Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-11-01

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 John zorn     artax     david cross     gourds     + more J DiSCORDER
Arrax by Natalie Vermeer p. 13
David Cross by Chris Eng p. 14
Gourds by Val Cormier p.l 5
John Zorn by Nou Dadoun p. 16
Hip Hop Migration by Shawn Condon p. 19
Parallela Tuesdays by Steve DiPo p.20
Colin the Mole by Tobias V p.21
Music Sucks p&
Over My Shoulder p.7
Riff Raff p.8
RadioFree Press p.9
Road Worn and Weary p.9
Bucking Fullshit p.10
Panarticon p.10
Under Review p^2
Real Live Action p24
Charts pJ27
On the Dial p.28
Kickaround p.29
Datebook p!30
Yeah, it's pink. Pink and blue.You got a problem
with that? Andrea Nunes made it and she drew it
all pretty, so if you have a problem with that then
you just come on over and we'll show you some
more of her artwork until you agree that it kicks
ass, sucka.
© "DiSCORDER" 2002 by the Student Radio Society of the Un
reserved. Circulation 17,500. Subscriptions, payable in advance
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Send email to DiSCORDER at discorder@club.ams.ubc.ca
From UBC to Langley and Squamish to Bellingham, CiTR can be
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CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or our
ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, \
pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouv
Is that it? Can we go sleep now?
versify of British Columbia. All rights
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ilsewhere. Single copies are $2
payable to DiSCORDER Magazine,
ber 13th. Ad space is available until
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heard at 1 01.9 fM as well as through
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er, BC, V6T 1Z1, CANADA.
printed in canada
3 DiSCORDER that's zentertainment! SJFJszr**
Out From Out Where
The master is back with another landmark album of dark
breakbeats / drum 'n' bass and instrumental mayhem. Free
autographed poster with purchase,
while supplies last!
CD/2LP $16.98
Showcasing the Big Dada roster and its spearheading
of the dancehall / hip-hop / soul hybrid movement called
"Bouncement" in the UK, Extra Yard features Roots
Manuva, New Flesh, Ty, Gamma, and other
leaders in the scene.
CD $16.98 /2LP $20.98
The 5-track CDEP for the first single from Out From Out Where
contains 3 terrific, exclusive, non-album tracks, plus an instrumental version of "Verbal". The 4-track 12" features an acapella
version of the single.
CDEP $8.98/12" $9.98
U.S.S.R: The Art Of Listening
Everyone's favourite Russian hip-hop DJ raises his game on
his third album. Guests include Blackalicious' Gift Of Gab,
Masters Of Illusion's Motion Man, Gorillaz' Phi Life Cypher,
and Super Furry Animals' Gruff.
CD/2LP $16.98
Something Wicked
This Way Comes
Something musically wicked this way comes in
the form of beat heavy hip-hop blended with
soundtrack-inspired instrumentais and sublime
CD/2LP $16.98
Trouser Jazz
The much-anticipated second Ninja Tune album from
Britain's finest open-minded DJ follows 1999's Keep It
Unreal, and the delicious club hit, "Get A Move On"
(currently blasting out of TV sets as the music in
Lincoln automobile ads). Free jigsaw with purchase,
while supplies last!
CD $16.98/3LP $22.98
Led by J. Swinscoe (main orchestra leader and composer),
The Cinematic Orchestra, which features DJ Food turntablist
Patrick "PC" Carpenter as its full time DJ, create rich, stunning and beautiful electronic / soundtrack jazz that breaks the
boundaries of what jazz was / is.
