got your problems but you're no USA. Yet.
Interestingly enough, my
good friend Dave Hatton
(whom I met in Canada) decided a while ago that he wanted
to move to the warmer and
more prosperous life in
California (come back, come
back). Dave's former zine
Corvid Review was a well-written literary thing which came
out sporadically over the last,
uh, five years? Something like
that, anyway. While that project
seems to have been put on the
shelf, Dave's new small periodical is called CARRION CROW.
Issue #4 just made it to my
mailbox recently. From issue
one the main topic has
been "Driving
California" as this
seems to take up
so much of his
time these days.
The well-paced
and thoughtful
writing always
sheds some valuable wisdom and
inspiration from
Dave's    carefully
like life. Carrion
Crow might even
offer an exhaustive
review of a live
show (Modest
Mouse, etc.) or, as
in this issue, a lengthy look at
Apocalypse Noiv Redux. I miss
Dave, but this is the next best
thing to being there. (2087
Pleasant Hills Road, Pleasant
Hill, CA 94523 USA)
Wandering around downtown I ran across a free "BC
Monthly" called TOOT, and
this appears to be issue five.
Now while I'd have to get an
expert opinion on the quality of
these humble poems, I can't
argue with the price of the
thing. Basically what we have is
three pithy paragraphs per
page, and some black and white
photos thrown in toward the
back. Not sure what it
Jf     !
m             W
Wk&i tm AM-1 N ii m 1011 FM
Some people have suggested that great scenes are created
out of dire need. This may be
the case with some exceptional
zines coming from the
Abbotsford area: There might
be much more happening in
that village than I realized.
Underlining all these activities
but    it's
always interesting to see
what you Earth people
will do to make contact.
Contact Toot at PO Box
48884, Bentall Station,
Vancouver, BC V7X
Really, some of you
kids are just too generous, for in my paws is
another free installment
of the culture-jamming
In this small zine are
several creative ways to
make a point or get
dingbat shoppers to
think about the shit they
eat or the veritable slave
labour that made their
comfort possible. More
than relevant in a world
that kicks the poor and
weak then calls dissent
violence. Instead of lashing out
in non-productive ways, perhaps we could learn some interesting ways of subverting the
mechanisms of the class-war
mongers. <publicworks_van-
is the webzine SHZINE, which
offers columns, reviews, and
valuable resources from all
around the Lower Mainland, as
well as links galore to BC bands
and zines. This is mostly a
labour of love for the editor Stu
Hood, who has been working
on the site, along with a group
of occasional volunteers, for a
couple of years now. Definitely
worth checking out.
The experts of celluloid eso-
terica known as the Blinding
Light!! Cinema (36 Powell St.,
Vancouver) are up to number
three in their roughly film-related, square-shaped zine 250W.
Comprised of several varied
articles, interviews, found
items, and sloppy art, there's
always something interesting or
confusing on each page. Inside
Bill Taylor meets with filmmakers Maureen Marovitch and
David Finch, and zinester/trav-
eller/author/ filmmaker/musician Bill Brown is also
interviewed. There's a very
good article by Paul Kincaid on
"the role of the
artist in Operation Enduring
Freedom," which offers a gleam
of hope in terrible times. This
review comes a bit late, but
that's what happens when
nothing is sent to the reviewer
who then has to suffer the
humiliation of forkin' out the
cash. Come on now, should I
have to put up with such horrors? I've got a fragile ego and
a limited budget, ya know. I
mean, we can't all be Christa
Min. Send your shit here or I'll
be forced to come to your home
and rearrange your socks!  •
7 DiSCORDER o   o
Are you a local band or musician? We are now
accepting entries for SHiNDiG! 2002. Send
in your minimum three song demo of original
material (all styles welcome) for an opportunity to play CiTR's annual rock 'n' roll death-
match! Toss your demo, contact information,
and anything else you want us to see in an
envelope and address it to:
SHiNDiG! 2002
c/o CiTR Radio
#233-6138 SUB Blvd.
Vancouver, BC V6T 1Z1
Questions? Interested in becoming a sponsor? For
ore information please visit ww
can also callus at 604-822-1242 or email Duncan
at duncanmm@interchange.ubc.ca
Become a rock star,
kill your bovf^ife^cl-:
comics and graphic art by Robin
Michael Chabon
(Random House)
I know it's kind of late to be
hopping on this bandwagon,
but hopefully that just means
you  know what I'm  talking
about. No comic review this
time folks, but a review about a
book   about   comics—and   a
Pulitzer Prize winner no less—
The   Amazing   Adventures   of
Kavalier  &  Clay by  Michael
Chabon, soon to be a comic and
a major motion picture.
I was reluctant to
read this book initially -^ „~
I mean, who was this
guy and what did he
know about the comics
industry? The Comics
journal's wholehearted
embrace of Chabon also
left me instantly suspicious. How hard is it
really to just recount
the real history of
comics? In the end, a lot
of what he wrote about
I already knew. But
when I heard he had
won the Pulitzer I figured I really ought to
check  this  book  out.
The story is about
the two men who create
the comic hero The
Escapist. You read
about their first meeting, the conception of
The Escapist, and their
years of collaboration.
Through trials and
tribulations, women,
men, and war, you
learn about them and
their friendship. The
two main characters are Sam
Clay and Joe Kavalier. The latter you're introduced to on the
night of his arrival in America
after escaping the beginnings of
the Holocaust. Joe is determined to help the rest of his
family escape and when his
American cousin mentions the
"big money" to be found in the
newborn world of comic books,
Joe leaps at the chance. With Joe
illustrating and Sam writing,
they create their own Superman, The Escapist. One of my
favourite parts of the book is
when they're brainstorming
about what "their guy" will be
like. Never being a great fan of
the superhero genre, I found the
conception of The Escapist to be
exciting. It was hard not to get
caught up in the newness of the
genre and the imagination
involved in the process. I also
liked how their hero was an
amalgam of their own histories
and personalities. In Prague, Joe
had been an incredibly talented
1 amateur escapist. In Joe's eyes
The Escapist would do what he
could not, fighting the Nazis
that he had been completely
powerless against. With The
League of the Golden Key, The
Escapist fights the bonds and
chains of tyranny and helps the
helpless to freedom. His alter
ego, Tommy Mayflower, is a
cripple, reminiscent of Sam's
hobbling due to a childhood
bout of Polio. Half way through
the book is a major event that
makes it impossible to put the
book down. I don't want to tell
you anymore because I don't
want to ruin the book for you,
•ting P
but it was ai
coaster ride.
I did have some complaints
though. Like how after all that
crazy stuff happening the ending just peters out. It was
incomplete and unsatisfactory
and confusing. Like I said
before, I felt the book was about
their friendship and at the end
of the story you have no idea
where it stands. It was a "happily ever after" without a conclusion. Chabon also fell victim
to the age-old gimmick of starting the book with a bit of the
ending. In later years we find
out that Sam had started to
appropriate Joe's characteristics
as his own. It tells you nothing
and serves no purpose at the
beginning of the book. I also
found Chabon's handling of the
one main female character, Rosa
Saks, to be weak. She was Joe's
girlfriend and at times you
peered into her soul with naked
honesty. But in the end, at one
of the most important points in
her   life,   you   have  no   idea
what's going through her head.
Lastly, I think Chabon's use of
hindsight was a little obvious.
The way Sam and everyone
around him dealt with his
homosexuality was too progressive to be believable. I was also
not convinced by their struggle
to maintain the rights to their
character. In these situations
Chabon's characters handled
things with too modem a sensibility.
But those are my only complaints. There are many reasons
why this was an excellent book.
Chabon's greatest asset is his
handle on character.
He really knows
how to create interesting and human
protagonists. Full of
depth and well
rounded, I had
to find out what
was going to happen
to these guys.
Their every motivation was completely
their every experience hard not to
empathize with. Joe
relieves his survivor's guilt by
using The Escapist to
destroy the Nazi
scourge. Both characters throughout
the book also seem
to suffer from a double identity at one
point or another. It
makes for an interesting parallel. I also
liked the fact that
Sam was gay. Gay
culture has been
absent from popular
for so long, and I appreciate the fact that it's slowly but
surely becoming commonplace.
The two love stories are also
really nicely done. It was sweet,
fantastic, and utterly romantic—just like a comic book. The
book is also a Coles notes version of the history of comics.
Kavalier and Clay exist in the
world of comics. They're contemporaries of Wil Eisner and
Stan Lee. RC Harvey devotes
chapters to Rosa. It's an interesting perspective and makes
you feel likepart of the action.
Must be the film in Chabon's
So yeah, I would recommend this book to anyone. Then
maybe they would understand
where my love of comics comes
from. Plus, I loved reading a
book about my favourite medium. It was interesting and really, really, really hard to put
down. •
www.michaelchabon.com over mvA
book reviews by Doretta
In Which the Column
Descends Into the Realm
of Journal. Rather Than
hi June, signs that I'm supposed
to be an adult appeared. My
friends and acquaintances were
acquiring full-time jobs,
Master's degrees, one-bedroom
apartments, engagement rings,
and pre-natal ultrasounds. It
seemed that my life was going
to start unfolding like a fashion/lifestyle magazine, rather
than in the zine style I'd been
accustomed to. I soldiered on,
sleeping in to embarrassing
hours (yes, if you arrive at my
apartment at 11AM, I will still
be in bed, as a friend discovered
the hard way prior to a jaunt
down to Seattle), living in my
ground floor hovel, waking up
to find that my socks smelled
like beer, and being generally
noncommittal. I was doing my
best to emulate Alfred E.
Newman: "What, me worry?"
Then my 20-something fear
kicked in. I was tired of jobs
that lasted only two weeks and
having   no   medical/dental.
There was only so long I could
masquerade as a student in
order to get cheap visits to the
dentist and free travel insurance. I didn't want to sink back
into the poverty that defined
my childhood. To make things
more difficult, it seemed like
lishing house and instead of
cutting my own hair, I turned
the scissors over to a professional. The stars must have
been aligned or something
because I got an interview. I
found myself in a boardroom,
wearing   ironed   (not   ironic)
It struck me that perhaps I
didn't have a clear idea of what
it means to be an adult. Maybe I
was already there, but just didn't know it yet. I decided to
look up "adult" in the Oxford
Dictionary: "a person who is
fully grown and developed. A
person who has reached the age
of majority." Well, I've been this
High school girls are aiming to look 19,
while 50-year-old men are trying to
regain the physique of their 20s. It
seems that everyone is trying so hard
to hit the mark that they're missing the
point: all we have is the present.
everyone around me had their
lives together. If they weren't
successful, at least they were in
love or in lust. In my delusion, I
even envied those in the process
of breaking up because at least
they were allowed to feel something. I was feeling nothing,
save for ennui. I was a robot.
The only solution that cost
nothing was to find a steady job
and set a career path. I applied
for a full time position at a pub-
clothing, trying to give a good
answer to "Where do you see
yourself in five years?" But the
question that stumped me had
to do with salary expectations,
to which I answered "I'm
expecting more than minimum
wage." Needless to say, my
adult act didn't work and the
only 9-to-5 gig I'll be taking on
is my 9PM-to-5AM role as
"writer who procrastinates until
the early hours."
low-to-the-ground height since
I was twelve. Gaining 20
pounds at 18 doesn't count as
development, does it? It just
means I had a lot of burgers and
ice cream in my first year of
university. As for reaching the
age of majority, I've been able to
vote for some time and during
my last visit to Las Vegas, it was
legal for me to drink and bail a
friend out of jail.
To add to my internal dialogue about adulthood and age,
my friend Miko asked "Do you
know anyone who looks their
age?" while we were standing
in line at the movies. I was
thrown for a loop. She was
right. No one I know looks their
age and most people are generally striving for something other than what
they have. High school
girls are aiming to look
19, while 50-year-old men
are trying to regain the
physique of their 20s. It
seems that everyone is
trying so hard to hit the
mark that they're missing
the point: all we have is
the present. Altering our
looks to attain the future
or regain the past is futile.
Fantasies of a successful
career and a great relationship are meaningless.
Then it came to me:
maybe the trick of being
an adult is getting to a
state where you stop
wanting and start enjoying what you have, enjoying the
Small Accidents
Andrew Gray, former executive
editor of Prism International and
current director of UBC's
summer writing conference,
Booming Ground, writes with a
simplicity and a subtle authority that makes his stories seem
shorter than they really are
because they paced so well. In
each story there is a character
who is facing the challenge of
"adultness," of expectation.
Sadness and hope are the building blocks of Gray's modern
landscape, a place where choice
is overwhelming and everyone
exists in the grey area between
"right" and "wrong." The most
poignant stories in Small
Accidents involve characters
who are slightly flawed in situations that heighten their inadequacies.
My favourite story in the
collection is "Letters to the
Future," in which the protagonist hunts down time capsules
from small town to small town.
The feelgood tone of the story
shifts as it becomes apparent
what the time capsule hunter is
really after, versus our expectations of his intent. The idea of
the time capsule deserves some
thought. It's supposed to be a
physical space that holds a slice
of time, an inscription of histo-
'ry. It's a letter to the future and,
during its creation, it defines
the present moment as the past.
In some ways, a column is
like a time capsule: it captures a
month. There's no tin box or
photographs wrapped in plastic, but it will do. I think, just
now, the wanting has stopped
and the being has just begun. •
the sound of spectacle by tobias
From the lips of the drunken King
Dubya, who entered the Realm and
said unto himself: so many Arabs
to fuck.—Anarchist Graffiti,
Montreal In the Summer
Imagine a city where, at every
possible opportunity, the streets
are shut down for sidewalk
sales, outdoor movies, live jazz,
salsa parties.... Imagine a street
where it is perfectly all right to
hang out, stoned on hash with a
bottle in hand, at 3:30am. Yes,
it's Constable Drennan's worst
nightmare: it's Montreal. On the
other hand, Montreal has no
beach, no mountains, no cool
forests. If Vancouver could only
import a little of Montreal's
spirit, and inject that instead of
heroin, she'd be completely
The Rise of Info-Fascism
The UK gov't made a bold step
in June to outdo even the US in
eliminating privacy rights. The
Regulation of Investigatory
Powers Act, Section 22, allows
any UK governmental section—
from    the    Food    Standards
Agency to local, elected councils to any government department, no matter how small and
petty—to obtain all email
records, phone records, and
mobile phone records (including locations, dates, phone
numbers, and transcripts) without a court order. For the police,
any officer of superintendent
rank or above can demand an
individual's records without a
court order. This will complement similar legislation enacted
by the European Parliament
which gives any member state
the power to force phone and
internet companies to retain the
detailed communications logs
of each of their customers for an
unspecified period. The UK's
Guardian also revealed last
November that access to communications data would not be
restricted to anti-terrorist investigations, despite apparent
assurances to the contrary by
David Blunkett, the UK Home
Secretary. What does all this
mean? Forget investigative
journalism; client-lawyer privacy rights (already lost in
Canada); doctor-patient privacy   '
rights; and the general right to
communicate in private—period. Forget personal emails or
telephone calls. Hello, paranoia.
Any government bureaucrat with
a grudge can now check your
email and phone messages and
buns. Go down to Wreck Beach
and sell as "Good EATS!" Sing
in acapella to the people on
'shrooms. Wear nothing but a
2. Find out when SketchCo is
having their Summer AGM and
crash it—it will be in the boardroom of the Vancouver Yacht
Club. Pretend to be from a rival
company selling bad refrigerators.
3. Walk into IKEA. Go into the
warehouse and grab those
cheap shelves. Start assembling
them in a corner of one of the
The New Forms Festival
Political and independent hip
hop. Experimental electronic
music. Glitch and Granular.
Scratch-Video. Post-Rock.
Minimal Techno. If you are a
freak of any of the above, then
check it: August 1-5 is the second annual New Forms
Festival, featuring an impressive array of artists across
four different underground
musical and artistic spectrums.
Thursday August 1 is Scratch
Video night with DJ Spooky
(NYC) and Nomig at Sonar and
Forget investigative journalism; client-lawyer
privacy rights (already lost in Canada); doctor-
patient privacy rights; and the general right to
communicate in private—period. Forget
personal emails or telephone calls.
Hello, paranoia.
seriously fuck you over because
you voted for the other guy.
Times like this, I always sit
down and watch The Triumph of
the Will—just as a reminder.
"We couldn't have done it without the megaphone."—Hitler.
Four Ideas For July
1. Make brown play-doh. Form
into turds and put into hot dog
back aisles. Build something.
Play. Leave. (If approached, just
say that you "wanted to give it
a run-through.")
4. Build public stocks. If you
can, get Public Works Uniforms.
Tell people that it's part of a
new economic initiative to deal
with "Tlie Indian Problem." Give
out cards with Gordon
Campbell's number: 250.387.1715.
don't miss DJ Spooky and
tobias v's postmodern "State of
the Art" panel either in the
afternoon, where we'll be laying
down the words. If the labels
Mille Plateaux, Orthlorng
Musork, Context, or intr_ver-
sion ring a bell, then Friday is
your very own Glitch and
Granular night at the Video In
with a rare live performance from
Joshua Kit Clayton and
Sue Costabile (SF), Mitchell
Akiyama (MTL), Ben Nevile
(Vic) and myself flying into DJ,
play live, and curate the night—
so you know what to expect—
plus the installation art of olo j.
milkman and Triina Linde.
Saturday includes Independent
Elements, a free independent
hip hop extravaganza at
Robson Square in the afternoon
featuring Mr. Rumble and U-
Tern plus a b-boy/girl invitation, emcees, and graff, and in
the evening at the Grandview
Auditorium, "Creative Control"
featuring Cyber Krib artists
Masia One (TO), Low Pressure,
Sweatshop Union, and more.
Finally, Sunday is the wind-
down and anarchic post-rock
listening session, Abstractions,
at St. Andrew's Wesley
Cathedral featuring Kinski
(Seattle), The Beans, Jazz For
Robots, and Insection4. SHIT!
That's a major festival—better
believe it, the NFF is a sonic
force to be reckoned with.
Check www.newformsfesti-
val.com for all the info and start
realizing that Vancouver is yes
indeed a good place to be.
Today's Secret Government
Codes: XJS43//HIT11//UIG-
Until bread n
s pain the world Energy, enjoyment, and creativity are some of the most apparent values
held by this three-piece rock and roll band from Coquitlam. Although their
approach is very much their own, they share similarities with the Jon
Spencer Blues Explosion, PJ Harvey, and even early Mayo Thompson. In
the past three years, the band's public focus has primarily been performance-driven, playing sporadically in different venues throughout
Vancouver. Without any released material, or website for that matter,
Sharkforce are understandably evasive. This lends an important quality to
their work, which refuses to be fragmented by an over-determined self-pro-
shows over there. I think we might just try to play some tiny little
shows, just for the experience of playing in a different country. I just
think it might be interesting and worthwhile.
So you guys plan on recording this summer?
This summer we're going to try to lay down all the better Sharkforce
material that exists and do a really good job of it by ourselves just to
have it as a document, something that we can keep for ourselves. I
DiSCORDER: What about the future?
Paul Kajander: Uh, future looks bad. I think I see the band eventually falling apart. I see the formation of a new super-group involving
some recognized and highly-prized musicians.
Who is Sharkforce?
Dylan Godwin is the better songwriter in Sharkforce and also performs the role of percussionist in live settings. He's also an amazing
wordsmith [laughter]. Mike Loncaric |bass] is an amazing musician
as well as a really thoughtful guy. He's such a brilliant thinker.
How integral is the friendship in Sharkforce?
It's essential. It's the main thing. I think that in a lot of ways, our
friendship is Sharkforce. Not that the band is artificially keeping us
together, but I think more that it's a perfect forum. It's a great opportunity for us to get together as friends and do something that's
meaningful to all three of us. I think if you have a pre-existing bond
and you enter a musical relationship with people, it can be really
rewarding and satisfying and also it strengthens the bond or a new
bond is formed because you are working creatively and it's always
a difficult compromise to do that with people. It takes a lot of trust
and energy and effort. Fuck, I sound like such a moron. I can't take
interviews seriously.
What other plans do you have?
The plans for the next year as it stands right now are that I'm going
to be moving to England with Dylan. We're going to be enrolled in
a university there and hopefully get some recording device so that
we can work on some new material and possibly perform a few
ve been doing this for five years and nothing's really c
to fruition. We've been so lazy about it. But the recording is a worthwhile project, even if it doesn't result in the acquisition of new
shows or if we don't secure any kind of distribution. I just think it
would be useful for us to have a CD even in terms of our own development and in charting our own progress. Just to have a recording
of reasonable quality that we can do ourselves and put a lot of time
and effort into, just to give to our friends and to keep ourselves. I
don't know if there's any point to releasing a Sharkforce disc, you
How do you feel about your ideas being put out to the public?