CD $16.98/2LP $22.98
ANTIBALAS - Talkatif CD $16.98 / 2LP $20.98
ANTIBALAS - Liberation Afro Beat Vol. 1 CD $16.98 / 2LP $20.98
BONOBO - Animal Magic CD $16.98 / 2LP $20.98
CHRIS BOWDEN - Slightly Askew CD $16.98 / 2LP $20.98
THE CINEMATIC ORCHESTRA - Remixes CD $16.98 / 2LP $20.98
THE CINEMATIC ORCHESTRA - Motion CD $16.98 / 2LP $19.98
cLOUDDEAD - cLOUDDEAD CD $16.98 / 3LP$19.98
COLDCUT - Let Us Play CD $16.98 / 2LP $20.98
COLDCUT - Let Us Replay CD $14.98 / 2LP $20.98
DJ FOOD & DK - Solid Steel Presents "Now, Listen!" CD / LP $19.98
DJ FOOD - Kaleidoscope CD $16.98 / 2LP $19.98
FOG-Fog CD/LP $16.98
FUNKIPORCINI - Hed Phone Sex CD $16.98 / 2LP $20 98
THE HERBALISER - Very Mercenary CD / 2LP $16.98
THE HERBALISER - Blow Your Headphones CD $16.98 / 2LP $20.98
THE HERBALISER - Remedies CD $16.98 /2LP $20.98
KID KOALA - Carpal Tunnel Syndrome CD / 2 LP $16.98
MR. SCRUFF - Keep It Unreal CD $16.98 / 2LP $20.98
THE POETS OF RHYTHM - Discern / Define CO $16.98 / 2LP $20.98
AMON TOBIN - Supermodified CD / 2LP $16.98       j
AMON TOBIN - Permutation CD $16.98 / 2LP $20.98
AMON TOBIN - Bricolage CD $16.98 / 2LP $20.98
Various - NINJA CUTS 3: FunKungFusion 2CD $20.98 / 3LP $22.98
Various - XEN CUTS 3CD $22.98/4LP $32.98
Roots Manuva
Roots Manuva                      W
Run Come Save Me
+ Dub Come Save Me
Britain's most popular hip-hop artist, and
deservedly so, the Rootical one shows his
many varied musical loves and talents on
these brilliant elpees. Free Roots Manuva
"Skins" w/ purchase while supplies last!
Run Come Save Me
CD/2LP $16.98
Dub Come Save Me
CD $14.98/2LP $20.98
! NAME:	
! Clip the ballot and enter at Zulu Records.
i Deadline for entries Nov. 30/02.
Distributed in Canada by Outside Music
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
L THE MAIN   $N0V§mb^
Sat Nov 2 biuosgrass»/ Blackfeather and guest Rob VVilk;
Wed Nov 6 Origins... ioik>- country
ThUf NOV 7   Clay George... the saddest man in Victoria w/ the »'
Tue Nov 12 Ev'rybodv Wants To Be A Cat
Thur Nov 14 Robyn Carrigan & Heather Griffin...
Fri Nov 15 Aaron Booth (Snailhouse) w/ Dave Gowans i
ry w/ The Circus in Flames Tr
Thur Nov 28 funky, ambient soui */ Antoine Baby Harry Cutaway
4210 Main St. Vancouver BC 604 709 8555
cover charge is a measly 5 bucks... so why not support local music?       i
,* ifo* \ EXHAUST
editorializing by Chris Eng
It's an exciting time to live
in Vancouver. Screw the
new rock of the Spitfires
and the Black Halos—that's
last year. Now we've got the
global community giving their
attention to Terminal City as
the nation's alternative hip
hop culture relocates itself
here (see "Vancouver Hip Hop
Migration" elsewhere in this
issue) and Battleaxe Records
wins Junos. Heady times and
while we can afford to feel a
little smug, we can't become
complacent.  We  have  to  be
fo' Vie En Rose and I need a
Grande Mocha Frappuccino.
The posse gots to hook up at
Milestones for bellinis later,
too. Peace an' I'm out."
Geek-1 cools out at the
NE Starbucks at Robson and
Thurlow, but the rest of my
homiez represent for the SW
Starbucks. SWeatshot Bros
been up in that shit since
Day One and while we've got
respect for Geek-1, if it came
down to him or our cappuccino, well, ain't no muthafuckin'
choice,  you   know?   He's  the
Oh yeah, that I try not to even
mention Robson Street; it dissolves whatever sad bit of cred
I might actually have.