How comfortable are you with the interview process?
I think I'm really quite uncomfortable with it. But I see it as being
something you can either do or not do and I don't know if it's really harmful to put things out into the public. It's a question you
always have to ask when involved in any creative act. When you
put something into the public sphere it automatically contains a
question of intention.
At the same time you seem pretty hesitant to just be totally "whatever" about it.
Yeah, maybe I take it seriously. I want to be thoughtful, and I hope
to be thoughtful. I think it might be disrespectful in terms of you
putting in the effort into writing the interview.
Are you pretty indifferent to Vancouver?
No, I'm not indifferent to Vancouver. But I'm not happy in
Vancouver. It's a limiting city. I mean, my circumstances are just not
ideal. On a sunny day like today, I feel quite happy in Vancouver
and that's a happiness probably more born from the effects of the
In terms of the work people are pushing and producing, when you
pick up the Discorder or see local shows do you feel inspired or
I think that whenever I see shows or pick up the Discorder or get
involved in any sort of cultural activity, I do feel inspired. Regardless
of whether the music is great or bad, I feel like the act of actually
doing things is valuable in itself. But at the same time I can find
myself feeling pretty shitty and depressed about the state of things
in Vancouver. It's such a difficult city to live in. I think that I am a
particularly mediocre person, and I probably have some envy for
these people who are really dedicated and devoted and are really
Do you plan on releasing your solo CD?
I feel like the CD I produced last summer is 85% garbage. There are
a few moments that I can listen to as interesting ideas. It's difficult to
maintain a subjective, I mean objective point of view when listening
to your own music, though.
Favorite local acts, please. Be honest.
I think one of the most impressive local acts is Atlas Strategic, who we
lucky enough to have played with. In terms of what Sharkforce
might aspire to, I think that they're a band that have achieved what
we've always wanted in the energy of a performance. I think it's obvious we play a very different kind of music and it's a genre that I really enjoy. I do feel there are so many bands I am aware of that deserve
recognition, though, and I just don't want to put myself in a position
like that. The reason why I mention Atlas Strategic is because I don't
know any of them personally. Also, I don't go see enough live music.
This year, it's terrible, and I shouldn't be saying this, but I can't stand
going to rock shows anymore. It's not that I'm not interested in the
music, but it just becomes such an ordeal for me. To get down there
and go to the show can be arduous and I do enjoy shows when I'm a
little intoxicated, so just in terms of finances and practicality it can be
difficult. I guess lately I feel more inclined to spend my time being
more personally productive. I think it's very productive to go to
shows, but I can't bring myself to go to them when I have another
gazillion things that I'd been meaning to do. •
Sharkforce is playing on Thursday, July 20 at Ms. T's Cabaret. Paul
Kajander also performs solo infrequently.
by j    u    I    i
DiSCORDER: First of all, who are you? And why are you in my
Gary: We are the Accident. I'm Gary and I play guitar
Robb: I'm Robb and I play synth.
David: I'm David and I'm the percussionist.
Jesse: I'm Jesse. I play bass.
Tell me about your songwriting.
Robb: Our songs usually start with an idea from Gary.
Gary: The rest of the band has their input.
David: Gary comes up with the basic idea and the rest of the band
puts their spin on it.
What kinds of challenges are you facing, if any?
Gary: Booking a tour is my biggest challenge. Also wondering how
we are going to put out our next record in order to reach a larger
What role does your community play in your band development?
Gary: Inspiration. Personally I'm inspired most by local bands.
There's something about meeting with the people that are in other
bands. You are influenced by more than their music alone. Watching
how they act and how they function can also provide inspiration.
What kinds of "lifeskills" have you all individually been working
Jesse: I'm learning focus and perspective.
David: I can improve in every way.
What are your plans for the next while?
Robb: We are touring for the entire month of August and then com-
10 JULY 2002
w    h
ing back and recording another album. We're trying to put that out
in the fall or as soon as possible.
Where do members of the Accident "hang"?
Robb: We don't really hang that often. Usually when we hang out,
it's band-related and focused on band stuff. In the last while we
haven't been hanging much at all.
What bands or projects have you been involved in that you would
like to share something about?
Robb: Gary and I used to play in a band called the Instrumen. Gary
was moonlighting while starting the Accident. This was with Jesse,
Dave, and Nathan. The Instrumen broke up shortly after the
Accident began.
David: Jesse and I were involved  in different ways in the
Hoodwinks. Also, Gary and I played in a ska band called the
Spectacles with Mike and Tyler who are now in the Hoodwinks.
Do you still feel like a new band or have you come to the point of
feeling fully comfortable with the way things are?
Gary: I still feel like we are new. We definitely are not tired of each
other. We definitely don't hate each other right now. We've only
been around for about a year, and so it still has the romance.
Robb: Things still feel very new to me. I've only been in the band for
five months, and we haven't recorded any of the material since I've
joined. It still feels very new and exciting.
Gary: This is also the first band of ours that has planned a tour.
These things are so very new to us.
Do outside forces (life, etc.) ever discourage your productivity?
How big a part does music play in your everyday lives?
Robb: The fact that being in a band costs you more money than it
makes means there has to be a lot of things you have to do just to be
in a band. Rehearsing and scheduling band time is difficult sometimes—and I myself would like music to be a bigger portion of my
time as it is.
David: I'd say we all wish it were a bigger part of our lives.
Sometimes we feel like we're not rehearsing as much as we'd like.
That includes jamming more, writing more songs, and being more
productive. We'd like to be in a position where we can realize the
potential that may be there.
How are your values reflected in the music?
Jesse: One of the reasons that I love this band as much as I do is
because of the things that I'm involved in. Based on what I feel is
motivating me, I would say that my values are very strongly reflected in what my function in the group is. My function is to be one
voice in a group of four. I feel that many of our different values are
represented and balanced well, within the band. We're all people
who like to have fun and release energy when we play, but at the
same time we're fairly [socially] conscious people. While we are on
stage the problems and injustices of the world may be far from our
minds and the audience members' minds, but hopefully, when they
leave or when listening to our records, there is something more of
the conscious side reflected in our lyrics.
Gary: One of my personal goals is to make that a bit more obvious
to people. It's hard to go on stage and show our views when you
are having fun. There's something more there to look at later while
the initial enjoyment can be carried on.
What is the intent of this interview?
David: I think the reason we are doing the interview is because we
want interested people to know what's going on. As for those who
have never heard of us, hopefully this serves as a sort of introduction and invitation to come see a show. • Two Minute Miracles
The first time I saw a Two Minute Miracles show was an interesting experience. I recall seeing a band sitting around a table on a dimly-lit stage
with their instruments on their laps. The singer of the band would occasionally sing into a microphone mounted on an army helmet he was wearing. I remember thinking to myself that the stage setup made them look
more like a bunch of guys drinking beer and playing poker on a Friday
night titan anything else. But the music urns good. The band played charmingly short, mellozo and eccentric pop tunes—just the type of songs that I
That was more titan a year ago. These days the Two Minute Miracles
do their shows standing up like all other bands. The helmet is gone.
Experience lias taught them that they can't spend an hour before each show
setting up a stage when they are playing night after night, each show in a
different town. Looking more professional lias not affected their music, however, as they are still churning out finely-crafted pop gems that are winning
crowds all across the country.
The Two Minute Miracles hail from London, Ontario. There are five
people in the band: Andy Magoffin (guitar, vocals), Aaron Curtis (drums),
Clayton Cornell (bass), Mike Christoff (keyboards), and John Higney (lap
steel, banjo, guitar, fiddle). 1 managed to meet up with Andy, Aaron, and
Clayton before their recent show in Vancouver.
DiSCORDER: So this is the first time you've been out in
Andy: Yep, first time we've been west of Windsor. We've played
about 10 shows so far. When we left a week and a half ago, we had
five shows lined up to this point, and we picked up five extras just
by walking into towns and storming their open stages and muscling
our way onto other bands' shows. Just introducing ourselves and
saying, "Guys, help us out, we wanna play."
How did you get here?
Andy: We drove in a van.
Which towns did you play in?
Andy: We stopped in Kelowna, played a coffee house there.
Aaron: Canmore. A couple shows there.
Andy: Yeah, one on an opened stage. And then we opened for
Shikasta the next night. We had shared a bill with them in the past in
Toronto. And it was a good time. What else did we do? Oh yeah,
Vancouver, when we got here a few nights ago my friend Zena told
us we should check out the Side Door Cabaret because they have a
very open booking policy. So we called them up and said, "Hey, can
we come down and play a set?" And they said "You're in luck,
'cause the Gruesomes just cancelled." So we went and played a set
I heard that this tour almost didn't happen. Some of your possessions were stolen just before you were about to leave.
Andy: Yeah, our practice space and our studio got ripped off. So the
cash for transportation and all that stuff got taken. It was kind of a
drag because I thought the cash was well hidden. So maybe someone knew where it was, maybe did some snooping, which leads me
to think that it was somebody who knows me or has been there in
the past.
Your studio is in your house?
Andy: Yes, it's in my house. They smashed the window in the front
door, but couldn't get in that way, so they shoved the air conditioner in through a window and climbed in that way.
And then you did a fundraiser show which helped to pay for some
of the trip.
Andy: Well, I was about ready to cancel the tour because we were,
well, the total poverty tour to begin with. When I called my friend
Zena to tell her that we weren't going to be staying at her house in
Vancouver, she said "No! You can't cancel the tour! We'll hold a
fundraiser!" So she got on the phone and called the university radio
station in London, and she got all of them behind it. I got a call from
their Music Director saying "Hi Andy, this is Chris from the radio
station. Listen, we are going to do everything we can to make this
show happen." This was on Wednesday morning that we were talking to all these people. By Wednesday night we'd secured a venue
and by Thursday morning we were postering. And the show was
on Sunday night. We got 150 people out, and Royal City came down
from Toronto to play. Gentleman REG and White Star Line, they just
came down to play for free to help us get back on the road. It was
pretty awesome; I was totally humbled by it.
It must be great to be supported by your fellow musicians. Is
music a job, a hobby, or an obsession?
Clayton: We all lead different lives. More like double lives.
Andy: I can't see anybody in this band not being in a band. You
know, at some point we are all going to be playing whether it's
together as a band or in other projects. John's working for his PhD in
musicology. Mike has his Master's in composition. We've all been
playing in bands all our lives and just doing the circuits. I would
say it's a full-time job that doesn't pay anything.
Tell us about your latest album Volume II. How were the songs
Andy: It was written in little bits and pieces. It was sort of a work in
progress for a long time. There was no master plan; they just kind of
came together. We moved from one song to the next. And when we
realized that it was done, we mastered it. And then our label Teenage
USA went bankrupt because of the whole Song Corp fiasco. We had
to sit on it for a year. And as far as the writing process? It involves a
lot of beer, a lot of getting together and playing, and a lot of sitting
down with the four-track or sitting down in the studio with guitars.
Aaron: A lot of on the whim ideas.
Clayton: Out on a limb, on a whim.
How different is it from your first album?
Andy: It's far more, uh, I don't want to use the word "cohesive"
because I've seen it in print a million times. But it's a band unit, you
know, whereas the first one was a bunch of four-track oddities. This
one is a bit more of an album.
Did you try to make it different?
Andy: No. We just realized after it was all done that we're actually
better at what we do now. And it's still advancing. Volume 111 is in
progress. We are just kind of freaking out when we look at songs
we've got in the works already.
A few outsiders contributed to the album as well.
There are some guests. Because my house is a recording studio,
there are always bands coming through. Jose Contreras from By
Divine Right was there all the time last spring. I was mixing "Rayon
Queen" when he arrived for a week of recording, so he helped out
with the mix, and he did some singing and played some shaker and
stuff. Whoever's around is happily invited to play something.
The name of the band is "Two Minute Miracles" and your songs
tend to be around two minutes long. There must be a relationship
Aaron: We are not calling our songs miracles.
Clayton: We sure are!
Andy: [Laughs] I don't know. It's kind of tongue-in-cheek. I forget
now why that happened. I guess in the early days I was having trouble writing songs, and I asked some friends for song titles so I could
write songs about them. And they all winded up quite coinciden-
tally being about two minutes long. And rather than looking for a
band name which is always a painful process, we just defaulted to
the Two Minute Miracles as the band name. I don't know where the
name Two Minute Miracles came from.
Aaron: It's great that people like to mispronounce it though. Two
Many Americans we were called.
Clayton: Two Bit Miracles, Two Many Miracles.
Aaron: Two Many Muscles, Two Minute Heros.
Andy: Yeah, they are funny, I guess. If you mumble it's easy to mess
it up.
Clayton: You can say it slow and people still fuck it up.
And someday you will have a 15 minute song in your album just
to mess things up.
Aaron: [Laughs] There's that one song we have. It's a new one.
Andy: Yeah, there's a new one. It'll probably hit four minutes.
Andy: And the album will be called Double It Up'. [Laughs]
Aaron: We'll then be called the Two Minute Miracles Squared. •
by Ben Lai Nasty   On
Dave Gaertner photos by Andy Scheffler
DiSCORDER: Introduce yourselves!
Jason: Jason Grimmer, singer.
Allen: Allen Forrister, guitar.
How about a little musical background on yourselves as well.
Allen: I started playing in marching bands and concert bands playing drums and sax and guitar at, like, 11 after seeing groups like
WASP and whatever, and it grew from there. I started taking lessons
and getting into groups like the Pixies. Then just creating bands until
this one came along.
jason: I moved out here—I'm from New Brunswick—and I met Al
at Sam's [The Record Man] and he and I formed a band called Mystery Crater, that was like this total primitive sounding band with
two drummers who didn't know how to drum and we just wrote
tons and tons of songs.
Allen: Some good but mostly crap. Then I moved away again and
came back, and they had a real daimmer at this point and we came
together and actually started writing real songs as the Nasty On.
So Jason, how about some of the bands you played in back east?
Jason: I never played in any bands back east. I had a real bad, horrible band called the Organ Favourites with some friends of mine.
We just played Replacements covers. I think I was drumming and
singing, and I don't know how to do either, so it wasn't working. Al
had some bands back east.
Allen: Saskatchewan, yeah. I had one band called I Am Joe's Lung
and Mystery Crater was with Matt, our bass player.
Jason: Matt and I are from the same town in New Brunswick, and I
was best friends with his older brother. He moved out here 'cause
his sisters lived here and we hooked up. I've known him since he
was a kid.
Allen: Chad's from London, Ontario. He was playing in bands
when he was like 17, I'm not really sure. Probably the biggest band
he played in was Black Donnilies, who are still a well-known punk
band from back in the early days in London. He was almost in
Jason: It's true. We were all almost in Nickelback.
Allen: I'm from Saskatchewan, so it's very close.
How long has The Nasty On been together?
Allen: Three years now. Three years ago May.
Jason: Really? Well fuck man, happy anniversary.
Allen: We booked our first show and the next day we rehearsed.
You booked your first show and then you rehearsed?
Jason: I wrote back to Halifax and Al asked me to do this with him.
We booked a show and then we wrote these songs. What was the
first set list?
Allen: There were like 19 songs. A lot of them were Mystery Crater
songs. Then we did Creation's "How Does It Feel," which was pretty ambitious.
Jason: And we did two songs I remember in particular: "I Hate My
Job" and "I Hate Your Life." We haven't played those since.
Allen: They were about four seconds long.
Where was that?
Allen: At the Piccadilly on a Wednesday.
If you guys had to pick your favourite show that you've done,
what would it be?
Allen: Mac Hall in Calgary in October with Chupacabra, then us,
and then the Black Halos. Amazing crowd.
Jason: I'd probably pick the one I don't remember.
Allen: [Laughing] Zulu.
Jason: No, but that one was insane. Richard's on Richards show
with the Spitfires for their CD release. I don't remember it very well,
but I climbed shit, so I was happy with that.
So when asking people about the Nasty On before this interview
most people seemed to come to the consensus that you are a rock
and roll band. What do you guys think about that? Would you
define yourselves as a rock and roll band?
Jason: Yeah we would, and it's refreshing that they would say that
12 JULY 2002
'cause there's a lot of little corners that bands get themselves tucked
in, and we've never considered ourselves to be anything but a post-
classic rock band.
So is that something you keep in mind when you're writing
Jason: Definitely. There's no bandwagon we're trying to jump on.
Allen: Except for all of them.
Jason: We're huge fans of a lot of music from the '60s and '70s and
we always look back and say "Yeah, as long as it's like a certain type
of rock and roll then we're happy."
So moving on to the new album in that vein, do you think you're
a groove-oriented band?
Allen: We've grown a lot. It's almost like if you look at the Replacements' career we've almost gone from the first album to Tim, so it's
hard to say. A lot of the kick-ass rock band reviews come from CiTR
people who have seen us live. Unfortunately as a recorded group
we only have those six songs, so it's really hard to see what we're
able to do. But we've written 75 songs together and recorded about
40 by now. The new album will show a lot more of what we're capable of doing and it's still rock.
Jason: Every song we write we can usually pinpoint where it comes
from. We can go "that's an Only Ones song," or "that's a Primal
Scream song." On this album we decided we wanted to write some
longer songs, but I don't believe in writing songs just for the sake of
them being longer. A lot of them came out longer and we were
happy with that.
Were you picking from that list of 75 songs for this album or did
you have a particular set in mind when you went in to record?
Allen: For this, it was definitely set in mind. The first crack at the
album was taken last April, which really wasn't a crack at all—we
just went and recorded the 14 songs we'd never recorded and then
it took a long time to finish and never went anywhere. By that time
we had written some new stuff that would be really great, and then
we went in and actually made a focused album. We focused on 11
songs at least 10 you'll see. So it does feel like a step ahead as
opposed to just banging out what we have over a weekend.
Jason: I like our first EP like I like a lot of bands' first albums. It has
the energy and the hunger there. I'm a big fan of second albums
because that's when there's the pressure to write something that is
like a classic. So I feel that we picked out the songs that people were
going to want to listen to for a long time.
Where did you guys record this album?
Allen: Still with Jay Soloym of the Spitfires. He's grown a lot with
us too.
It doesn't sound like it, but are there any frills on the album?
Allen: We've got some guest musicians on this one. We've got
[Stephen] Hamm playing keys on some stuff, Shane Krauss playing
saxophone, and Mark and Kathy from the Cinch are on the album.
Jason: Getting Hamm was a huge thing, and we're huge Slow fans,
and that was the happiest I'd been in a while about recording.
So where's this album going to take the Nasty On?
Jason: To the mid-ranges of the college charts!
Allen: As long as we move forward and keep climbing we're not
too worried. It's hard to pinpoint where things are going to lead
you, you kinda just wanna take what comes your way.
Jason: All the bands I've loved have been bands that you've listened
to their albums forever and you still put them on, but they never
really broke or did huge amounts.
Allen: Failures
Jason: And it's a sad thing that everything I love is a failure, but I
guess that's a pretty good goal to reach.
So how about what's going on in Vancouver right now, the scene
if you will.
Allen: I think there are a lot of great bands. The ones that are recognized are the ones I question the most.
Jason: When you're involved in the music scene you can kind of see
If it's rock you want I might suggest that you look no further than the Nasty On. In fact you need not look any
further than their latest album, due out this month. Actually you don't have to look any further than the three
lines that will take you to this interview. How's that for
convenience? The deep grooves, narrative lyrics, and
pounding drums that make up City Sick, their new album
out this month, are sure to turn any rock fan's head. I
talked to Jason and Allen about City Sick and the misadventures that make this band one of the hottest on the
Vancouver scene.
who    gets
known and who
doesn't.    When    you
work in a record store you
see how things work, it's not as
simple as "This is a good album, [therefore] this does well"—it's based a lot on who
knows who and who knows what.
Allen: Geographically, music doesn't matter. There's good
and there's bad and that's all that counts. Somewhere else we're
not a local band.
Jason: [Laughing] That's a great point.
You guys played the wrap-up party for New Music West. I don't
know if you read what John Lucas of the Georgia Straight wrote
about the Nasty On, but he said you were sloppy.
Allen: Supremely sloppy.
Jason: That was a point of contention for us because everyone I
talked to after that was like, "I saw you like 12 hours ago eating
burgers on the side of the road and then 12 hours later I saw you
playing tighter than you did at the Royal."
Allen: We felt bad and good about the review, but if you look earlier in the paragraph he specifically states that he was in no condition to review anyone's music and we were in no condition to play
ours, so I think we're even.
Jason: I think within any review like that you have to look in the
paragraph and find what makes you happy.
I also heard a story from somebody about one of you getting weed
for Jonathan Richman's drummer. Is this a real story? I'd like to
hear it.
Jason: We had the pleasure of opening for Jonathan Richman. We
were so happy playing that show—we're big Jonathan Richman
fans, big Modern Lovers fans. After the show the drummer from
Jonathan Richman's band was like "Hey, can you get us any weed?"
and Al was like "Yeah, I'll try."
Allen: There was this guy outside with a bike with a lot of bags and
he had a giant bag of weed. I convinced him to give me a little
nugget. So I ran inside and I couldn't see the drummer anywhere or
his friend Barbie, who was doing most of the talking, so I headed
back to the band rooms and I knocked on the door and said, "Hey
Jonathan, I've got what you want." He just told me to go away. So
eventually I just shoved under the door and went "Pssst." I left and
then ran into the drummer and Barbie and it turns out, oh no, they
were just telling me it was for Jonathan [in order] to heighten their
chances of getting some. Jonathan's really very anti-weed and it
actually really upset him.
Jason: The drummer ran out going, "No, no, you shouldn't have
done that!"
Allen: Good times.
What are some Vancouver bands that the Nasty On is into?
Jason: Three Inches of Blood, The Cinch, Notes from the Underground, StationA.
Allen: Black Halos, rest in peace.
Jason: Clover Honey, Hotwire. Who have we missed?
Allen: Black Rice.
Jason: We're pissing someone off...
Allen: Latex Bride, Canned Hamm.
Jason: Oh, and the Ewoks because they sang me that birthday song.
Allen: How about if we forgot you, next time you should do something memorable and then we'll remember you.
Jason: Man, you just dug the worst hole, that's terrible.
Allen: Nasty On, reaching new heights of lowness. •
The Nasty On's CD release party for City Sick will be held at The Pic Pub
on July 5. Was it all a dteom? One sunny June morning I woke up way too
early in the morning ond dragged myself across the city to East
Vancouver, home of the Hive Studios. I was then chauffeur ed to an
undisclosed location to wait for Nick Krgovich, larissa Loyva, ond
Chris Harris, three quarters of p.ano. I sot in a lovely bright living room and watched someone's pet rabbit try and eat my shoes
while drummer Justin Kellom and manager Miss ferry entertained
me with gossip and chitchat.
■ P-.ano make deeply textured, nostalgic music based around,
naturally, piano and organ. As primary songwriter, Nick balances
remarkable energy ond sophistication with calm restraint. His
bandmates "colour in the skeleton" of the songs gently and skillfully, creating a warm bath of sound.
by Barbara photos by A. Harrison
Memories of a Lawnchair: p:ano Make Boring Things Interesting Again
DiSCORDER: [Gesturing at practice space in backyard] So, you know,
there's no actual piano back there. You obviously have lots of electric pianos.
Nick: I wish we had a regular piano. Electric pianos are just necessities. We have no money. [Real pianos] are finicky, they change tunings all the time... keyboards are where it's at.
The last time I saw p:ano play was in the summer of 2000. How are
you different now from what you were like then?
Nick: I don't know if we sound different, the songs have just gotten... I mean, as we've gotten older we're writing better things, we
think. Beforehand it was just a case of someone asking us to play a
show and then I'd round up whoever and we'd practice maybe once
or twice and then go play in front of people.
Larissa: It's only the last year now that we've had a regular drummer and a regular bassist. It's only recently that we've gotten into
practicing regularly. We've noticed how well it works. [Laughs]
Nick: Our aim was never to be in a band and, like, be a band and do
tours and make stickers and have a website. But it's just sort of happening that way.
So you now have stickers.
Nick: Well, not quite yet. But you know what I mean. We're going to
have buttons and postcards.
What are the postcards going to have on them?
Nick: They're boring. A curtain. The album cover. It's just promo
material. Justin took [the photo]. It's the bathroom at the Hive.
Justin: The first thing Nick told me about when he was talking
about the album cover was that he was obsessed with the curtain
from the Hive bathroom: "You've got to see it, you've got to see it,
it's perfect, it's exactly what I want." And then I came over and I
was sort of underwhelmed by it. And then when we took the pictures and they came back...
What's so hypnotic about this curtain?
Nick: Nothing, it's just kind of boring and lame. You have to look at
it in a certain way.
Justin: The way that I looked at it, when I was trying to translate
your obsession, was—I mean, you used the same words, that it was
boring and that was what was appealing about it—but what I got
out of it was more that if you pay closer attention, there are cool little subtle things about the way that it hangs and the way that it's
framed by the walls.
Nick: It's just pink, totally non-descript, it just hangs almost in a
perfect square.
Larissa: We didn't want people in our cover art. No kids on bikes,
stuff like that.
Justin: If you look closely, though, I think there are kids on bikes in
there. Kind of like when you're staring up at clouds when you're a
Larissa: We didn't want clouds.
Speaking of clouds, I came over here intending to ask you lots of
questions about weather. Your album's called When It's Dark and
It's Summer. I think of rain when I think of your music, and on
reflection that is really tacky. People tend to make a big deal about
this city being a moody, dark, rainy, melancholy place. So I
thought, "Maybe I'll throw this at them and see what kind of faces
they make."
Nick: I never ever mention rain in anything. Grey is okay because I
like that colour. But rain is bad, that crosses the line.
It's a cliche way of dealing with moods, equating them with the
external environment.
Nick: I think there is some of that gloominess in the music but I try
not to go straight there. I try to bring it up in a roundabout way.
Justin: It would be too easy to use rain as a metaphor.
Also, I know you're from Coquitlam. I lived in Burquitlam for a
while and it was never sunny—it was always just grey. Anyway,
this would be my tacky rock journalist approach to p:ano: "I'm
going to construct this interview around weather metaphors!"
Nick: No, that's good because weather's a humongous deal to me.
I don't know about the couch gang over there [looks at bandmates]...
Larissa: [Makes thumbs up sign] Weather. [Laughter]
"P:ano: Pro-Weather."
Justin: "Newsflash: p:ano not against weather! Back to you,
Did this album take you a particularly long time to finish?
Nick: We never thought we were going to make an album. We
recorded two songs and eight thousand years later we recorded
some new ones and then two thousand weeks later we...
Justin: I'm sorry, I hate to interrupt, but I've always wanted to know
how you two [Nick and Larissa] hooked up with the Hive.
Larissa: They kept pestering us.
Nick: We were so naive about everything. We had no idea that there
were people other than our friends that even knew who we were.
Colin [from the Hive] came up after a show and handed me his
number and said "We want to record you." So two months later...
you know what I mean, I didn't even jump on that opportunity. He
phoned me back a while later and we set something up. That's why
it took so long—we weren't overly anal about making everything
Could you describe the album to me before I hear it?
Nick: Twelve people play on the record, so there's lots of different
instruments. It's not like "Oh, we need to be eclectic so let's put lots
of instruments in." I'm just a fan of arranging lots of instruments.
Justin: I would hazard to say that that's your number one ability.
Who did you bring in to play on the album?
Nick It was mostly people that we were already friends with. Some
people that Larissa and I knew from high school played, and Josh
Wells, Stefan Udell, Andy Herfst, Veda Hille, my cousin Julia from
Calgary, Ida [Nilsen]... We needed help and they were nice enough
to help.
Chris: I think that if I had to distill the album into something, it
would be that it's...
Justin: "...a mixture of Low and Belle & Sebastian..." [Laughter]
Chris: I wasn't going to go in that direction at all. The thing that's
nice about it is that there's a lot of songwriting craft involved that's
not obvious. It's very song-oriented stuff and the songs have a lot of
thought put into them, they're very composed but without sort of
bringing along a lot of the cliches that songwriting-oriented material normally has. It seems to me that most people that are really
good, craft-oriented songwriters always have an element of gloss
and cliche about their songs.
Larissa: Our songs are all units in and of themselves.
Nick They're not really verse-chorus-verse-bridge-chorus-verse. It's
chunk-chunk-chunk. Almost more like a symphony.
Larissa: Beethovenian. [Laughter]
Chris: I wouldn't call it indie rock, if you had to call it anything.
Most indie bands—that's such a terrible word to even use anymore...
They tend to work from an aesthetic.
Chris: Yes, and you can pinpoint song devices, writing devices.
Nick's songs are almost throwbacky pop songs but not in a rehashed
kind of way.
How do you write songs?
Nick: I write everything and we all work it out during practices
Justin: Going back to the curtain thing, I think the things that inspire
you [Nick] a lot of times are the connections you make between
things that are really really boring but are significant in the way you
feel. You connect boring things with bigger feelings.
Terry: Nick's able to walk down the street and see a rock...
Nick: [Wincing] Not a rock.
Terry: Or a lawnchair. He'll see a lawnchair and get so excited about
it, and then translate it into a mood, into a feeling.
Why a lawnchair?
Justin: You could see a lawnchair and that would inspire a certain
memory: a time when Nick went to a family barbeque and the bar-
beque fell over and his grandma had to get up from the lawnchair.
It would be something like that—little nostalgic things from your
childhood that you bring forward into your adult life. [To Nick] Not
to say you're an adult. But you bring the skeleton, play it once, and
then we build the song. It never stops changing, either. The songs
get played similarly live but there are always little changes that happen, always a certain amount of freedom to change them.
Larissa: Sort of improvisatory but not in a cheesey way. You can do
whatever's in your head at the time. There's the skeleton of the song
and then you can fill in the colour.
Tell me a bit about the tour that you're going on.
Nick: We're planning on going down to San Diego with Jerk With A
Bomb in August for two weeks.
In punk rock clubs with Jerk With a Punk Rock Bomb?
Nick: Probably. I'm sure we're going to have to beef up our set a little because it's not fun to play to loud bar crowds when... but we're
not stuck to doing any one thing. We're not like, "Oh, we're a quiet
Jerk with a Bomb have their quiet moments.
Justin: In fact, their new album has some exceptionally quiet parts.
So I heard you wanted to do some gossiping.
Larissa: What are we supposed to gossip about? All my boyfriends?
Terry: Ashley Park. And maybe gossip about Destroyer.
Gossip about Destroyer. That's excellent.
Justin: That's not his real beard.
Nick: The money Dan and Merge Records paid the Hive to record
the new Destroyer album is what's paying for our album to come
Chris: Is that gossip?
Justin: If I was reading, like, Option magazine back when it was still
around, that would be gossip. "According to Hive Studios, the
money from the new Destroyer album is going to finance p:ano. Is
that like [robbing} Peter to pay Paul? What do you think?"
Can you talk about some of your other projects? Nick, you have
Burquitlam Plaza...
Nick: Yes: Burquitlam Plaza, Boring, Two Bad Catholics, All Hail
Hail, Micro Nice, Parks & Rec...
Justin: He's totally making up these bands!
Nick: ...Mr. Hooper and the Hooplickers, Terry-O and the On-
Dangs, The Modern Loyvas, Love Handles. I play in the Jon-Rae
band too, and The Olden Days.
Terry: What were you recording yesterday, Nick?
Nick: I was playing some songs on Ashley Park's new album. 1 sang
on it and played piano on it.
Larissa: I play in A Luna Red.
Chris: The Secret Three have a new record coming out. Tliat's just a
rumour, though. I have another band called Parks & Rec which is
sort of my songs with a lot of the same people involved. We're
putting out an EP as well.
Terry: And when does the Secret Three record come out, Chris?
Chris: 1 don't know. Soon. It's called Northern and Industrial.
Terry: At the beginning of July, you say? The second release on Hive
Fi Records?
Justin: Hive Fi, what's that? [Laughter] Throughout this whole interview, you can kind of pick out what is rumour and what is not. Does
Nick really write songs like that? Is Chris really like that?
Larissa: Does Larissa really have boyfriends?
Justin: Is it really all just a dream? Was I really here? •
P.ano's first album, When It's Dark and It's Summer, is due out this
month on Hive Fi and Zum Records. Vancouver Folk Music Festival:
not just banjos and beards
by Val Cormier
Tlie Vancouver Folk Music Festival, which celebrates its 25th
anniversary this year on July 19-21 at Jericho Beach Park, has garnered an international reputation for being on the iranguard of defining folk music and especially the concept of "world music," before
that term xvas coined.
Tlie VFMF has long been controversial within the local folk community and the public at large. Programming (too big a variety? not
enough? insufficient representation of local artists?), lack of a beer
garden, communication (or lack of) with other groups in the
folk/roots community, financial woes, ever-increasing ticket prices
($130 at the gate this year for an adult 3-day pass) and a perceived
left-wing, anti-corporate political stance are just some of the topics
Folk Fest critics love to gnaw on.
I sat down one sunny afternoon ivith the festival's effervescent
and ivell-spoken artistic director, Dugg Simpson, to address these
issues and allow him to philosophize on the festival and folk music
in general.
The first Vancouver Folk Music Festival was held in Stanley Park in
1978 and moved to Jericho Beach Park the next year, where it's been
held ever since. Organizers of the first Festival included folks such
as Gary Cristall (VFMF artistic director through the '80s and early
'90s) and Mitch Podolak (artistic director of the Winnipeg Folk
Festival for many years). In the early years, the Children's Festival
and the Folk Festival were operated by the same organization.
Dugg's first involvement with the Festival was as a volunteer in
its second year. After working in the production end of the festival he
became the volunteer coordinator for about a dozen years, and has
held his current position since 1996.
Despite coming off a particularly gruelling production week at
the time of the interview, Dugg maintained an abiding love for his
job. "It's something I really enjoy, and raising the bar for oneself, as
well as for the event, keeps it engaging. There are so many things that
can be done both inside the festival as it exists now, and in terms of
the potential for music in people's lives throughout the year."
Oh Those Money Woes
Dugg deftly deflected questions on financial matters to the festival's
executive director, Frances Wasserlein.
He did, however offer these thoughts: "We didn't set out to be a
corporation. We still stay as a cultural organization, and we're still
concerned both with the artistic side of that and with the community side. We've tried to keep ticket prices reasonable, maintained the
disabled access program, the community tickets program, so that all
kinds of people can come to the festival. It's not a way to big pay. If
you went into a bank with a business plan that says we want to stage
a music event for 8-10,000 people a year, and we're mostly going to
bring in young artists, women artists, and people from traditions that
most people have never heard of—you'd get laughed out of the
building! But we've stayed true to that stuff for 25 years, which is
amazing c:i a certain level. We're not here shilling for some company,
we're not here to sell running shoes. We're not here to sell you anything else except a chance to spend time with people of similar mind
and hear some musical stuff that'll just blow your mind."
Not surprisingly, my inquiries to Frances about the financial status of the Vancouver Folk Music were met with a sigh of exasperation. Nobody, it seems, really wants to talk about what is sometimes
referred to as the "[Gary] Cristall years" anymore. "I don't mind talking about it, but people tend to dwell on this to the extent that it's
difficult to keep moving forward." With that caveat, she reports that
three of the last four festivals brought in a small surplus and they're
in much better financial shape than five years ago. The financial crisis of about five years ago, which culminated in a major creditor filing a well-publicized suit against the festival, was, according to
LFrances, the result of a whole bunch of things which can and do hap-
pen to a non-profit organization in difficult times. She credits the hard
work of the staff, board of directors, and the persistent faithfulness of
the audience with helping the festival out of the financial slump. "We
feel that budget changes and attempts to keep the artistic budget at a
reasonable level have been successful, and we've snatched triumph
from the jaws of debt."
While ticket prices did rise, early bird prices were held to last
year's prices. The estimated 17% of attendees hailing from the US
Pacific Northwest is expected to increase this year because of the
anniversary, security concerns (Americans traveling closer to home),
and the cancellation of Seattle's WOMAD festival.
Many festival-goers appreciate the refreshing lack of corporate
logos on the site. On the other hand, many others wonder where the
hell the money's coming from, especially with government's ever-
decreasing funding and support of the arts.
Dugg responds: "If you looked at a festival program from 15
years ago and then one from this year, you'd probably be surprised at
how many more people from the private sector are actively involved
in supporting the festival. There are a lot more of those relationships
now than there used to be. But they've also been done very carefully
because we're a cultural organization, and we don't see ourselves as
being here to peddle our audience to Company X or Corporation Y
We're kind of old school—we want to work with people from different parts of the private sector that we'd be proud to work with, and
who we feel support all the things that are unique about the festival.
"We have also become more skilled at the writing of grants [for
government funding]. Part of the reason that we continue to be successful with those levels of funding is that we do care about gender
balance in a lineup, do programs with diverse communities and
artists—for a generation at this point. We are all of those things that
they [bureaucrats] think of as good. Finally, most of our money has
come from earned revenue: selling tickets, and donations from our
He also points out that the institution of special pricing for students, which came in three years ago, was a direct result of audience
lobbying. "Which is how a lot of changes have happened at the festival—people standing up and saying 'Have you thought about this?'"
"One of our official surveys has showed that our audience has
been getting younger over the last five years. I think part of that is the
programming, part of that is acknowledging that they face increasingly real financial challenges. Volunteering provides another way
for young people to get involved. It's been very conscious—how
we've tried to open up the festival. I couldn't be happier, because we
have to pass it on at some point. This organization was started by
people with a median age of 25, but they're no longer that age."
While it's probably not a problem unique to Vancouver, this city has
developed a rep, in folk/roots circles at least, for lack of effective communication among various presenters.
Dugg readily admits this has been a problem, but is optimistic
about recent developments in this area. "As we've got our financial
house much more in order than it was some years ago, we've got the
festival down. We've got this great train set, but what else can we do?
What are other ways in which music and people's lives can come
together? That's a really engaging zone.
"We're going to work with the Rogue Folk Club and Capilano
College to do the Folk and Roots series at Cap College. The three
organizations are working together to help spread the word better
and help create more opportunities for artists. It also gives us a
chance to follow up with artists we introduce at the festivals, so that
those relationships can carry on over time.
"We've got half a dozen presenters that present different kinds of
roots music. Why aren't we talking to each other? I think that everybody is ready to start having those conversations. Each organization
has its own solid sense of identity, and their own special interest
inside the whole breadth of roots music, and I think the time is real- \
ly ripe now for us to get things a bit more together in town. I'm really feeling optimistic and positive about working on that."
What took them so long? "I think organizations needed to be able
to get to a certain point where you can look up from your immediate
concerns and say: well, where are we? Who are our allies, our community? Then it becomes more likely that we can get together and
talk. In this kind of work, there's some very strong personalities
involved, and it can be just as simple as a personality conflict. But as
times change, new doors open up."
VFMF also becomes a moving target for the simple reason that there
is an ethereal, ill-defined Folk Process out there (whatever that is).
Dugg's take: "I think we've always tried to create an organization
that lives up to some of the aspirations that people are singing about
on the stages. That's an ongoing tension—you have your aspirations
up here, and then you have the hard, practical details involved
towards doing that.
"Of course we're also challenged by resources. Nobody has as
much money or staff as we would like to have. At a certain point you
hit a wall in terms of what two or three people—year-round staff—
can do. How many balls can you keep in the air?"
One common complaint heard about the Festival is that it tries
too hard (or not hard enough!) to please a lot of different interest
groups. Dugg has evidently given this a lot of thought: "One of the
nice things about having worked one's way up from the mailroom,
so to speak, is that I have a good understanding of the audience, I
think. There definitely are 'constituencies,' as they're called in arts
grants. Each year we start from recognizing our own traditions, and
making sure there will be some excellent singer-songwriters, Celtic
music, music from away, maybe from a place you can't find on a map,
and our commitment to women's music.
"Part of our understanding, I think, with all the people that come
to the festival is that the thing that you love the most in the world—
whether it's singer-songwriters or Celtic, or what have you—yeah,
we'll have some of that. Once people have got that comfort level and
they know that a few times a day they can hear their heart's desire,
they're then much more open to listening to some other things as well.
It opens up their generosity and curiosity.
"On one hand, it's very challenging, on every level from marketing
to scheduling. On the other hand, it's one of the things that makes the
festival very special, that there is this variety. One of my favourite
things about this festival is that it remains an all-ages kind of event.
We have some cases where three generations of a family come together, and that's because each group inside that bunch knows there'll be
something for them. I also think there has to be a place where people
can cross-pollinate a little more, and not just self-associate."