In other news, would anyone like to tell me what's up
with that new Shania Twain
song, "I'm Gonna Getcha
Good!"? Okay—"You're a fine
piece of real estate, and I'm
gonna get me some land"?
What? I've heard more sincere love overtures in a fucking Judas Priest song. If my
girlfriend started crooning,
"I'm  your  turbo-lover/Better
careful that the image we're
sending out to Canada at large
is not only accurate, but will
bring others here and revitalize the areas of the city that
are in dire need of an economic
revitalization. This is why l was
happy to see Swollen Members
mentioning Vancouver on their
video for "Steppin Thru" the
other day.
"New York to London/Yonge
Street to Robson/We get the
job done."
All I have to say is, "F'rizzo,
yo." I don't know how many
times I been chillen wit' my
homiez and I say, "Shit, dawgs,
we most definitely gots to
cruise Robson, so I can score
some sizzoap at Lush. They
gots this sandalwood-musk
blend that makes my bathroom smell mad dope, g." My
boy Geek-1 knows what time
it is and he rolls up next to me,
40 in hand. "Yea yea, MCE," he
sez, "my biyatch got mad love
exact same. Outside the Rob,
son, there ain't none closer,
but in the 'hood business
is business for him and the
NExpresso Thuggs.
And that's the way it is,
was and always will be. From
the VPL to the 7-11, the R to the
O to the B is the only life we've
known. 5-0 sez that a coffee's a
coffee and we need to increase
the peace on the downlow at
Thurlow because silence has
it all over violence, especially
with a double espresso in hand,
but you tell that to someone
who grew up here—someone
who remembers a time before
Sears, before Virgin, before
Guess, even before Bollum's.
The storefronts change, but
our street's all we got. The NE
corner may have a split-level,
but it's got shit for street-
seating and the rhymes that
Swollen Members be kickin'
ain't always pretty, but that's
the way shit goes down in the
Wait, what was I saving?
run for cover" at me, I'd be
far more likely to drop trou
and hop into the sack than
if she unloaded that unmitigated electro-country pap in
my direction. If she started
crawling up my stairs in some
skin-tight grey bodysuit singing "Round and Round" by
RATT, I'd think, "Wow, sheis
genuine." If she clomped up my
stairs barking, "So, don't try to
run, honey—love can be fun/
There's no need to be alone,
when you find that someone,"
I'd be obliged t shut the door
and pretend no one was home.
Because love can't be faked
and that kind of emotion can't
be concocted. Shania, stick to
pontificating about the previous locations of your fella's
boots and leave the love songs
to people who know how to
write—like the Scorpions,
WASPorWhitesnake. •
6 November 2002 over
book reviews by Doretta
The question that has been
bothering me for some months
now is does everyone really
hate a tourist? This has nothing to do with the fact that
I've spent the last month
in Olympia and a suburb of
Halifax. No, this question has
been haunting me since the
Prior to the question coming up, my friend Aaron and
I had been listening to Pulp's
Different Class. We were dancing to it and singing it on the
streets. We were practically
parodying ourselves. We were
acting like we were in a bad
movie, a poorly lit one with
dialogue that is too self-consciously cool.
One night, in the Sugar
Refinery, we were waiting
for Mimi's Ami to play when
Aaron remarked that all the
tourists going through the
Sugar Refinery made him feel
a little uncomfortable. Sure,
I'd noticed the guys who looked
like they had captained a high
school sports team in the past.
There were also the girls who
looked like they stepped out
of the pages of Vogue. These
guys and girls were there for
the food and drink, not the
shows.   I thought their pres-
engaged in one com
or another.