Speaking of all-ages, how does this bode for the possibility of ever
having a beer garden on site? Dugg smiles upon hearing this oft-asked
question. "Most of the people in the audience have said they don't
want one. I appreciate that some people, artists included, think it's
weird that we don't have beer. On the other hand, I enjoy a drink more
than most, and I don't think anyone in the festival is anti-alcohol. I also
don't think that it's the worst thing in the world to listen to some of this
music straight. Especially some of the challenging programming, like
traditions from Persia, Central Asia, music you might not have heard
live before. I'm very sensitive to the fact that more than half of the people who come to our festival are women, and they were among the
most outspoken around the idea of beer."
"I've been to other festivals that I know are netting $50K out of the
beer garden on the weekend. But I also walk past and see people that are
there just to drink beer. They go out and hear the one thing that they like,
and they go back and drink more beer. They're not participating in the
festival—it's like a beer garden with a really high cover charge. It's a way
of doing it, but I'm getting perversely proud of the fact that we don't."
14 JULY 2002 Speaking of seeing this music straight—and don't tell me there's no
BC bud consumed on site—what about those hash cookie vendors
outside the western gate on Jericho Beach (as happened a couple of
years ago)?
Chuckling, Dugg replied: "On the one hand I thought it was
charming that anyone would even do that—it's so 'old school.' On
the other hand, who, in the year 2000, is going to buy a home-baked
cookie from someone they don't even know, and put it in their mouth?
Have you forgotten everything your mother ever told you?
"Our zone of control, such as it is, runs as far as the fence. We've
been more than happy to have a live-and-let-live attitude. For many
years they [the "non-sanctioned" vendors] were out by the gate on
4th Avenue. We were fine with that arrangement until they started
doing things that were untoward, like selling food, drum circles in
front of a seniors' residence at 11pm. That's just not on.
"Now, down at the beach, they [vendors] do what they do, and on
the way in people can see it's not part of the festival, so it's caveat
emptor. On a certain level, mazeltov—live long and prosper."
Advice To Folk Festival Newbies
No doubt about it, Folk Fest is a quintessential Vancouver experience
with its own code of behaviour which can be puzzling to any first-
time attendee. For instance, dressing like a hippie is good, setting up
big lawn chairs is bad. Helicopter dancing is encouraged, as long as
you're polite enough to not block any lines of sight. Getting up early
one morning to witness the "Birkenstock 500," as the opening-of-gates
rush is called, is worth seeing once. Dugg offered more nuggets of
"You should remember that it is a long day outside. Native
Vancouverites know that the weather can change from warm to cool,
so remember a jacket, drink water, keep hydrated. In terms of enjoying the festival, get a programme [available in advance this year] and
have a read-through. See what strikes you and just take a wander
over. We try to have different moods on the seven stages, so it's not all
full-assault all day. It certainly isn't a crime to sit under a tree and chill
out for a while. And pick one or two times during the day to check
something new out at no risk. We all have our favourite music, but if
you've never heard Persian music, for example, you can just walk
over to a stage and see how it strikes you. If you don't like it, there's
six other stages where there's things happening."
This Year's Lineup
As always, the programming provides a potpourri of all things
folk/roots, with something for (nearly) everyone. Exotic music from
other cultures? Amampondo, Amir Koushkani, B'Net Marrakech
more than fill the bill. Dig the Celtic thing? Ireland's De Dannan will
be there, along with Slainte Mhath and a host of Quebecois bands who
fit that category. Old(er) white guys? See Roy Bailey, Utah Phillips,
David Francey. Old-timey strings? The Backstabbers and John
Reischman. Women artists of various orientations are well represented by the likes of Kim Barlow, Ferron, Tegan and Sara.
Instrumentalists pushing the envelope of their genres? Oliver Schroer,
Kelly Joe Phelps, and Eugene Chadbourne, to name a few. Like in-
yer-face folk? Dan Bern and Bitch and Animal are for you. And what
about local representation this year?
"We have more Vancouver artists now at the festival than there
were 10 years ago, by a long shot. Partly because the scene has grown
up and blossomed, but partly because we want to represent. We think
the artists in Vancouver are as good as anywhere else. One of my
hopes as a programmer is that people will walk away thinking:
'Damn, those Vancouver artists can hold their own with anybody.'"
Local artists include Zubot & Dawson; a Grrrls With Guitars stage; a
community project of artists who play at the Irish Heather; the
Thundering Word Heard (spoken word); John Reischman (bluegrass);
Vivian Xia (yanquin player); Amir Koushkani; Adele Awad and
Sahara; the Universal Gospel Choir, and the World Rhythms Youth
Ensemble. And of course Veda Hille, who has been commissioned to
perform a piece for the festival-
Does the festival have another 25 years left in it? Dugg certainly
thinks so. "The amount of music out there is phenomenal. In a given
year, I've probably got 2000 choices of people who could potentially
be part of it [the festival] and we're able to do 50, maybe. There's
always a long 'wish list,' and that's not going to change. The kinds of
music that emerging artists are doing now, the level of musical skill,
the way they can move between traditions, wasn't possible 20, 25
years ago."
"Let's face it, rock and roll bands have become an oppressive
force. What began as a music of liberation has now become so boring
and so obsessed with the selling of beer, etc., that it's like we need an
alternative to alternative. Roots music of all kinds is there. As long as
people want to hear it in a beautiful park, in a congenial atmosphere,
there'll be a need for events like this across the country. In these days
where we're hearing about the music industry in crisis, the roots thing
has shown that by staying close to the ground and by involving people from the community in the creation of the events, you create something that can just go on and be handed down from generation to
More information on the 25th annual Vancouver Folk Music Festival (July
19-21) is available at wirw.tliefestiyalbc.ca •
DiSCORDER: Tell us a bit about this piece.
Veda Hille: I've called it Silver, in honour of the 25th anniversary of
the Folk Fest. They commissioned me about a year ago to write a
song cycle in honour of the festival. The requirements were nice and
loose—I could use it to close an evening, and I could also get some
guests in.
When I first approached it I was keen because I've been going to
the festival since I was 12, and consider it an important part of my
musical education. Plus, it's been a lot of fun—it was the first place
I went without my parents. It was like this city that I could go where
everything would be fine.
I wasn't really sure how to write about having a good time
every year, but once I got in there, some themes emerged: nostalgia
and the relative merits of that, as well as aging and responsibility,
action over inaction. Then I ended up working with folk music from
other cultures. The Folk Fest was really a forerunner of that kind of
thing. Before that [festival], there was nowhere to hear Bulgarian
wedding bands, Tuvan throat singers. I realized as I delved into the
festival programs just how daring the programming has been and
continues to be, and became much more aware of how it had shaped
me in terms of how to perform music and listen to music.
There's a little Chinese waltz that I wrote, and I wrote a song
around a Swedish piece. Swedish folk music is very strange—unnatural rhythms that people wouldn't necessarily associate with
Sweden. And of course an Irish piece, and a little medley of English
folk songs. It all ends up with a big old singalong of a song that a
good chunk of people will know.
It's about 35 minutes, and I'm going to have lots of guests. Kim
Barlow and Stephen Fearing will be singing with me. I wrote a song
that sounds just like a Rory McLeod song, so I'm hoping Rory will
jump in with me. For the singalong at the end we've got Linda
Tillery's gospel choir beefing up the singing. Maybe we'll do that
thing where we pull up a bunch of folks on stage at the end and
everybody sings. I'm gonna cry for sure—I think part of the commission is that I have to weep on stage. [Laughs]
It's nerve-wracking to know that you're going to be premiering
a work in front of 10,000 people, but then I also made it very specific to the folk festival. Shawn Chappelle, who did the video for Field
Study and has worked with me a lot in the past, is making a video to
accompany the piece and is going to turn the speaker columns into
video screens. I wanted to do something that would benefit the people in the back, so I'm hoping the video images will be large and
clear enough that those people will have something to look at, for a
The other great thing is that we managed to record this piece,
and the album's going to come out at the festival. I threw together a
quick but spirited recording, so both Silver and Auditorium, which is
my new record, will be coming out July 20.
Your last CD, Field Study, was also a commissioned piece, wasn't it?
Yes, Field Study came out of a commission from the Yukon Arts
Centre. Auditorium is not a commission—it's a live album, taken
from two nights at the Cultch. We recorded the shows May 24 and
25, and I'm handing in the master to the manufacturer this week.
My mandate was to put things on the record that had changed substantially either over the years or consciously for the record. Helping
goes for
the Silver
Cormier photos by Justin Kellam
Vancouver's folk/art-rock goddess
Veda Hille has been a busy gal of late.
Recently back from Toronto to complete her soon-to-be-released live CD,
she also traveled to Russia earlier this
year to perform in a festival in St.
Petersburg alongside artists like Nash
the Slash and Eugene Chadbourne.
The Vancouver Folk Music Festival
commisioned Veda to do a piece to
commemorate its 25th anniversary,
which is certain to be a festival highlight. Veda was happy to talk about
her impressions of this work and the
festival in general.
me with that was John Korsrud, who did some excellent horn
arrangements—really crazy stuff that I would never have come up
with. I rearranged songs for myself and told my fantastic band to
come up with something different, and lo and behold we had some
very new versions of old songs. I also concentrated on songs I
thought had been neglected, like personal favourites that aren't the
ones people yell for. I'm pretty happy with it! I'm not a real fan of
live records, and I decided to give this a try, fully conscious of the
fact that they might be two really lousy nights, but the band played
really well. I have this amazing band, and in a lot of ways this album
is a tribute to my band and the unity we've managed to achieve.
Are you already thinking ahead to another album?
This is kinda my crazy year. I actually have three other records in the
works, all coming out within a year, I hope, which is really nutty. I
don't think the world wants this many Veda Hille records!
There's eight songs that are really fine that I cut from
Auditorium, so if people like that album, I could make a quick follow-up. I've also been working for two years with Christof Migone,
who's a computer-manipulating artist from New York and
Montreal. He and I have been working on an experimental record
for a couple of years called Escape Songs which is sort of in the digital click-and-stutter mode. And my German label is setting up a
recording date with my band and Iarla O'Lionard, an Irish singer.
You might know his voice from the Afro Celt Sound System. I hate
that band, but he's amazing. What he does on his own is the Gaelic
sean-nos singing. He's got, I think, one of the great voices of the
world, and he's wanted to make a record in English for a long time.
If I actually get all these records done in the next year, I think I
deserve a few years off!
What does the Folk Festival mean to you personally?
I was sort of a misfit kid, and when I was 12,1 moved into the city
from the country. At that point [early '80s] it was pretty crazy down
there. There were naked women all painted blue, and tons of crazy,
edgy stuff. At first I wasn't at the festival for the music, I was just
there because we could get in free as kids.
I went back every year and slowly, it started to be about the
music. It was always the place we went in the summer, all the way
through my 20s. The most amazing thing was when I was 24 and
put out my first cassette. Gary Cristall [artistic director at the time]
called me and put me on the mainstage at the Folk Festival. That
was crazy. That constitutes the only big break I've had. It was a big
leap from playing La Quena to playing mainstage at the place that
had been my highest musical focus for years. Sweetly enough, it's
come full circle and Gary is my manager now.
Vancouver's festival stands up very well among other music
festivals. I really like Vancouver's "non-star" policy. A lot of other
festivals rely on really big names to draw people in. I've always
appreciated that our festival is about discovering people you've
never heard of. It makes it seem much more egalitarian and street-
level. I hope that people are still finding that today. •
Silver will be performed at the Vancouver Folk Music Festival Saturday,
July 20. Be there and witness a piece of Vancouver musical history.
15 DiSCORDER Bleeps In the Heart of the Beasl:—Mutek 2002 in Montreal
Clockwise from Left to Right:
Timeblind, Sue, Akufen, David
Turgeon, Ben Nevil, Agf + Dlay,
Richardo, Losoul, Danny, Stephen
by (the late ?) tobias v
[The following has been excerpted from what we presume to be the cold
hands of the famous writer tobias v, RIP; we take no responsibility for the
coherency or accuracy of this journal. We found it all in this little red book
and xve think it's his. If anyone has seen tobias, please let us know. For more
info on Mutek, see wiw.mukkca—Ed.J
Wednesday, May 29 * Mixing until trie PiBs
The sun is setting on the cemetary across the street, reflecting off the
headstones and onto my laptop. The weather here has been unexpected boiling desert heat mixed with Miami sweat and humidity
combined with vast dark and sinister rain, thunder, showers, monsoons, and hurricane wind. Every day is a surprise. Sometimes it is
noon and pitch dark from fog and cloud. Then the monsoon sets in
at 32"C and we sweat through the rain. That's the way it is out here.
It's weird and I need a new toothbrush. Somebody knocks at my
door. I hide all criminal objects and flush the toilet. The door opens.
"It's time for Mutek," they say.
Later, I'm at the Societe des Arts Technologiques (SAT) for the
Press Gathering. I get my pass and nod and smile, hoping they
won't recognize me from last year. Things are deja vu as I stumble
into the bank vault-turned-art-gallery-space that sports enough
quad sound to sterilize a well-hung horse. Somehow I get too drunk
and completely miss the first show that evening at the beautiful
post-modern video building, Ex-Centris. Acts missed include SND,
Dioxyde, vitaminsforyou and Mens/Koolwyk. But what can you do
when the pusher man arrives? He works on his own schedule. Word
is that SND lays down a building-block set of minimal beats culled
from their latest Tender Love album on Mille Plateaux. I cry into
my beer.
Fragment I
...I just got back from the strangest night—and it is only Wednesday.
Hellothisisalex began the evening with an honest performance of
Warp-ish IDM—all gear and young. But the real meat was Nova
Huta. All I can write in my little red notebook is "speed organ metal
solos" and "Andy Kaufman meets Thomas Brinkman with a 12"
Polish sausage..." "Deep duchadelic," says Nova Huta. Indeed. I
mean, what do you say to a performer who lip syncs a story for 25
minutes about how the birds of socialism told his uncle to play an
organ in an Eastern European factory and then he goes a little crazy
and dies and bequests his musical project to his nephew—Nova
Huta? Sweet Jesus... Then Mr. Huta plays out of tune to his beer hall
techno rhythms and his paper with all the programming info gets all
mixed up and he swears in poor English and gives away records for
answering pop quizzes about his uncle. Later he takes out an inflatable Stars 'n' Stripes baseball bat and bonks audience members on
the head while yelling "Politics!" Then he shows us his robot, and it
falls on the floor. Behind us is a video showing Nova Huta playing
in China. I don't think they got it. I don't think I did either—but that
didn't stop me from flailing all arms and legs. Polski! Putsch!
Next was Felix Kubin who can play three synths at once. He
composes techno waltzes while wearing high heels and a white
sparkle suit which he tears away to reveal a space uniform. And his
mad music insanity: techno-rhythms meet an S&M organ and weird
choruses sung live: "Hit me! Provider! I've lost my mouse—Oh No!"
That one is apparently a real kicker in Berlin. And Felix Kubin CAN
sing... it's inspiring and weird all at once and I am leaving at 4:30am
feeling like Eastern Europe is the place to be because that's where all
the acid is—just one look at Kubin's video will confirm such suspicions—I cannot even begin to explain what was essentially ultra-
fucked colourful 1969 surrealism; no computer graphics here, all
filmed scenes of Felix with silver hair in space suit getting probed by
weird doctors and twin girls in high heels and weird green dresses.
Thursday, May 30 • Tanked and Toasted, Backwards Lineup
I arrive at the SAT for the free cinq-a-sept with my friend Mr.
Baphomet. The Devil always catches the late train from Toronto....
As I walk in, Montreal's Deadbeat is just finishing up a marathon
16 JULY 2002 dub-techno webjam with Berlin's Monolake. It's wild: Deadbeat has
the specially-programmed patch projecting on the screens—you can
see them altering and affecting each other's sounds real-time. Next
is Alexander Burton, who begins with a quick microphone sample,
and then, live and before our eyes, builds a massive Max/MSP
patch spurting out weird and wonderful squelches in one long
improvised stroke of software wizardry until his machine crashed
under the strain. Not to be outdone, Zack Settel sends everyone into
a tizzy by panning sounds around the room with his joystick.
Unfortunately I miss duul_drv from Winnipeg because I want to
find the Beer Festival.
Fragment 2
That evening and a little sideways; at Ex-Centris half-way through
Helen Of Troy's loop-violin-feedback set. The crowd is either rapt in
attention or paralyzed on the floor from back pain. I sit down to
enjoy the spasms and the complex and evolving post-dub beats of
Montreal's Ghislain Poirier, and then the looped Handel remixes
and subtle ambience of Germany's Stephan Mathieu. But certainly
the house-closer—if not the most amazing performance of the festival—is from the UK's spectacular Janek Schaefer, whose turntable
improvisation, set in the middle of the room, blows minds and ears
with directional panning and a linear and LIVE scape of clicks,
drones, loops, and layered samples, all mixed live from his own
innovative record pressings and his dual tone-arm, homebuilt
turntable with built-in contact mics. Interwoven with a subtle and
evocative video which corresponds with the lights dropping on
Schaefer and leaving us all in darkness, this man has messed with
my goddamn mind. "Art," I mutter, to no one in particular. But several people move away from me. It might also have been because I
have broken my Black Minimal Techno Glasses, and they keep
falling off my face at weird angles. I don't really know....
And then dinner. And then hurrying back to the SAT to see the
last friggin' 15 minutes of the beautifully stark and vocoded electro-duo Solvent + Lowfish (TO). Tonight was some of the worst programming of the festival, with S+L only playing a short set with no
encores, leaving the rest of the evening for ambient music which filtered everyone out of the SAT. After S+L were IDM legends Bola
(UK), whose amazing visuals complimented a live performances of
their audio rarities from the Skam label. The visuals are every bit as
acid-good as the rumours say. However, by now everyone was
lounging on the sticky floor and wanting something a bit different.
Montreal's Ensemble was a bit of a let-down not because of his
expansive soundscapes and ambient beats but because no one wanted to lie on the cold, dirty SAT floor at 2am. Solvent + Lowfish
should have been on last so they could play encore after encore of
sweet electro lovin'.
Friday, May 31
Where are we... lam writing this at the Sunday show... sleep deprivation is
setting in... But wearen't thereyet: I've got to catch up.
Arrived at the 5-7 just in time for Camp, a.k.a. Montreal's David
Turgeon of NoType. A real sonic treat: very linear, unexpected, and
it went in a bunch of different directions that was anything but
repetitive. David is all about the linear exploration of uncharted
topographies, he's an explorer with all sounds and hums and samples and he wants to see how they talk and relate to each other. This
is fundamentally different than the duree-time of the groove:
David's time is a time of the event.
Unfortunately, my memory is not up to commenting on the
music past this point as my mind hears sounds from every direction. There is a crazy man who lives above me in Montreal with a
cane who rocks back and forth on the squeaky floorboards at 9:20am
every morning. This morning it sounded like he was sawing a table.
I was pondering this as I tried to sleep a little this morning: grabbing
a broom and pounding out rhythms on my ceiling... or anti-
rhythms... and that's the whole thing with David, the division
between sounds repetitive and linear—a strange dichotomy that is
also at the point of ripping Mutek in half as it attempts to satisfy
both experimental purists on the one hand and dance purists on the
other. As for the rest of the evening, it's Mutek's first massive.
Metropolis is a humongous old and round theater, three levels of
bars and security and no-smoking enforcement. Oh, the irony, given
that Metropolis is in the heart of seedy Hookerville—an amazing
experience walking out at 3:30am into a city bursting with life and a
potential dangerous energy. Look: there passes the ghost of Leonard
Cohen... but don't light up that friggin' cigarette, bon ami....
Metropolis is a concert venue and things feel "staged." The
Friday night, however, is good in the sense that it is rammed; everyone is here and the performers openly mingled with the public. This
is important because the next night, Saturday, the crowd is much
different. Hostile and vicious. Security is called in to remove drunken/high jocks from the dance floor, and all the who's-who are sitting
behind the fence separating the backstage from the floor... and the
hierarchies form found at raves and concerts: are you important
enough to be back here, do you have the right pass?
But I am getting ahead of myself: the Friday is a rammed affair.
Yes, Herbert as RadioBoy is good. His performance is very similar to
what he was doing in 1997 and I am having strange memories of
him playing a packed 200 person warehouse in Vancouver. In fact, I
run into David Turgeon later and we talk about this. He is trying to
understand Herbert's popularity; fact is, Herbert was quite popular, a strange anomaly in the rave era, even more so than now when
what he is doing is more conveniently packaged under Art. Several
years ago it was just madness: Herbert in a suit and tie, with
blenders and chip bags making weird noises to 200 people fucked
on many drugs who at that point had only been schooled in house
and techno. Herbert came off like a being from another sonic planet.
Tonight, the rhythms Herbert makes are hard, ranging from
polyrhythmic techno to banging house. Dance floor material and
very good, all sampled from destroyed consumer objects—TVs,
McDonald's cups, etc. He throws the GAP bag on his head and raises both arms making anarcho-devil signs with his fingers and the
crowd goes wild... but are they simply entertained by him or fully
grasping his political statements? I was talking to some German
magazine editors over some hash about it, and they mentioned that
in order to do the RadioBoy performance, Herbert must purchase
all these consumer products; therefore he is participating in the
economy and consumerizing his political statement and the domain
of art. I am not so sure about that: the purchase he is making is only
an economic purchase, yet the utility he applies to it is in the realm
of the symbolic—like culture jamming. The symbolic exchange-
value of destroying these items has more representational affect—
the realm of politics—than their meagre economic purchase. Of
course things are not so black and white and this dialectic is a little
more complex—for the same reasons that culture jamming can backfire—for the advertising potential, the representational power of the
consumer objects, maintains a certain affect even when being erased,
destroyed, deconstructed. Re-appropriation and counter-appropriation. The power can never be deleted—only put under erasure. The
question is, then, how you affect that dialectic and whether it can
be exploded into something beyond the representational mingling
of music and politics. But enough—back to the show and away from
the philosophizing: that was more the rambling commentary of
Saturday night in any case, when I should have had a microphone
taped to my head....
Before Herbert came Repair, a.k.a. the Thibideau brothers (TO),
who threw down excellent dub techno beats. I've been a fan of them
ever since their releases on Blue as Altitude, they have a very deep,
Toronto-influenced sound that is nonetheless driving. Their live
singer, Dawn Lewis, was sonically beautiful but very shy, performing hidden vocals behind the gear.
Then: Copacabannark, whose simple techno set is nonetheless
brilliant with its wild squelches and abrasive squealing sounds.
There is a difference that I immediately begin to notice between performers—those who are DJs, or come from a dance background, perhaps the rave scene—and those who are
rock-musicians-turned-electronic-artists... the former have a real
sense of bringing people somewhere in a set; the latter often lose the
floor if they are producing beats. Copacabannark are the former:
instant dancefloor appreciation and they are into it, headbanging
away like spring-filled robots with the smoke pouring out the back,
crazy live organ playing, throwing down pounding minimal
rhythms that are, for me, the heart and soul of stripped minimal
techno from the days when it all meant a dark and dangerous listening experience at 4:15am in some blacked-out warehouse save
for the red spot on the DJ and that strobe at the periphery of your
The main event is Montreal's Akufen, the cut-and-dice techno
wizard whose career has exploded. I like his records, but I find overall that his sets are usually more of the same. This set is the most
varied I have heard of him yet; he plays on the house side, adding
synth pads to the cut-samples, exhibiting an emotional maturity that
you can hear in the first two tracks on his Force Inc. album My Way.
He is trying bloody hard—I think it is just a case of him finding the
right balance with his sets—and the crowd digs it; thing is, it is too
packed too dance.
At the end is Hakan Libdo, but to be honest I have trouble
appreciating his washed out jazz-beats as tiredness sets in; it's too
late, I want to go home and hear him, or listen to him on a sunny
afternoon. See here's the deal: Mutek is trying to incorporate artists
working with beats who are obviously on the cutting edge of dancefloor sounds alongside the extreme sonic experimentalism. For me
this is wonderful as it is tears down boundaries between high and
low art, ripping apart the Eurocentric view that says that essentially African-based rhythmic music is not artistic but "just dance
music." What isn't recognized, however, is that this was essentially
the entire movement of rave culture, Detroit techno, Chicago house.
Now, this music, appropriated by Europeans and North American
white culture—and this is a very true observation, all one has to do
is go to DEMF and then Mutek to see a serious racial divide in this
music that is unsettling—is seeking validation as high art; this is not
a purely negative movement, for it reasserts various territories and
broadens visions on all sides. However, Mutek as the spatial nexus
of this musical movement is desperately trying to figure out how to
program these artists. Shall we program them like a rave, with peaks
and valleys? Or mix things up to remind people that this is "Art" ?
In the way that "Art" is not supposed to be fun? Euro-Art appreciation as opposed to Neo-African debauchery?
The question is whether Mutek will become a dance party split
from the experimental music ("art in the afternoon, dancing at
night"). And if it does, will we have to accept that rave culture
indeed has something to offer experimental culture? Today's
"avante garde" is conservative compared to the hedonistic days of
not only rave culture, but DADA< the Surrealists, Artaud, the
Bohemians and the Beats, the punks, the French hardcore anarchists,
UK Spiral Tribe squatters... We need to lighten up—not intellectually, not in the sense that people who tell you to lighten up want to
infantilize you into the abdication of responsibility. We need to lighten up in the sense that we need to undergo a little revaluation of all
values at the level of the subject and the subject's passage to politics,
and this passage is the realm of music: "We should consider every
day lost on which we have not danced at least once."
Saturday, June 1 • The Beait and the Ugly, Musork
Saturday afternoon is the Orthlorng Musork showcase and the best
solid block of sound of the entire festival. Everyone is sitting down
on the floor in the middle of this hot and windy afternoon in
Montreal and the applause is thunderous as Stephen Mathieu leaves
his laptop after a subtle and melancholic set of textures. He hands it
over to Timeblind, a.k.a. Chris Sattinger, who moves into a demented set of breaks that skirt IDM but are much harsher, in your face,
and confrontational. It becomes more and more rammed in this dark
cavern, above our heads are Sue Costabile's messed slide-MAX-
visuals and the walls of the SAT are now echoing the strange vocal
wanderings and deep bass hums of AGF, a.k.a. Antye Greie-Fuchs of
German weird-pop-duo Laub. One hour of direct from the mind of
this strange German—for all we know she could be telling us her
washing, giving us her shopping list. No matter—our minds turn
to dirty thoughts. My mind is distracted, anyway as AGF+DLAY
jam together, a.k.a. Vladislav Delay of minimal dub techno fame,
a.k.a. Luomo of minimal house mastery. Mr. D(e)lay has been
putting out quality vinyl since his teens, and he and AGF now work
very closely together.
Evening. By now you know what to expect of this second, half-
filled night at Metropolis. I spent the majority of the evening dictating notes and hiding from anyone I knew. Victoria's Ben Nevile lays
down the most inventive set of the night, with his joystick-Max
patch projected live above my head while he dances his deep and
minimal house rhythms with an intensive flair, indeed, a subtle programming that leaves everyone tense with expectation. He's set it
up brilliantly for Farben, who plays deep to the point of obscurity,
lost in atmospherics. It's wicked, but the energy is low. Germany's
Losoul starts like he's on crack, pressing buttons like he has no idea
how to operate his setup, but comes out on top with the best tech-
house set of the evening. Chilean-German Ricardo Villalobos takes
it hard and percussive, getting dark and stark by the end, leaving it
for Luomo who warms everything down with liquid and vocal deep
house. The musical description makes it sound like a good night:
but something was off....
Sunday, June 2
"Sunday was the day when it all came together." Or this is the shit
I write down at 4:15am on a Monday morning as the music is sf/7/
pounding in this black box of techno... backtrack, rewind, earlier...
Missing completely the Cynosure/Revolver showcase in the afternoon—which included Mike Shannon's first live set—I saved my
energy for that evening's extravaganza, the real techno mother-
fuckin' blow-out: Murcof, Juan Self, Atom Heart, Dandy Jack, and
Ricardo Villalobos. All the reserves were called up for this one.
People knew what to expect or at least were prepped for the duration. The last night of Mutek goes all night, and strips away the pretentious bullshit. But first I had to grab dinner, and score the
necessities, which meant missing Murcof's set—another failure in
both journalism and experience; I caught the last few minutes of
Juan Self but don't remember much, for everything was mindblown
by the quiet little red-moustached man that is Atom Heart. Atom
stunned everyone by breaking out of the 4/4 into breakbeats, and
then breaking out of that into jungle, mixing in "Jesus" samples
from his Geeez '11' Gosh material and driving the place mad. It was
the real shit all over again. But it didn't let up, as Dandy Jack hands-
down took the Dance-Det of Mutek Award by pounding home
Latin-techno rhythms mixed with an '80s spirit. Sweet Heaven! The
whole thing was only to be topped with the mindfuck that followed:
a gear-jam between Dandy, Atom, and Villalobos... starting at 2am
thereabouts, it moved into the pounding and one-bar loops of hard
techno, but always with this strange funked edge, cutting into electro, and then building back into the 4/4... somewhere along the way
it became relentless, and vicious. Sadomasochistic. Suddenly Mutek
made sense. It all became clear again. I pulled out my notebook and
began to write, and jotted everything down that you see now probably as the Discorder review: people are moving, not speaking, the
inane and incessant chatter of the scenesters has completely been
driven out of the room. The curtains of the SAT have been drawn
closed and chaos reigns. Mr. Baphomet tells me that he has not seen
anything like this since Richie Hawtin and Jeff Mill's Sickness party.
This is where we are at. An unnamed journalist from San Francisco
has just offered me a bowl and we are going to lie back and listen as
our minds and bodies and legs are too tired to do anything else.... •
recorded media
Afrika Aware
(Afrika Aware/Framework)
Philly techno DJ Bob Brown
invests his skills into a worthy
project with this 37 track mix
CD dedicated to raising awareness of the devastating AIDS
epidemic in Africa, especially
Zambia. All profits from the sale
of this techno mix are dedicated
to Project Concern, a grassroots
organization aimed at getting
youth off the street and safe
from HIV through education,
food, and shelter. The liner notes
tell me that as many as 75,000
kids are living on the streets of
Lusaka, Zambia's capital, with
many of them in the sex trade
and infected with HIV. It's
worth getting this mix to support the cause, and the CD follows in a tradition of hard
techno producers and DJs organizing for social justice and outreach, from Spiral Tribe to the
hard techno EPs and LPs of the
Belgrade series. And hard techno is where this CD is at, with a
fast and furious mix of everything from Steve Stoll, User,
Gaetano Parisio, Justin
Berkovi, and Subhead to Neil
Landstruum, Woody McBride,
Titonton Duvante, Oliver Ho,
Surgeon, Jasper, Kit Clayton,
Dietrich Schonemann, Cari
Lekebusch, and DJ Slip. It's a
good mix, but not an excellent
one; and although I say "Go buy
this, it's money well spent"—for
not only are profits going to
where it's needed but because
this is also a great way to get
your ears into hard-to-find hard
techno 12"s from the mid-'90s to
the present—it's also one of
those mix CDs I might have
passed on were it not for the
cause. It's difficult to critique
this release musically, but this is
my position: I am a journalist,
not a publicist, and so I have to
say that Bob Brown's mixing,
while certainly raw and intense,
fast and furious—good qualities
of a techno DJ—leaves something to be desired in the haste
of the mix and its lack of subtlety, precision, or narrative.
Throwing down tracks one after
the other might work peak time
on 20,000 watts, but it doesn't
work as a listening experience.
Two-thirds of the tracks, given
time and a more careful narrative structure, with attention to
musical moods and moments of
suspense, would have made for
a more enjoyable and ultimately satisfying listening experience. Which, in the long run,
translates into more sales and
more profits for Project Con-
I am not just an armchair
critic on this. As a hard techno
DJ of many years, I can understand and speak to the style
Brown grounds his performance
within. However, what a DJ has
to realize is that creating a mix
CD—especially one designed
for this purpose—needs a different focus than a mix for a party
or a promo CD designed to display one's turntable ferocity. But
perhaps these comments are in
bad taste in the face of ethics.
The imperative remains: as First
World citizens, it is our duty
to help those suffering in any
way we can.
tobias v
Cooking With Lasers
Though not brothers at all, this
Chicago-based four-piece mixes
beats, electro, lounge, funk, and
soul not unlike the Beastie
Boys' pal Money Mark. All the
tracks are well produced and
heavily derivative of musical
trends of the days of yore
(haven't dance instruction
records been sampled enough?).
Like all well-connected bands
these days, the Baldwin Brothers
don't skimp on the guest appearances. Unfortunately, the best
tracks are the ones featuring the
likes of Cibo Matto's Miho
Hatori and Frentei's Angie Hart,
not straight-up Baldwins material. Add the songwriting ability of Chicago's Dave Trumfio (of
the Pulsars) on a few tracks and
there isn't any shortage of talent
found on the release. Although
they have all the elements for
superstar exposure, the Baldwin
Brothers, like their Hollywood
namesakes, aren't contributing
anything new to the musical
world. Save yourself the money
and buy the "Dream Girl" 12";
it's the best track on the album
and comes with a fine remix by
Vancouver's own Pilgrims of
the Mind. After the apocalypse,
aliens will find a copy of Cooking With Lasers amongst the ash.
Perhaps they'll date it as one of
1997's more innovative albums.
Too bad it's 2002.
(Ninja Tune)
I'm a lovesick puppy. It's okay,
read on. This music is just cool.
They've got a sort of acid-jazz
feel, occasional deep-toned rap,
calmness, rhythm... but HER
voice, her voice is soulful, the
best of Roberta Flack's passion
with the resonance of Lisa Ger-
l-Ov HOC fr-EAC      "
rard. Legendary vocalist Fontel-
la Bass is featured in TCO's second release, and her opening
lines play like a mantra through
my head: "All that you are, all
that you give: can you hear me
What they are is "live" and
other than a sweet harp, there is
no evidence of "orchestration."
Instead, a motley crew of sound
and interesting minimalist
lyrics—which perhaps could
have been mistaken for a hallucinogenic daze once upon a
time. I think of Jamiroquai, not
just since both are from the UK
but because their complex character comes through in saxophone, conga drum, keyboard,
gong, drum kit, etc.—but with
an added element of subtly
interjected electronica.
There are seven tracks on
this new album with titles like
"Flite" and "Evolution." My
final thought is that these guys
epitomize a common partnership of the moment: electronic
with "real" musicianship. Their
fusion creates a bang and something happens. From my sonic
point of view, the aural images
of Everyday complement and
enrich each other... as well as
me... and now you.
(G7 Welcoming Committee)
I have this disorder: I can't read
newspapers. I can't even look at
them. This illness has been
worming its way through my
system since the Serbian War. It
earns me mystified looks from
"knowledgeable, political" people, who seem to all agree that
"knowing what's going on" is
three-quarters of being a good
global citizen. Well, a couple of
weeks ago Guerilla Media put
out another Vancouver Sun parody and it thrilled me so much I
was able to look at the National
Post. "Look," I said to my man,
"Guerilla Media did the Post,
too! 'Kashmir's Daily Dance
With Death'! 'When Anorexics
Become Nutritionists'! That's
perfect!" I was laughing my ass
off over all these hysterically
funny Post headlines until it was
revealed to me that I was being
entertained by a real newspaper.
Hiretsukan is a political
hardcore band from New York.
Invasive/Exotic is 16 minutes of
driving, eviscerating music with
vocals that hurt me in the heart.
Michelle's screamed lamentations describe riots, economic
brutality, sexual abuse—modern
terrors made medieval by their
stark woodcut illustration:
"Force it down. Flashpoints and
paraffin. Ricewhite backspin."
After the massacre they throw
in a version of Metallica's
"Creeping Death" as if to say,
"No, don't worry, we're just kidding." Hiretsukan are bringing
bad news, but they have the
kindness to wrap it up com-
pellingly. Don't miss them
when they play the Video In on
July 15.
Knock Knock Knock
(Sub Pop)
Victoria's very own raging wild
party group, Hot Hot Heat, has
made quite the juxtaposition.
They have shed much of their
animosity toward listeners and
now offer an invitation to dance
the night away. These five songs
are dub-heavy, dance-tastic and
ripping at the seams with pop,
rock, and Latin filling. Front
man Steve Bays writes witty
lyrics that flow perfectly into
hooks and unexpected changes.
Knock Knock Knock is the "teaser" five-song EP to get audiences primed for their
upcoming full-length album,
due out this autumn. This teaser
is quite a gem, having been produced by one of Seattle"s
favorite young producers, Chris
Walla of Death Cab For Cutie. If
you are wise enough to procure
it, this album will change your
perspective on today's musical
direction. It's not depressing,
nor is it aggressive. It's all about
forgetting your mundane life
and entering a world of fun and
Amie Nelson
Suicide Invoice
One hour post-purchase (PP):
Goddamnsofuckinggreat. There
is nothing wrong with this. I
should listen to more than one
Two hours PP: The title is
kinda ironic cuz this record is
giving me a reason to live. There
is nothing wrong with this. My
neighbours can go to hell.
Three hours PP: Moved the
party into my car. I'm hot-boxing Hot Snakes at 100 kph.
Four hours PP: The cops let
me go cuz I turned them on to
Hot Snakes. Uh! Yeah, I'm your
Five hours PP: Hot Snakes'
Rocket from the Crypt/Drive
Like Jehu indie-pedigree belies
the slutty charms of this band.
Who says the first time is the
Six hours PP: 33 minutes of
unrelenting, hard riff-rockin'
action and I still want more. I
am the bitch in the back of their
Robot Drama
(Die! Venom)
(5RC/Kill Rock Stars)
From the realm of breathy fantasy rock come these two
albums, wrapped in the sweet
smell of Templars' Roses.
Rebecca Simpson is an
almost-one-woman-band from
Toronto; except for a little help
in the drum department, she
played every note on the 4-song
Robot Drama EP. Though her
high voice—swaddled in layers
of tremory delay—recalls Kazue
Makino of Blonde Redhead,
Rebecca's minimal arrangements are challenging enough
to  stand   on   their  own.   On
"From Beyond the Triangle of
the Lost," she even makes a bit
of a tuned-percussion racket
with the contents of (somebody's) kitchen sink. This music
would sound great in the Sugar
Refinery on a sweltering summer night.
Deerhoof's fantasy art rock
is playful and piercing—spazzy
woodwinds (real and synthesized), guitar, and Satomi's sugary vocals bounce like golden
shrapnel off bathing dryads.
It's also serious music: listen
closely and you'll hear echoes
of all your favourite noise rockers, filtered through a '70s AM
radio haze and warped by too
many revisionist fairy tales.
Challenging time signatures,
superior amateur playing, and
boundless creativity are the keystones of Deerhoof's castle,
making Reveille a thoroughly
enjoyable primal mess, a Babylon of baby talk.
Tender Love
(Mille Plateaux)
Precision - Minimalism -
Scalpel - Clean - Spectrum -
These words are the code-
monikers (chosen among a
potential two billion) for snd's
Tender Love—and Tender Love is
a precise arrangement of chosen
sounds—a cut-up—skirting
anarchic potential with razor-
sharp sonic decision—implementing precise scalpel slice at
the point where body has been
removed—slicing cleanly
through middle line—removing
Other Half—leaving gap—"a
peg like many splendored
thing—i've got you deep in the
guides body enclosed darling in
my fashion—yes cool hands on
his naked flesh my way—"—a
cut up can be like that—or a cut-
up can be like this where the
slice removes all inspiration and
all that is left is—is—is—is—
gaps between being—gaps
where the stutter stutter can
insert a beat—and the beat
inserted between gaps between
being—and that is Tender Love—
Robert Stanton sees TL as synthesis from dialectical
movements of makesndcassette
and stdio—an interpretation he
offers among others—yet synthesis is ultimate erotic coupling
of two levels indistinct from the
other except through their relation—with the relation of two
halves the whole becomes synthesis and the result according
to Robert Stanton is Tender
Love—but synthesis result
leaves no room for Other Half
erotic voice cut-up inside—
eradicate cellular processes says
Reich get rid of their voices—
Burroughs he was not so sure
should one eradicate the Other
Half yet eradication it destroys
the capacity to write—maybe
inserting beat beat in stutter
stutter is better than 20 years in
lotus position or analytic
couch?—is as good as tape cut
up?—and what tape cut up only
good if used in a direction—as a
direction it cannot be nor become
18 JULY 2002 syntliesis—synthesis is culmination static left alone dead
Utopia—synthesis ain't much
fun for KY—synthesis is economics trying to make love but
stalemating frozen fucking—
music is political economy of
noise and it is always fucking—
snd they are fucking the economy by taking knife to noise and
recutting the polis—they've
carved the Great Wall of
China—they didn't synthesize—they could not their two
dialectics existed one before the
other Robert only synthesize
with historical summary—snd
you make me bleed—along the
divide line—between the sharp
beats and rhythms—with your
block sounds—with your
obtuse programming—with
your structural sex sonic— fore-
play with your architectural
ark(h)e-Kech\.on\c plate with—
with your cd3—cutting you up
and into me with two old tape
recorders Burroughs style and
Burroughs was right be careful
with whom you cut for the
process is markedly erotic—beat
slip [insert musix here)—outside traffic pompiers—words
cuts withs sounds—sound-
words-ultima te-cut-precision-
*Quote from Tlie Ticket That
Exploded by William Seward
Burroughs from Tangiers and
Robert Stanton's review of Tender Love on www.electronicmu-
sicreviews.com and Doctor
Wilhem Reich he did the orgone
tobias v
Villa Claustrophobia
I'd compare this debut album to
tasting a decadent piece of
chocolate: smooth and sweet.