The whole scene was
weirdly community-like, though
really, we were tourists in the
Downtown Eastside.   We had
simply transplanted our gathering from one neighbourhood
to another. I wondered if our
presence was positive, or if it
was disruptive. My roommate,
who grew up in Strathcona,
finds it disconcerting when
students from West Vancouver
decide to "slum it" in her
neighbourhood. So I wonder,
when we enter the Downtown
And now, the book review
returns to this column, which
is supposed to be a book review
column after all.
Saints of Big Harbour
(Doubleday Canada)
For the past month I've been in
Cole Harbour, a community in
the Halifax suburb Dartmouth.
I've spent some time at the
local library and it was there I
found a copy of Lynn Coady's
second novel, Saints of Big
Harbour. Coady's book is very
fitting for this month's column
because she was raised in Cape
Breton, Nova Scotia, and now
resides in Vancouver (and yes,
she's a graduate of the UBC
Creative Writing Program, but
that topic is something of a
controversy—she doesn't even
mention the fact in her bio—so
it belongs in parentheses).
Saints of Big Harbour is an
ambitious work, written from
several points of view and
encompassing a year (1982)
in the lives of folks in the fictitious Nova Scotia towns Port
Hull and Big Harbour. The
protagonist is Guy Boucher,
an Acadian teenager, who suffers from the oppression of a
small town and a charismatic,
alcoholic uncle, Isadore. The
book begins  in first person,
The whole scene was weirdly community-like, though really, we were
tourists in the downtown eastside.
ence w
s air
ing, but nothin
A little while later, I found
myself standing in line to enter
Pat's Pub. It was the weekend
of Powell Street Festival and
it so happened that Destroyer
and the Battles were playing at
Pat's, which is located a block
from the infamous Downtown
Eastside intersection Main and
Hastings. As I stood in line,
I overheard someone saying
that they had seen a woman
take a shit in front of a bus
When I finally got inside, 1
ran into a friend who pointed
out that Pat's is owned by
the parents of a high school
acquaintance of ours. The
Battles started playing and I
ran into people I never thought
I'd see again: a girl who I'd
gone drinking with when I was
17 who couldn't remember
my name, a boy who made
it very clear in class that he
hated my short stories. When
Destroyer played it seemed
like the show was happening in
another room.   Everyone was
Eastside as a group, are we the
gentrifying force we so abhor?
Or are we just trying to break
down the barriers between
neighbourhoods and address
the class divide that most
Vancouverites pretend does
not exist?
I'm not sure what the
answers are, but we've got to
ask the questions. Otherwise
we're no better than people
who complain about panhandlers. (Incidentally, the
Vancouver international
Film Festival reports that
there number of guests had
remarked that it seemed like
there were more homeless
people on the streets this
year than in past years. Is it
coincidence that this comes
after the government slashed
welfare and cut other social
programs? While I'm on a tangent, please see Nettie Wild's
documentary Fix: the Addicted
City. It's about the struggle to
end the American-style war on
drugs and start implementing
harm reduction strategies in
from Guy's perspective, but
opens up. into a narrative
that includes the third person
viewpoints of a number of the
people in the Port Hull and Big
Harbour communities. Coady's
book successfully dissects the
way relationships play out in
enclosed communities where
everyone knows everyone
else's business. She is able
to jump from the perspective
of the town beauty to that of
her fat-and-therefore-invis-
ible best friend in the space of
a big, yet continue to hit the
tone of each character with
remarkable precision. Coady
documents the insecurities
of every character—from the
town's golden boys to its draft
dodging, alcoholic English
teacher- with a sly sense of
humour and a gentle touch.
The book isn't a whirlwind tour
through small town life; it is a
meditative look at the interconnected nature of the people
in a community, how they live,
love and survive —themselves
and each other. •
"David Yonge is the vaudevillan of the art world...it seems that whatever
he creates, constructs or finds becomes set and props for a methodical
rampage of actions under various aliases."
Penelope Mulligan, Discorder
"David Yonge's courage as a performance artist is remarkable...rigorously
theoretical, Yonge is daring to go where few artists do these days, reminding
us of the brutal underpinning and physical risks characteristic of the
Vienna Aktionistes."