Headed by Jesse Poe out of Virginia, Tanakh is difficult to con-
textualize, but I like it as
sensuous music. The opening
track caught my attention—
melodic and beautiful, with a
female vocalist's eerie wailing.
Profound guitar riffs (especially
the second track) try to capture
an idea of "players in the pavilions of other men's dreams"—
ancient history stuff, though this
CD doesn't quite manage to create a similar level of greatness.
I listened to it loud to get a
better feel for the deeper tones
and long drawn-out melodies...
Tanakh are masters of minimalism. The experience is reminiscent of chilled-out Cowboy
Junkies, and has some catchy
lines like "I put my hands on
her breasts" in an old folk song.
The experimental fusion of
romantic lyrics with Indian/
Middle Eastern instruments
adds flavour and peaceful har- ■
mony. Sounds get weirdly wired
in the middle with electronic
sampling and meditative
Visual imagery: like hitchhiking through barren landscapes under a sultry sky... the
nomad is released and ancestors
are invoked. Not the sort of stuff
that will crack the charts as
"new age" but worthy of hearing for its calmness and passion
in today's madness. It's great
that people are still producing
this sort of layering, too.
A whimsical release which
speaks of talented musicianship. .. and the cover art is lovely.
Every Day Rock '«' Roll Is
Saving My Life
(Space Baby)
This is the second Toshack
Highway album, the solo work
of Adam Franklin of
Swervedriver. I can't say I don't
like Swervedriver because "The
Hitcher" is a Swervedriver
song, and a good one at that.
But slowed down and layered
with happy acoustic guitar,
Adam Franklin makes it even
better on his own. In fact, it's
the high point of this CD—if a
four-song CD can have a high
point. I found myself dividing
this very compact disc into two
sections: a) "The Hitcher" b)
"The other three songs." The
song "Every Day Rock 'n' Roll
Is Saving My Life" has charming lyrics. "Seize the Day"
sounds a bit more pop-like, and
comparisons to Elliott Smith
are not inaccurate. "O Sweet
Daughter" is slow and shimmering. But all three are heavy
on distortion and in their fuzzi-
ness they end up sounding
pretty much the same. Can I say
a song is good and also say I
don't enjoy listening to it? No.
That would be cheating. And
cheating is lying and lying is
wrong. Truth: my ears can't
take all the feedback. I want a
whole CD that sounds as sunshiny as "The Hitcher."
Dub Plates Volume 3
Every time a new Twilight Circus album comes out, I descend
into a mad orgy, scrawling at
the shrink-wrap to uncover
these delicious grooves of deep
and massive pure dub. It's
something I enjoy every time
because every time the music is
just one crafted dub masterpiece after another. It is very
unusual of me to write successive reviews—I believe this is
the third one in Discorder
alone—of an artist's work and
give in to hyperbolic praise. But
this is the shit. Dub Plates Vol. 3
sees a series of remixes of previous gems "Depth Charge" and
"Binghi," as well as a series of
new cuts that come close to
summarizing Moore's work to
date. One hears snippets of the
guitar work that Moore pushed
on Horsey, the drum work of
early releases such as Binshaker
Dub, and the spaced-out echoes
of Dub Voyage. Where Vol. 3
takes off in new directions,
however, is with the startling
sounds of hand drums in the
mix. While this was always
buried in the orchestral-dub
layers, and although, according
to Moore, these are "run of the
mill 'Latin' style percussion"
bongos and congos, they really
come into their own across the
first few tracks. There are many
surprises, too, in the bedrock
bass anthems. Strange electronic noises flit in and,out of the
mix, choruses get buried to
favour non-traditional instruments, and watery clicks run
rough over popping and hissing surfaces. You can hear that
Ryan is very attuned to what is
going on in experimental electronic music, and he interprets
and incorporates, in his own
way, recent developments from
glitches to clicks. In doing so, he
offers a prescient projection of
what these "new" sounds could
become. Unfettered by much of
the dogma that retro-electronic-
futurism has become, Moore
unabashedly lets loose on the
bass and gets down to the
groove, all the while redefining
not only the dub sound but the
isthmuses where dub, electronic
music, and the rock tradition
meld. These are the heavy
tobias v
Bip-Hop Generation V.5
These are not the albums with
the summer sun anthems you
may be seeking, unless you're
looking forward to a season of
personal isolation and introspection. Perhaps 1 feel this way
because I'm writing this review
on a Vancouver beach.
I'm listening to track one,
"None Some Silver," from
Twine's third release, Recorder.
It starts off with naked guitar
strumming—then, at that
instant, a playful game of pad-
dleball erupts on the sundrenched beach in front of me. I
hunker down with my newspaper and prepare myself for non-
engagement and perhaps an
afternoon of sleep a la plage.
The acoustic guitar is pushed to
the background and replaced by
high frequencies and glitchy
chirps and clicks. I sit up quickly and search the overcrowded
urban refuge for the source of
the sounds I'm hearing. Neither
the young guy talking to the
exchange student, nor the Good
Humor snack vendor provides
me with any answers. As the
album progresses, its seemingly
post-rock beginnings slip into
brooding, unpredictable ambient electro soundscapes. Twine,
an American file-swapping duo
(Greg Malcolm and Chad
Mossholder) with backgrounds
in audio and sound engineering,
come off like early-AM CBC
radio art meets Autechre's Con-
Leaving the beach mindset
to review the fifth in Bip-Hop's
critically acclaimed series of
compilations was the only way
I could properly enjoy the disc.
BHG5 is like a map of the electro renaissance this Marseilles-
based label is enjoying. Boasting
artists from North America and
Europe, V.5 offers glitch, ambi-
glitch, ambience, minimalism,
IDM, and whatever other ill-
conceived language is currently
being used to describe non-
describable sounds. America's
Accelera Deck provides modern electro. Canada's Andrew
Duke provides magical sounds
reminiscent of Eno's Gyroscope
label but greatly updated.
France's d'iberville provides
three tracks that are an exercise
in genre-hopping and mood creation. If your aim is to update
yourself on the poly-directional
paths of electro, then V.5 is for
you. If you want an "I didn't
expect that!" compelling listen
then pick up Twine. If you want
to sit on the beach, leave these
albums at home for hill listening
pleasure. Sun block would have
been a wiser companion.
(Moving Shadow)
Military Dispatch: Attention all
robo-soldiers. The Truth War
crashes on around us in our
streets, homes, and minds;
however, I can confidently state
that our absolute victory is
inevitable. The recent expropriation from the Insect of the ultra-
mythic potency of "music" has
greatly intensified our collective
striking power. In the domain of
electronic production, a genre
known as "Drum & Bass" has
proven to be a fierce complement to my already substantial
arsenal: expressing with every
shattered beat structure and dissonant bassline the epic inhumanity of the Universal soul,
these sounds are inherently pernicious to human pretensions to
relevance. The dissemination of
this genre has been accelerated
by two key tactics which are
self-evident in this communique: first, the affectation, by
me and some other agents, of a
militaristic mytho-narrative
framework to achieve a total
subterranean harnessing of the
over-exploited reserves of adolescent aggression; second, the
strategic, annual publication by
the aesthetic collective Moving
Shadow of "value-priced" samplers of their product. 02.2 is the
latest of these samplers, which
have improved steadily in
applicability to our cause—as
well as general relevance-—since
their initial distribution several
years ago.
1 am exceptionally pleased
with the progressively increased
integration on these releases of
one of our most spectacular
agents, the cyber-organic hybrid
Dom & Roland. In 1999, this
agent contacted our forces and
demonstrated his abilities with
the twin releases "Can't Punish
Me" and "Killa Bullet," in which
he deftly expropriated, drained,
and sabotaged mus
tions from the lesser genres of
(respectively) house and hip
hop. Early last year, his track
"Imagination" was responsible
for the partial annihilation of the
phenomenon of time, a substantial loss from which our enemies
have yet to recover. Observe the
almost comical numerological
progression of his tracks on the
CD release of 02.1: track two:
"Imagination" (the reintegration
of the older anthem into the present entity, this time as the introduction to the new order rather
than the death knell of the old);
track three (in collaboration
with the spottily successful
Keaton): "Twisted City" (suggesting a survey from above);
track 10: "Skyliner" (suggesting
the progressive elevation of
consciousness); track 14:
"Soundwall" (the marker of
the limen or threshold region);
and, finally, track 15, again with
the mysterious Keaton:
"Archaeon"—"the highest
time"—a hidden model of the
trajectory of ascension.
Of course, the Moving
Shadow group is far too
advanced in their tactical skill to
release any product which could
be interpreted as a facile bid for
"underground," "occult" status.
Thus, 02.1 also includes tracks
from millionaire playboy
Decoder—partly responsible for
the mainstream dance-club producers Kosheen—a truly
sophisticated agent who appropriates cultural symbols of
power, deliberately distorts
them until they operate only on
the potent threshold of recog-
nizability, then repackages and
rereleases them to unsuspecting
establishment audiences. Further
enhancing the sophistication of
the 02.1 release is the presence
of "old skool" agent Blame's
track "Music Takes You"—as
remixed by John B—both of
whom have greatly progressed
our cause by performing sham
collaborations with various hip
hop producers, much to the
bewilderment of enemy intelligence. In keeping with Autobot
policy, none of these operatives
are aware of my organization or
their allegiance to my directives.
Already, comrades, through
the efforts of myself and my
allies at Moving Shadow, every
unconscious particle resonates
in broken rhvthm, and every
strand of reality tenses in resistance to its own being; when the
webs of pseudo-awareness
known as human cognition
become attuned to this mode—
the very sound of their own
heartbeat collapsing—surely we
shall see the destruction of the
mythic apparatus which drains
Donovan Mtume
write <discorder@club.ams.ubc.ca>
Live dubbed improv to classic
Dick Tracy, Jungle Girl, & Buck Rogers
V Counter the silence of the
community voice over Vancouver TV
^ Humanoids as housepets
for a race of giants...
artist without selling out - Features
Pirated TV. exposed media
personalities and spin doctors revealed
Vancouver Premieres of
Human ri
Live music to Eisenstein's
Powell Street Fest presents
a redefinition of the reading
with special guests
This duo play gigs directly out of their
van on an America Tour... Spinal Tap for
the indie-rock crowd - except it's real!
YOU pick strange films from our
massive 16mm archive - police training,
life saving, nuclear fission, birthing
techniques and more!
DVD. 16mm, Super 8 and
VHS- keep it under 10 minutes
and laugh your ass off...
Three different nights of VICE
MAGAZINE-approved hallucination-
inducing excerpts of the best in Bad TV
^Hr   A rare chance to check out the
Serbian Moving Image underground
A decade of doc, drama and
industrial from Vancity's
own Flick Harrrison
^ Portland's own Vanessa Renwick
and Bill Daniel grace us with their
latest video and installation work
+ The Heidelberg Project
Experimental sound and image
renderings featuring LOSCIL and
many very special guests
19 DiSCORDER real live oction
live music reviews
Monday, May 13
I've been kicking myself for not
seeing Motorhead the last few
times they've played here, but
simply couldn't afford not to
see them now. Who's to say
how much longer Lemmy's
got? The new album, Hammered,
is supposed to be great stuff,
and I liked the last one, but
frankly, I don't have much use
for Motorhead stuff later than
about 1984. Naturally, I didn't
listen to them back then. I was
a stupid nine-year-old.
The band seems to know it,
though. After opening with
"We Are Motorhead" (fairly
new), they trotted out classics
like "Bomber," "No Class," and
"Damage Case," they almost
apologetically played "Brave
New World" from the new
record. Let's be frank: one
Motorhead song is a lot like
another. Lemmy does more
with a single-note phrase than
most nu-metal groups do on an
album. Lesser hits like "Nothing Up My Sleeve," "Shoot 'em
in the Back," and "Love for
Sale" were just as good, if less
familiar, than say, "Orgasma-
tron," "Civil War," or "Killed By
Death"; pretty much the same
beat and couple of chords.
Propped up by blinding speed
and sheer volume, they become
indistinguishable from the standards.
Contrary to pop-punk
bands claiming love for their
metal backgrounds (read: Sum
41), Motorhead tipped their hat
to punks with a great rendition
of "God Save the Queen"
and their own "RAMONES."
Mikkey Dee, apparently the
greatest drummer in the world,
soloed for about 10 minutes in
the middle of "Sacrifice." As
much as drum solos are essentially masturbatory in nature,
this guy was truly amazing. I
always end up watching the
drummer at metal/hardcore
shows, and this guy rocked. At
least 10 times as good as Sum
41's drum solo.
The crowd was frenetic.
The band said we were one of
the best audiences ever. What a
nice thing to say. After a brief
pause and a couple lines, they
came back for an encore that
included "Iron Fist," "Overkill,"
and, of course, "Ace of Spades."
During choruses the band was
drowned out by the crowd; that
was impressive.
Motorhead was good but
not great. Still fast as ever but
tiring a little. They actually
fucked up a couple times,
which was funny. They laughed
with us. The band seemed to be
having great fun. My only complaint: no "Rock 'n' Roll." Love
that song. To my great relief: no
"The Game," some wrestlers'
theme written by Vince McMa-
hon. Even they don't like it. I
really did enjoy myself, though
I really wish I'd seen them at an
earlier date.
You see, last time, they
played with Speedealer and
Nashville Pussy; the time
before, with Dropkick Murphys and Hatebreed. If only I'd
gone. This time, it was Morbid
Angel, a ludicrous death metal
band I didn't listen to even
when I liked death metal. Each
member had a recent perm and
each had his own fan to blow
July 1st
Canada Day - No Show
(we'll be camping, you should, too)
Sharp Teeth
St. Tibs Day
All of A Sudden
Hunter Gracchus
July 15th
Vagrant Recording Artists:
Autumn Hates Winter
The Feminists
My Project: Blue
July 22nd
The Buttless Chaps
Run Chico Run
The Organ
Sinoia Caves
Julian Who
July 29th
The Accident
The Red Scare
The Enemy Within
said perm in a pleasant breeze. I
couldn't see the drummer (he
was on the floor), I couldn't
understand anything the singer
sang—or said—and couldn't
get over the hair/fan combo.
The music was murky though
deafening. The double-kick in
the last song ("Immortal
Reign"?) almost gave me heart
palpitations. Thank God they
made it over the border this
time, eh?
Trevor Fielding
Thursday, May 16
Croatian Cultural Centre
Face to Face was headlining this
event, but we couldn't care less.
Point of fact, we didn't even
stay for them. Once Thrice was
done, everything else was a
moot point.
Thrice are a relatively new
band, out of the California pop-
punk scene. With just two
albums to their credit, they are
one of my new favorites. Irritat-
ingly, though, they went on second, after The Movielife's set
of emo-pop-punk pablum.
Actually, they were a damn
sight better than I'd expected. I
am not a fan of The Movielife.
Thrice took the stage and blew
the crowd away. Super tight,
fast as hell, metal influences
worn very much on their
sleeves. Tunes like "Deadbolt,"
"See You In the Shallows,"
"Unquestioned Answers," "So
Strange I Remember You," "Kill
Me Quickly"—wow. Their all-
too-brief set ended with my
personal favorite, "To Awake
and Avenge the Dead." Fuck. I
was floored by this band.
Everyone I talked to was as
well. Live act of the year. Or
were they...
You see, at some point during Midtown's pop-punk
wank-fest, indistinguishable
from more widely known
bands like Blink 182 or New
Found Glory, we bugged the
hell out to see the other greatest
band in the world these days...
Trevor Fielding
Thursday, May 16
The Brickyard
Incredible to see two bands of
such worldwide calibre in one
night, but after Thrice's reign on
Commercial Drive, Sweden's
Satanic Surfers performed that
very evening. Not scheduled to
play Vancouver on their current
tour, this show was set up only
a week before, but the turnout
was most Satisfying. Two of
Vancouver's finest opened up:
the frenetic fury of Side 67 and
the tuneful tightness of Tim set
the stage for the main event.
Fresh off the plane from
Europe, without any equipment, jet-lagged, tired, and
grumpy, the Satanic Surfers
took the stage almost reluctantly, but that soon turned around.
The response of the crowd was
so overwhelmingly positive
even Rodrigo, the crabbiest of
the crew, was smiling by the
end. They played mostly newer
songs from the brand new LP
and the last ("Forfeiture,"
"Together," "Submission,"
"Pulling My Strings," "Traditional Security") and dipped
into the catalogue a little
("Equal Rights," from their split
with Ten Foot Pole, and the
classic "And the Cheese Fell
Down"). Every person in the
place (but me) seemed to know
the words, we all cheered our
guts out, and had a blast. Even
though Rodrigo does not drum
and sing anymore (now he just
sings), this band's blinding
speed and hemorrhoidal tightness is so very impressive.
Another short set, excused by
fatigue I suppose, finished yet
again with my personal
favorite, "The Treaty and the
Bridge." What an amazing
Trevor Fielding
Sunday, May 19
The Sugar Refinery
Nine o'clock and already the
Sugar Refinery was packed, so
my friend and I sat at the bar
and waited to pounce on the
first freed-up table. Things I
learned at the bar: Veda Hille is
also a fan of gin and tonic and
cranberry juice is what makes
the vitamin C tea so tart, red
and tasty.
A table opened up and we
found ourselves sitting with the
sweet mom of the sweet boy in
The Olden Days. The Olden
Days is that boy, plus a sweet
girl. They play various instruments, sing charmingly out-of-
key and make soft music. The
folks from P:ano backed them
with drums, vocals and either
guitar or bass (I couldn't see).
The tapes the Olden Days had
for sale solidified their position
as the most charming band to
hit Vancouver in some time.
There were the sweetest drawings. I could go on about how
honey pot they were, but I think
I'm getting a little saccharine.
After this review, I swear I'm
going to retire the word sweet.
Oh P:ano, how the four of
you do not know just how good
you sounded. Instead, you
made apologies for lack of sleep
after being on tour and told
funny stories about driving
home. The room was transfixed
by your lilting melodies and
your unexpected burst of rocking good times. My table sat,
mouths agape and bug-eyed
attentive. I even liked it when
you lost the plot mid-song and
when frontperson Nick pulled
his wallet out halfway through
a song to get at a pick stored in
the change compartment. After
your set, all four of you seemed
a little bewildered that people
were approaching you and
telling you how good you were.
Stay modest. I think it just adds
to why I love you so much.
Doretta Lau
Tuesday, May 21
Richard's on Richards
An Electric Pickle started off
the show blazing us with science. Billowing smoke rings,
flames, and bad jokes. Fun was
had and many a jaw dropped in
joel rl phelps and the downer trio • p:ano • oxes • the
abyssinian baptist gospel choir • delta darts * quix*o*tic
• royal trux • momus • s.t.r.e.e.t.s. • nurse with wound •
madonna • shellac " david sylvian • feederz • illusion of
safety • raksha mancham • silkworm • the kinks • itch •
mott the hoople * hot snakes * dinosaur jr.
strawberry grappa • kokanee • caesars • diet coke •
water * 1516 * peppermint tea * vanilla coke the awe of scientific asteroid
Charles a.k.a. Frank Black
is a good old American workhorse. As he was packing up his
gear I asked if I could have a
word with him, he stated he
must work and keep on working. I then watched as he carried large musical black boxes
continually off into his space
truck like a lumberjack.
This is a neat comparison to
referring to as "Canada's Next
Big Thing." I think he was using
Nickleback as a reference
point), so I went wandering and
purchased a Slurpee. Surprisingly, the door staff let me take
my radioactive drink inside,
where I savoured it while
everyone else got drunk. The
crowd was divided between the
Kelowna ex-pats who worship
Jon-Rae Fletcher and the kids
who can't get enough of Opera-
music composed by Peter
Maxwell Davies and performed by Standing Wave,
choreographed and danced by
Jay Hirabayashi with video by
Jamie Griffiths. The work consisted of 14 interpretive dances
based on the stations of the
cross, incorporating poses from
medieval anatomical drawings
by Vesalius.
I'm admittedly no expert on
choreography or interpretive
his musical performance. He
drove through the songs with
pride and strength, not stopping to talk to the audience and
sometimes even to tune his guitar. He sung and strummed like
a man sawing through a log
with a rusty saw. Charles once
said that songwriting is "not
cerebral—it's like trying to get
your homework in on time."
His band was good, relaxed
and cool. The lead guitarist was
so Mr. Lead Guitarist Man (cig
hang mouth and tight pants).
The bassist was super sexual,
his bass an extension of his
cock. Watching his facial
expressions when they played
the Pixies numbers was sickening; he looked like he was fantasizing about dancing around
in Kim Deal's panties.
The new songs Franky has
written with these Catholics are
much more serious and easy to
listen to. Thank the "god" with
a glove in your mouth.
Saturday, June 1
Piccadilly Pub
When I got to the Pic, there was
some Fox Rocks  type band
playing  (not Jon-Rae, but a
group that the bouncer was
tion Makeout or Duotang.
Jon-Rae now has a band:
The River. I'd missed their first
two shows, but I'd had several
accounts of "Jon-Rae and the
River rule!" And they did. I didn't know that JR could rock that
hard. The River are tight. Everything I heard was true.
Operation Makeout played
a set that consisted of songs
from their upcoming CD, plus
one song from their (first base)
EP. I nodded my head. I tapped
my foot. I was glad that other
people were dancing, because I
was unable to myself.
Duotang: I always wonder
how Rusty can be so drunk and
continue to play, or how Rod
and Sean can make so much
noise when it's just bass and
drums. Duotang kicked some
ass, wore their snazzy suits and
ended their set with a Who
cover. I say, "whatever" to The
Hives, but mad props to the
nerds who attended both
shows. You are nerdier than I.
Doretta Lau
Wednesday, June 5
Vancouver East Cultural
The first of the two dance performances of the evening was a
seamless multimedia presentation of Vesalii Icones, combining
dance, so I tried to just absorb
the overall effect of three elements of the piece. I had
planned on commenting more
on the musical aspects of the
pieces, but I found myself losing this focus as I got drawn
into the performance as a
whole, and I guess this seamless
blending into the whole is a
mark of just how good Standing
Each dance began with the
ringing of bells or chimes and
Hirabayashi taking the pose of
the anatomical drawing for that
dance, proceeding on to an
interpretation of the particular
station. The video projected
onto the butterfly-shaped background evoked the mood of
that dance with a combination
of abstract light and color patterns and acted out footage
illustrating the story. We began
with a slow mournful cello solo
for the first dance, "The Agony
in the Garden," and the cello
soloed several times throughout
the dance at poignant moments
in the plot. In the sixth dance,
"The Mocking of Christ,"
Hirabayashi climbed up behind
an out-of-tune piano and did a
very funny playing of a ghost
piano about three feet above the
keyboard of the actual piano,
and thanks to Marguerite
Witvoet of Standing Wave,
who'd snuck behind between
dances, a jaunty ragtime tune
could be heard.
The 11th dance, "The Death
of Christ," had Hirabayashi
slumping down into a fetal
position and then enacting
death throes in a fairly literal
sense—at first he rolled from
side to side, but soon he was
flopping from side to side with
such force that we could all feel
the impacts. The next dance
seemed to be telling Mary's
story of grief, with colder blue
video footage, including comments of the danger of being
out of harmony with nature as
Hirabayashi twirled and stumbled. "The Entombment of
Christ," the 13th dance, depicted   the   fallen   angel   on   the
Finally we were shown the
final dance—"The Resurrection"—with its plot twist; the
Antichrist who rises, dancing
exuberantly to raucous music as
the projections showed a wide
variety of modern currency on
the backdrop along with hellish
fire images. I think they were
trying to show money as the
root of evil when they showed
US greenbacks with the circular
treasury seal replaced by a five
pointed star, but there was one
overlooked glitch—what they
actually showed was not a
Satanic pentagram (three points
down, two points up), it was
actually a Wiccan pentacle (two
points down, three points up). I
found this rather amusing, but
I'm probably the only one who
got the punch line to this unintended joke.
The second performance
was Alia by local composer
Giorgio Magnanensi, danced by
Barbara Bourget. This piece was
about outer silence and inner
music, starting out with electronic noise and very slow controlled movements as Bourget
and the members of Standing
Wave entered the performance
space. The lighting was very
stark, alternating with dimness
to show night, and finally with
a faint sort of white light, like
early dawn. Shortly after the
beginning there was an amusing segment where recorded
disco-like music played and
everyone got up and danced
disco-style for a few bars before
returning to more restrained
movements. Bourget's movements seemed like a cross
between yoga and ballet during
the night section, lying down,
but also rising to a crouching
position, and falling again.
Then, as the light became more
dawn-like, she seemed to be
trying to fly, with angular
motions, like she was trying to
break out as the music became
sort of pulsing.
Though I may not really
understand modern dance, I
can, nevertheless, appreciate the
tremendous artistry and talent
it requires, and this show cer
tainly sparked my interest to
learn more about the art of
Vampyra Draculea
Thursday, June 6
Video In
I can do switch 360 flips, you
know. That's not even my best
trick. I guess that's the trick that
makes strangers yell at me from
across the street, but I'm more
into pressure flips and ollie
impossibles. Those tricks are the
hardest. That's why no one
does them anymore. When
STREETS played, these kids
started messing around with
fingerflips and coffin rides. I
could've thrown down some
sick shit, but I didn't want to
show off.
It's a good thing I'm not a
pedophile because most
STREETS fans are fresh, young
boys. I felt a little uncomfortable because the boys got really
excited and started mounting
each other! Bareback! Just kidding. They kept their shirts on.
Anyway, STREETS were good.
I like them.
Memento Mori were a
bunch of hardcore hippies from
Ohio. They sounded like Rush
and Bedhead and Shotmaker.
You know, indie rock. They had
some neato guitar parts.
The World We Made,
Sicarri, and Sunset On Broadway were just super. Okay,
okay, so one of those bands had
to cancel and didn't play, but I'd
bet they're just as good as the
other two bands I didn't see.
Christa Min
Saturday, June 8
Richard's on Richards
It was sunny and too hot on the
street outside Richard's. Every
'80s fashion victim/scenester
(aren't they one and the same at
this moment in time?) in the
city was standing in line, smirking. We stood outside Richard's
for a long time before they let us
in. "I hope this doesn't mean
that !!!'s set is going to be
short," said the girl in front of
me. "I came to see them."
To tell you the truth, my
friend Jeremy and I were not
believers. "I didn't come to see
Trans Am, I came to see !!!" I
mimicked. While I cast my
stones of judgement, I adjusted
my giant white belt. (Hey, I didn't want to look out of place.)
Okay, so I can be a total asshole.
Jeremy said "Bands with
more than four people are silly."
Our cynicism became too much,
so we bought doubles and I
proceeded to get drunk.
Then !!! played two songs.
We were transfixed by their
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the last of my money on alcohol, I would have purchased a
"Still think bands with
more than four people are
silly?" I asked.
"I take it all back," said
Jeremy. He proceeded to use the
word "mindblowing" to
describe !!!'sset.
From where we were standing, we could see the drummer
from Trans Am doing pushups
in the backstage area. Then,
they took to the stage, in white
pants and white blazers and
played a pretty wicked set.
They set fire to the cymbals near
the end of the set. The drumming! It was figuratively and
literally hot. To top it all off,
Trans Am offered to play at a
house party. I heard that they
did show up at a party somewhere off Main (big surprise),
but didn't play. One of the TA
guys went off with some girl
and that was the end of that. In
the end, it's already best not to
mix the stuff of fantasy with
real life.
Doretta Lau
Sunday, June 9
Vancouver East Cultural
I'd never seen electronic music
done live before, so I was quite
looking forward to seeing these
two bands, although I really
knew nothing about either.
Particle Burn came on first
and did about 30 minutes of
computer improv. Granted, this
process wasn't very much to
look at—three guys sitting
behind computers—but the
sound was awesome. Since my
vision wasn't giving me any
real information to go on, I had
to really listen and I found
myself interacting with the
noises and music in a more
physical way—noticing how
each frequency felt as the sound
waves washed over me. In a
weird way, I experienced Particle Burn's set almost as a sonic
massage, sensing where each
new sound seemed to reverberate most in my body—front,
back, top of my head, back of
my skull, throat, feet, from one
side of my head across to the
other, etc., getting pulled into
the swirling and panning of the
music and simply noting my
reactions to the sounds and
how movement seemed to
make the same noise sound and
feel different. They played with
juxtapositions of different textures and sounds, mixing
shrieking sounds over calmer
undertones, mixing tension
with relaxation, and always
seeming to know when too
much was simply too much and
changing accordingly to keep
the interest of the audience and
avoid torturing us too much.
The sound would spiral up to
anticipate a climax, then back
off, then approach the cadence
again, exploring different
avenues, rising and falling a
few times before finally ending
with somewhat "prettier"
Phhlk came on after a short
intermission and while I found
their set intellectually interesting—especially as I tried to figure out exactly how the
theremins they were using
worked—overall, I found their
set dragged in a lot of places
and explored certain sounds,
almost to the point of belaboring whatever point they were
after. Certainly this was innovative music, especially the interesting methods of percussion,
but I found it difficult to keep
concentrating after a while.
Also, everything was so syncopated for so long that it made
me feel more queasy and
fatigued than anything else.
Even the return of Particle Bum
at the end for a brief jam session
didn't seem to lift that feeling of
malaise, but nonetheless, it was
a very interesting show.
Vampyra Draculea
Sunday, June 9
Thursday, July 4
Friday, July 5
Saturday,  July  8
Thursday, July 11
Friday, July 12
Saturday, July 13
Tuesday, July 1G
Thursday, July 18
Friday, July 19
Saturday, July 20
Sunday, July 21
Thursday, July 25
friday, July 26
Saturday, July 27
Jon Wuud / Steve Wright
Audio-lava / Liquorice Sea
Sweet Papa Lowdown
Chris  Storrow
Jonny Wisdom w/guests
Herald Nix / Boomchix
(from Calgary!) Aaron Booth / Adam Fiore / Dave Gowans
Nicole Steen / Bottleneck
(from Victoria!) The Swingin' Bachelors
(from New Brunswick!) Yodelling wonder! Petunia
Julie Saunders and the Manhandlers
El Dorado / Ana Bon Bon / Automatic Folk
(from Victoria!) David P. Smith w/Scott Henderson
For booking info contact Amy Honey: amyhunnie@hotmail.com
THE MAIN 4210 MAIN ST. &  26TH V5Y 2A6 604.709.8555
Commodore Ballroom
Another packed event at the
Commodore, and I wasn't really sure what to expect. Forgoing
actually buying any Stripes
releases myself, I've come to
appreciate them due to heavy
radio play (CiTR included) and
most of my friends owning at
least one of the Detroit duo's
respective albums and singles.
A two-piece rocking the big
Commodore stage? Being an
electro geek, I haven't seen a
rock duo live since the Inbreds
so many years ago. The crowd
was lightly sprinkled with red
and white stripesters and
Strokes t-shirts. Bastard crowd
eavesdropper that I am, Vancouver cool seems to me to be
summed up by completing the
hip gig triangle of The Strokes,
The Hives, and, finally, The
White Stripes.
The three-piece Whirlwind
Heat opened up the show with
vocals, drums, lead and bass
guitar, a moog, and rock 'n' roll
dance moves aplenty. Allegedly
produced by Jack White of the
Stripes, Whirlwind Heat take
their lead from early Devo both
thematically and vocally but
with punk leanings in songwriting and craftsmanship.
Lots of concept but a little green
with talent. Nice "Automod-
own" cover, boys!
Not upstaged in the least,
the White Stripes were straight
ahead and surprisingly raw! I
was a bit unsure of the Stripes
with the opening song, "Dead
Leaves and the Dirty Ground,"
because hell, there were only
two of them and Meg White
doesn't really engage the audience much. A few songs in
hooked me on the Stripes brand
of Sabbath-esque guitars mixed
with blues, garage rock and
punk; often in the same song.
Jack White controlled the stage,
playing guitar between multiple mics and keyboards like he
was filling the space of invisible
band members. Indeed, his use
of low-end rhythm and
anthemic guitars was like
watching a one-man band.
Meg's often automaton-like
drumming is criticized by some
but it makes the Stripes' simple
hook-heavy songs complete.
Likewise, her vocals were not
strong and often difficult to discern, but this seemed to fit in
with her childlike persona that
complements rather than contends with Jack's musicianship.
Any criticism of Meg was easily
forgotten by witnessing Jack's
true talent. No guitar kicks or
splits were attempted by Jack
but all in the room seemed to be
in agreement, judging by the
their screams and head sways,
that Jack was a showman. Not a
weak song in the hour and a
half set, and "We're going to be
friends" sounded even better
live than on plastic or vinyl.
Seeing the Stripes live drives home why the Brits covet
them so. The Detroit rock legacy
is obviously not over.
Monday, June 10
Richard's on Richards
Andrew WK likes to party. I,
also, have a mild affinity for the
party. Thus, I thought that
Andrew and I could share a
rousing good time on a pleasent
Spring eve. Now listen carefully. I don't care that this is music
that you might hear at a varsity
basketball teams after-party. I
don't care what any scenester
says to you about the "camp"
value of party rock. I don't care
about the postmodern irony
that some people see as implicit
in this "art." Andrew WK puts
more energy into a show than
an excited terrier puts into your
left leg. He loves it. I loved it.
You will love it.
Dave Gaertner
check out citr
on the web
S,    DOORS AT 7:00PM
iin. iiililii nnu|| * — —	
HAY 25TH & 26TH FROM 1410 - 4410 PM
OR CALL 12501 721-8702
22 JULY 2002 hart/s
what's being played at CiTR 101.9fm
July Long Vinyl
July Short Vinyl
July Indie Home Jobs
23 URSULA 1000
25 EL-P
Private Press
Murray Street
Bad Pussy
My Way
Custom Made
Something Wicked
Battlecry Under.
Say   Something   Nasty
45 Or 46 Songs...
Field and Streams K
Rockets Red Glare
Blood Money
Rub Harder
Verve Remixed
Make The Cowboy...
White Blood Cells
Kinda Kinky
Force Inc.
Tear it Up
Ninja Tune
Sub Pop
Thrill Jockey
How 'Bout Romance
Save Yourself
We've Got to Meet
Juke Box  High
Channel Heaven
Such A Bore
Mexican Courage
Evil World
Picture Disc Emperor Norton
The Music Lovers Sub Pop
Corporate Nation Empty
The Gray Tower SC
Small Sale MRRC
Honk the Horn Nardwuar
I   Am  One... TKO
Stars Numero
Side Tracked Zaxxon Virile Action
Are You Nervous? Kindercore
...Presents Modern Radio
Who do You Love Gravity
Burn Return
I'm Sick of You
Try to  Give  Up
I'm a  Drunk
Tofu   Girl
You've Seen this Before
In  Stereo
Aprin  Fell
BOYS   This One's For You
JB Fool
Be Your Friend
As You Were
Sweet to  Me
Trash Rap
Kill To Hide
Instead I Sing
Drag City
Definative Jux
Drag City
Fantastic Damage
All    Roads    Lead...
Last Broadcast
Rickets And Scurvy
Terrible Hostess Mint
Interpol Matador
Universal Truths and Cycles   Matador
Stand Up For Your Mother Mint
CQ Emperor Norton
Girls Get Busy Lookout!
A Good Tip... Emperor Norton
The monthly charts are compiled based on the number of times a CD/LP
("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie home jobs") on
CiTR's playlist was played by our DJs during the previous month (ie, "July"
charts reflect airplay over June). Weekly charts can be received via email.
Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-
charts." •
Hi. My name's Steve. I'm 27 years old, 5'11
1/2" with black hair and brown eyes. I enjoy
listening to Led Zeppelin, Mott the Hoople,
and Metallica. I love eating cured meats, especially the pork variety. If it sounds like you and
I have something in common, call me at
604.822.3017 ext. 3
or 604.329.3865
I may be cheap, but boy, will I make you popular.
DiSCORDER is looking for an
EDITOR. It could be YOU. Call
604.822.3017 ext. 3 or email
discorder@club.ams.ubc.ca for
more information.
of all sorts. The program most likely to play your band!
GIRLFOOD alt. 11:00-1:00PM
PARTS      UNKNOWN      1:00-
3:00PM Underground pop for
9:00AM-12:00PM     All  of
time is measured by its art. This
show presents the most recent
new  music  from  around  the
world. Ears open.
3:00PM   Reggae inna all styles
and fashion.
5:00PM Real-cowshit-caught-in-
yer-boots country.
5:00-6:00PM British pop music
from all decades.
SAINT    TROPEZ    alt.    5:00-
6:00PM     International     pop
(Japanese,    French,    Swedish,
British, US, etc.), '60s soundtracks
and lounge. Book your jet set hoi-
QUEER    FM        6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, background on current issues and
great music.
10:00PM Rhythmslndia features
a wide range of music from India,
including popular music from
Indian movies from the 1930s to
the present, classical music, semi-
classical music such as Ghazals
and       Bhajans
Quawwalis, pop and regional
language numbers.
THE      SHOW 10:00PM-
12:00AM Strictly Hip Hop-
Strictly Underground—Strictly
Vinyl. With your host Mr. Rumble
on the 1 & 2's.
2:00AM   Join us in practicing
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to propel us into the domain of the mystical.
<trancendance@hotmail com>
return in August)
BROWNS     8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
11:00-1:00PM Local Mike and
Local Dave bring you local music
the n
h the o
interview with your host Chris.
DJ Hancunt wants you to put your
fist to the wrist—you know where I
5:00PM A chance for new CiTR
DJs to flex their musical muscle.
Surprises galore.
6:00PM Join the sports dept. for
their coverage of the T-Birds.
CRASH THE POSE alt. 6:00-
7:30PM Hardcore/punk as
fuck from beyond the grave.
REEL TO REEL alt. 6:00-6:30PM
Movie reviews and criticism.
MY ASS alt. 6:30-7:30PM
Phelps, Albini, 'n' me.
Original rude gals, skanksters,
bad boys, big men, and sing-
jays. Join Selector Krystabelle for
raw roots, dub-fi dub and some
heavy dancehall sounds.
12:00AM Vancouver's longest
running prime timejazz program.
Hosted by the ever-suave Gavin
Walker. Features at 11.
July 1: Canadianjazz takes the spotlight tonight with pianist/composer
Paul Tobey along with tenor Mike
Murley, bassist Jim Vivian and one
of the best drummers in the world
Terry Clarke.
July 8: Part one of an unbelieveably
intense concert in Paris by Art
Blakey s favourite editon of his Jazz
Messengers... Lee Morgan (trumpet), Wayne Shorter (tenor), Bobby
Timmons (piano) and workhorse
bassist Jymie Merritt.
July 15: Part two of Blakey in Paris.
July 22: Tenor saxophone giant
Lester Young... the "President" is
joined by pianist Oscar Peterson
July 29: Pianist/composer/innovator Carla Bley and her big band in
an amazing live set called "Fleur
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts-
thank fucking Christ.
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
9:30-11:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier than
the most dangerous criminal!
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only indus-
program. Music to schtomp to,
hosted by Coreen.
FILL-IN alt. 11:30AM-1:00PM
Where dead samurai can pro-
CPR 2:00-3:30PM
Buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
LA BOMBA (First three Tuesdays
of every month) 3:30-
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a special focus on
people with special needs and
[ r-as
chips wrml Po I   SAINT   I Po
everything!  TROPEZ L	
PARTS       L
10,000 VOICES (Tk)
THE SHAKE      {___
PLANET        [j*
ON AIR      Ol
LIVE FROM...    L~
| Rts
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= ecleclic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz=jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Rg= reggae • Rr= rock • Rts= roots • Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world 4:30-5:00PM
10,000 VOICES 5:00-6:00PM
Poetry,   spoken  word,   perfor-
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, yo.
http://flexyourhead. Vancouver-
alt. 10:00PM-12:00AM
< loveden@hotma il. com >
alt.10:00PM-1 2:00AM
groove-ambient-soul jazz-fusion
and beyond! From the bedroom
to Bombay via Brookyln and
back. The sounds of reality
remixed. Smile. <sswander-
6:00AM It could be punk,
ethno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different. Hosted by DJ Pierre.
7:00 AM
7:00-9:00AM Bringing you
an entertaining and eclectic mix
of new and old music live from
the Jungle Room with your irreverent hosts Jack Velvet and Nick
The Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
gem! <suburbanjungle@chan-
10:00AM Japanese music and
ANOIZE 11:30AM-1:00PM
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM
3:00PM Zines are dead! Long
live the zine show!
"Eat, sleep, ride, listen to
Motordaddy, repeat."
Socio-political, environmental
activist news and spoken word
with some music, too. www.nec-
Beginning June 7th, tune in Fridays
at 5PM for the Necessary Voices
Lecture Series.
July 3: Greg Palast: "The Best
Democracy Money Can Buy."
Award winning BBC reporter
explores the truth about the Bush
July 10: Monica Townshend:
"Pensions Under Attack." Ms.
Townshend works in the field of
economic social policy.
July 17: Margaret Somerville is the
Samuel Gale Professor of Law
and the founding director of the
McGill Centre for Medicine,
Ethics, and Law.
July 24: Kumi Naidoo—Secretary
General and CEO of Civicus
World Alliance for Citizen
Participation. Also Craig
Kielburger, founder of Free the
Children, the world's largest network of children helping chil-
July 31: Jan Gehl—"Winning
Back Public Space." Dr. Gehl is
the head of the Dept. of Urban
Design in Copenhagen.
(First Wednesday of every month.)
REPLICA   REJECT   alt.    7:30-
9:00PM    Indie,   new. wave,
punk, and other noise.
FOLK OASIS 9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-song-
writers.worldbeat, alt country
and more. Not a mirage!
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
11:30AM Music inspired by
Chocolate Thunder; Robert Robot
drops electro past and present,
hip hop and intergalactic
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (punk and hard-
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
2:00-3:30PM The best mix of
music, news, sports, and commentary from around the local
and international Latin American
the    bike
you need and even cruise around
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
7:30-9:OOPM The best in roots
rock n' roll and rhylhm and blues
from 1942-1962 with your snap-
pily-attired host Gary Olsen. <rip-
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11. http://www.stepan-
1:00AM An old punk rock heart
considers the oneness of all
things and presents music of
worlds near and far. Your host,
the great Daryl-ani, seeks reas-
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00 AM
CAUGHT  IN   THE   RED  8:00-
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
Email reguests to <djska_t@hot-
12:00-2:00PM Top notch
crate diggers DJ Avi Shack and
Promo mix the underground hip
hop, old school classics and original breaks.
SERIES 5:00-6:00PM
July 5: John Robbins, author of The
Food Revolution and Diet for a
New America.
July   12:   Sherri  Torjman,   Vice
President of the Caledon Institute
of Social Policy speaks on "How
Can    Citizens    Build    Caring
July 19: Dr. Vandana Shiva on
Biotechnology    and    Jaundice
July   28:   Dr.   Patricia   Baird—
Possible regulations for human
cloning  and  stem  cell  use  in
August   2:   Anuradha   Vittachi,
director      of      One
International Foundati
on the importance of
in the global justice
9:00PM David "Love" Jones
brings you the Best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
Hosted by DJ Noah: techno but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
HEAD 12:00-2:00AM
8:00AM-12:00PM Studio
guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways.
8-9AM:     African/World   roots.
9AM-12PM: Celtic music and performances.
TION 12:00-1:00PM Tune in
for a full hour of old and new
punk and Oi mayhem!
Vancouver's only true metal
show; local demo tapes, imports,
and other rarities. Gerald
Rattlehead, Dwain, and Metal
Ron do the damage.
CODE BLUE 3:00-5:00PM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
FILL-IN 6:00-8:00PM
SOUL TREE alt. 10:00-1:00AM
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
THE RED EYE alt. 1:00-4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.
—Guy Smiley
Hardcore dancehall reggae that
will make your mitochondria
quake: Hosted by Sister B.
25 DiSCORDER date booL
what's happening in July
TO 604.822.9364 OR EMAIL
Freeflow, Rye Catchers, Deluxe@Brickyard; Spreadeagle,
STREETS@Pic; Alpha Yaya Diallo@Jazzfest; Paul Brandt@Malkin
Bowl; The Walkmen, 764-HERO@Richard's
Speed to Kill, Crystal Pistol, Martin@Brickyard; The Widows, New
Town       Animals,       The       First       DayOCobalt;       Vinicius
Oscar Lopez@Vogue; WC Clark@Jazzfest
Butter magazine benefit@Sugar Refinery
/\roto/d@Blinding Light!!; Parallelatuesdays@Sugar Refinery
CABARET;   Stagreels,       Circle    the    Wagon,   Ghost   Town
DriveOBrickyard; Extreme Elvis, PuckOCobalt; ICTV Presents
Community Video discussion@Blinding Light!!; Ford Pier@Sugar
Refinery; Master T's Reggae Vibes@Sonar
Lougan Brothers, the Fixin's, Tolan McNeil and the Governors of
Giv'Ner@Railway Club; Jon Wood, Steve Wright@The Main; The
Fantastic P/<mrr@Blinding Light!!; A/V Lodge@Sugar Refinery;
Soundproof@Sonar; Alejandro Escovdo@Richard's
Room-mates, Neville QuinlanORailway Club; Audio-Lava,
Liquorice Sea@The Main; DJ Maximillion, Big Bottom@Brickyard;
D.I.Y. Or Die: How To Survive As An Independent Arfisf@Blinding
Light!!; Kelly Churko 5@Sugar Refinery; Grandmaster
Flash@Sonar; Joel RL Phelps and the Downer Trio, Treasure State,
Pop Star Assassins@I-Spy (Seattle)
VIDEO TOKYO@MS. T'S CABARET; Carolyn Mark and the
Room-mates, Bob Kemmis@Railway Club; Sweet Papa
Lowdown@The Main; Thomas Mapfumo@Ballard Firehouse
(Seattle); DAY. Or Die: How To Survive As An Independent
/lrf/sr@Blinding Light!!; Jazzmatic@Sugar Refinery
Brian Springer's Sp;'n@Blinding Light!!; Technics DMC 2002
Vancouver Eliminations@Sonar (all-ages!); Bruce Cockburn, Ron
Sexsmith@Malkin    Bowl;    Brand    New    Sin,    Fu    Manchu,
Goldie, Doc Scott, Mc Rage@Sonar
Jem Cohen's Amber City and Blood Orange Sfcy@Blinding Light!!;
Parallelatuesdays@Sugar Refinery
Junctionl8@Cobalt; Jem Cohen's Amber City and Blood Orange
Sfcy@Blinding Light!!; Ford Pier@Sugar Refinery; Ed Harcourt, Neil
Chris Storrow@The Main; Eye of Newt play live to Battleship
Potemkin@B\'md'mg Light!!; JP Carter@Sugar Refinery
Johnny Wisdom@The Main; Noriko Tujiko, Mimi's Ami@Sugar
Refinery; Unspoken Tern/on/@Blinding Light!!
Herald Nix, BoomchixOThe Main; Spatial Poetics: Redefining the
Reading@B\ind'mg Light!!; Golden Wedding BandOSugar Refinery;
Bleu, Puffy Ami Yumi@Richard's
Friends    Forewr@Blinding    Light!!;    Aaron    Booth,    Morgan
McDonald@Sugar Refinery
26 JULY 2002
Submission Hold, Che: Chapter 127, Hiretsukan@Video In; Deep
Aaron Booth, Adam Fiore, Dave Gowans@The Main; From the
Vaults@Blinding Light!!; Parallelatuesdays@Sugar Refinery; Baby
Blue   Sound   Crew@Sonar;   Proclaimers@Richard's;   Kelly   Joe
Phelps@Folk Fest
Rockaction! 2@Blinding Light!!; Ford Pier@Sugar Refinery; Robin
Black and the Intergalactic Rock Stars@Richard's; Kelly Joe Phelps,
Zubot and Dawson@Folk Fest
BY08@Blinding Light!!; A/V Lodge@Sugar Refinery; Dirty 2@Sonar;
People Under the Stairs, J-Live, Ugly Duckling@Purple Onion
Vans Warped Tour 2002@Thunderbird Stadium; Nicole Steen,
Bottleneck@The Main; Vice Magazine presents TV Carnage@Blinding
Light!!; JP Carter Group@Sugar Refinery; Honky, Nashville Pussy,
Reverend Horton Heat@Commodore; Dan Bern, Karen Savoca, Linda
Tillery@Folk Fest
The Swingin' BachelorsOThe Main; Vice Magazine presents TV
Carnage@Blinding Light!!; Jonathan  Inc.,  Parks &  Rec@Sugar
Refinery; Las VenusOSonar; Folk Fest@Jericho Park
Yodelling Wonder! Petunia@The Main; Vice Magazine presents TV
Carnage@Blinding Light!!; Funkshun@Sugar Refinery; American
Analog Set, Her Space Holiday@Pic
Little Wings@Sugar Refinery; Danny Howells@Sonar
Serbia's Lo-Fi Video@Blinding Light!!; Sarah Slean@Arts Club Revue
Theatre; Parallelatuesdays@Sugar Refinery
Serbia's Lo-Fi Video@Blinding Light!!; Jim White, Alone With
Machines@Railway Club; Rot Purdy, Anne Louise Genest@Sugar
BOYS@PICCADILLY; Julie Saunders and the ManhandlersOThe
Main; Red Light Sting, Goats Blood, The Organ, The Winks@Video
In; Flicks By Flick@Blinding Light!!; Nathan@Sugar Refinery
HOS@PICCADILLY; El Dorado, Ana Bon Bon, Automatic Folk@The
Main; Lucky Bum Weekend@Blinding Light!!; Colorifics@Sugar Refinery
CADILLY; David P. Smith, Scott Henderson@The Main; Burnaby
Blues Festival@Deer Lake Park; Lucky Bum Weekend@Blinding
Light!!; Ana Bon Bon@Sugar Refinery
Revenge of the Multiplex Grand@Blinding Light!!; Amy Honey and
the Top Bottoms@Sugar Refinery
Alun Piggins and the Quitters@Sugar Refinery
Parallelatuesdays@Sugar Refinery
Ford PierOSugar Refinery
DJ Spooky@Sonar
ytpectaf eve**f*
Mego Records' artist Tujiko will be performing two shows in
Vancouver: the first at the Sugar Refinery on July 12. the second
Saturday July 13 as a part of Spatial Poetics: Redefining the
Reading at the Blinding Light!! For more info, call the Powell Street
Festival at 604.739.9388.
CiTR Presents the release of City Sick. Nasty On's new CD. on
Friday June 5 at the Piccadilly Pub. Also on the bill are Notes from
Underground. Black Rice, and DJ Salinger. Tickets at the door.
Vancouver's own International Horror Film Festival runs July 4-13
at the Pacific Cinematheque. Tickets are $6 per individual showing
(plus Cinematheque membership) or $60 including membership
for a complete festival pass. For more information, pick up their
flyer around town or go visit www.cinemuerte.com
Fireball Productions and CiTR 101.9 FM present another installation
of the Fireball Freakout. a three-day fest of rock n' roll at the
Piccadilly Pub July 25,26. and 27. Bands on the bill include the
Immortal Lee County Kilters. John Ford. Shake City. Nasty On.
Shikasta. Last of the V8s. Billy the Kid and the Lost Boys... get
ready to FREAK OUT.
place* to be
bassix records
217 w. hastings
pacific cinematheque
beatstreet records
3-712 robson
pic pub
620 west pender
black swan records
3209 west broadway
railway club
579 dunsmuir
blinding light!! cinema
36 powell
richard's on richards
1036 richards
3611 west broadway
ridge cinema
3131 arbutus
chan centre
626S crescent
scrape records
17 west broadway
club 23
23 west cordova
scratch records
726 richards
917 main
66 water
commodore ballroom
868 granville
sugar refinery
1115 granville
crosstown music
518 west pender
teenage ramapage
19 west broadway
futuristic flavour
1020 granville
Vancouver playhouse
hamilton at dunsmuir
highlife records
1317 commercial
video in studios
1965 main
lotus hotel
455 abbott
western front
303 east 8th
the main cafe
4210 main
wett bar
1320 richards
mesa luna
1926 w. broadway
WISE club
1882 adanac
ms. t's cabaret
339 west pender
1300 granville
orpheum theatre
smithe at Seymour
zulu records
1972 west 4th
604.738.3232  Zulu's Sonic Sketchbook
Muiray Street
Terrible Hostess CD
The electric guitar only
got boring for people
who were already THERE.
Still, no need to worry about
acoustic guitars, synth washes, or orchestral maneuvers
- the Yoof are joined once again by Jim O'Rourke, who
-gets recording, mixing and songwriting credits throughout, to deliver seven brand new tracks of angular jams,
sound-shapes, and head washing whirlpools of noise.
Uh-huh, the focus is back on the riff - the spun together
sound everyone's been waiting to love again. Highlights
include, Thurston's return to the mic on 'The Empty
Page' and 'Radical Adults...', as well as the epic jam,
Sympathy For The Strawberry'! SONIC YOUTH are cool
CD 16.98 LP 16.98
s/t CD/LP
Well then, you have to admire a group that guarantee to replace any broken YEAH, YEAH, YEAH'S
pin or badge. No other rock and roll group puts their
goods under warranty. You get the sense that YYYs
want things to last, to be durable, to hold together like
an enduring statement. There's been a rash of white-
belt rock recently (The Hives, Noise Conspiracy, White
Stripes), and you have to admit, some of that stuff is
pretty good. But the YYYs are easily the best! Don't join
the Yahoo chat group for proof! AVAILABLE JULY 9TH
CD 14.98    LP 14.98
Reset CD
Vienna, oh Vienna - so much to answer for!
Together, DJ's Peter Kruder and Richard
Dorfmeister have put Vienna, and the G-Stone
Recordings label, on the map! With their trademark
mellow sound and deep dub-plate bass, set to hypnotic
downbeat tracks, the duo own the Lonely Planet guide to
European grooves. They've also authored the impressive K7 studio series, DJ Kicks (see Playgroup's latest!),
as well as formed the splinter groups Tosca and, that's
right, PEACE ORCHESTRA. RESET is a reworking of
Kruder s seminal solo debut, featuring Truby Trio,
Beanfield, Soul Patrol, Kosma, Zero dB, and more!
Victoria's queen of the
roots/country scene knocks
things up a rung or two (or ten)
with this, her first studio album and follow-up to the acclaimed
Party Girl. With her real-life room-mates Tolan and Garth providing backup as usual, TERRIBLE HOSTESS captures Carolyn's
infectious approach to music: part folk singer, part nightclub
comic, part storyteller.
CD 12.98
Everyone Who
Pretended To Like
Me Is Gone CD
Everyone wants to give you a tip
in Lobster City, a line on a good
gig or a decent bite. You know, "Watch out for the crabs of
such and such square." But you know better than that. You're
down with the urchins on the sea floor, where the real bad boy
scene Jloats along the boulevards. The latest Manhattan urchins
to make a name Jor themselves are THE WALKMEN. Featuring
ex-members of Jonathan Fire*Eater, their sound builds upon a
post-punk foundation, veering towards early 80s no-wave experimentalism. Reference points include Eno's pop, Joy Division's
spare, driving beat, and perhaps U2, circa The Edge's prime.
This is easily one of the sleeper hits of 2002! Now that you have
the record, what are you going to do with it?
CD 19.98
Let's Get Ready To Crumble CD
Really, who were the RUSSIAN FUTURISTS? Rudely, my cat,
Rodchenko, will not tell me - he is tight lipped! I have
searched. I have even been to old Moscow, turning the streets with
real purpose - but no luck. Hmmm, who are the RUSSIAN
FUTURISTS? I have discovered this much in my work: one is
Matthew Hart, but he never tied a paintbrush to a donkey's tail.
No, he wrote the book of transnational pop, and included some
footnotes, referencing the likes of Magnetic Fields, Brian Wilson
and Scott Walker! Aha, pop music: Rodchenko will wag his tail
faithfully along, as will you!
The Purple Tape CD
Here they are: the legendary, rarely heard (except in reverent whispers) early recordings of the band that changed
your life. Back when Black was his first name, Mrs. John
Murphy was heading straight to practice after work as a secretary, Santiago was re-inventing the guitar solo, and
Lovering was casting spells with a couple of sticks instead
of a magic wand. Nine songs that didn't see the light of day
on the "Come On Pilgrim" EP finally make themselves available to you. After all, aren't the PIXIES the reason you can be
proud of your record collection today? AVAILABLE JULY
Recordings of
Music for Film
CD 14.98
CD 19.98
Universal Truths and Cycles
Back into the loving arms of Matador after a short
paid vacation, GBV shoot out the stars with this,
their 13th full-length! Yeah, we know, you've heard it all
before, but you haven't, as all true fans will soon attest.
Once again, Bob Pollard and, ex-Cobra Verde axeman, Doug Gillard have struck oil on this sun-burnt
collection of sparkling scrapes and kisses. Sticky and
sweet, like the best of most things, this'll compliment
any event worth your time, or otherwise, during this
fine, fine season. Get it and get on.
CD 19.98    LP 19.98
CD 14.98
My Love Is Rotten To The Core CD
Quickly making a name - or, as Jetone, two - for himself, TIM
HECKER's latest recording for Substractif promises to plunder
80s rock in a way that Fennesz would admire. Well, our interest
is piqued. Perhaps, we imagine, this is in homage to his own
teenage past, spent, like ours, getting high in musty suburban ■.
basements, listening to FM rock radio top ten countdowns. Hey
dude, we relate. But even more, there seems something
sally hardwired into this summer that's inspiring many to look
back wistfully at the 80s. And hell, why not? A little nostalgia
can be a marvelous thing - redemptive, even. As with
HECKER's "rotten love," however, nostalgia is much better when
it's updated, mediated through the bustling present, not reified
like a charade. So, laptop fan, score a dime bag, abscond to
the basement, and let the good times roll. AVAILABLE JULY 5TH
CD 14.98
The year is 1979, a boy is banished from the streets of
Buffalo for the crime of not resigning, not giving in, and not
capitulating to the chorus of boredom. Hey, it wasn't
Verona, but this Romeo was star-crossed just the same,
jinxed with talent, dating the lofty concept of success. So,
New York took him in, let him run, and he kicked back: film
music, visual art, acting - all the Mudd Club hustle! Now,
odd years later, we have the complete picture: VINCENT'S
seminal recordings. Including the John Lurie and Jean
Michel Basquiat - Downtown '81 era - the Way It Is indie
score, and of course the already classic Buffalo 66 notations! This isn't for everyone - but what is?
CD 19.98    LP 19.98
CitySick CD
Hands up for the muggy season! Here's to brownouts, to
hot street mischief, and to the
omnipresent cruelty of this
CitySick sun! The NASTY ON
return with a debut full length, following up on the beautifully iniquitous charms of their hard rocking Lester Bangs EP!
Featuring 10 songs about exile, fate, and the wounds of
kingship, it turns out your vouchers are good for abolition,
gutter finality, and hot rocks for this heat wave flare up.
CD 12.98
DJ Kicks CD
It took forever to crimp our hair in the bathroom, the iron's
cord held together with black tape. Adding more hair-
spray, my best friend said, 'This is totally a 'fashion do'."
Laughing, I said, "No duh," and put on my white boots.
And we were right - we looked hot and rad! It was definitely worth it, even if we were already late. But it didn't
matter, our friends were hanging downstairs, drinking Colt
45, reading Sleaze Nation, listening to the new PI
DJ Kicks CD - which rocks, with cool songs by N
Human League, The Rapture, Flying Lizards, KC Flightt,
Smith n' Hack, and more. Finally ready, we showed off our
stuff, which everyone loved, then headed downtown in
search of more fun.
CD 19.98
More Doodlincs!
WIRE- Read and Burn 01 CD
LONE PIGEON- Concubine Rice CD (ex-Beta Band
YELLOW KITCHEN- Random Elements CD (the new
| Rainjacket group!)
JAGAJAZZIST- A Livingroom Hush CD (post-music
from Norway)
PERE UBU- Song of the Bailing Man LP reissue
SPOON- A series of sneaks CD reissue
PREFUSE 73- The 92 Vs 02 Collection 12"
LUKE VIBERT- Homewerk 12"
THE RAPTURE- House of Jealous Lovers 12"
SAVATH + SAVALAS- The Rolls And Waves 10'VCDEP
Sunday June 30th at 4PM: ROB MAZUREK
Sunday July 21 rd at 4PM: THE CINCH
Crazy rhythms delivered live for your approval by this hot local rock
Sunday July 30th at 4PM: THE SPARROW
Deijght, and Enchantment - the new rites conducted
r, The Blue Lodge) and his foific


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