Michael Scott, The Vancouver Sun
Saturday November 30th 8:00pm
110 West Hastings St. Vancouver $8/6 students
Doors 7pm, Show 8pm $14
#\     ,<<^ WITH •■• ■••■•■ *■■ * •■• ■ '■■ •
FRODAY GSDOW 2§ik3  ^gfl©
Followed by
-.ClF Queuu*/ £,u/ Qui
1025 Granville St.
■ THE    1st   ANNUAL   Independant Music Video Festival    I
■ (^^(^^\r^T\C~^\      December 6 &7 The   Blinding  light |
1MB V  I    F I       "" imVI-COm    Featuring 50 Films
■■       I * JliYAA Y   Jl *   J   Presented By Slight AM Productions    '
The Polynesian Room, Hula Hut and Twilight Lounge with Luehy (Seattle),
Bai-on Samedi esq., The El Dorados, Todd Tomorrow and special surprise
guest. Plus more to come!
Advance tix at Zulu, Noize!, Scratch Red Cat, Kawabata-Ya and Hi'ghlife.
Info: tW 878-COCO • WiVW*ftUMftiETONE,fOM
8 November 2002
riff raff
All that vinyl hugging last
month has cramped my
hands and left square
indentations on my chest—not
such a good idea after all—but
I still managed to squeeze
some "good good lovin'" outta
this latest batch. Speakin' of,
THE FLAKES deliver a frantic
version of that James Brown
classic on their latest. They've
got two out so far, but this is a
first for the fans on the other
side of the Atlantic. An uber-
group of sorts, featuring the
multi-talented Russell Quan
pounding the skins with one
of several groups he sneaks
his way into—I swear the man
is trying to set some kind of
Guinness Book record for
most bands played in—it's a
sweaty, manic, garage ROCK
record with just enough
oomph to get you out on the
dance floor. The other track,
"Jerk Store" relies on a more
Paul Revere and The Raiders-style pounding backbeat,
but is no less fierce, thanks
also to some sweet guitar
dueling that punches the chorus and spits up blood. You'll
pay a bit more for this at yer
local wax shop, but it's worth
it. (Screaming Apple Records,
Dustemichstr. 14 50939 Koln
Germany or check out their
website: www.screaming-
ROLL are five mean-lookin'
mofos from the T-dot (not to
be confused with THEE PUNK
ROCK BIBLE of the same
name), and their debut is a
double-fisted, barn-burnin', full
throttle mess o' trouble that
garners comparisons to early
Zeke, The Humpers, Canadian
cousins The Red Hot Lovers, or
our very own Spitfires. Bonus
French lyrics are included on
the track "Switchblade" so
as not to exclude their francophone fans and voila\ Une
disque magnifique! (Box P62-
275 King St. East, Toronto, ON
A blast from the Canadian
past revisited, reissued, and
a heck of a lot cheaper (for
those of us not scouring the
dreadful eBay collector scum
tunnels), is GENTLEMEN OF
HORROR. The group which
probably shared equal billing
by Bryce Dunn
with other Vancouver notable
punk predecessors like The
Stiffs and The Furies back in
the day released a five song EP
of unabashedly scrappy, sometimes out of tune, yet altogether fun music in under ten
minutes. Catch up with a cool
piece of punk history—check
it out. (Dionysus Records, PO
Box 1975, Burbank, CA 91507)
What's not always fun is
getting your eye poked out
by a scalpel—didn't you kids
anything last time? Obviously
not, since each member of
the band sports a sharp blade
dangerously dangling within
eyeball's reach. Thankfully the
only person that receives any
serious injury out of this is
yours truly from pogoing frantically and suffering from sore
feet whilst blaring the two
tracks "Transmission Ignition"
and "Nothin' To Me," a pair of
snarling, Sex Pistols-meets-
The Stitches punk riffage. A
full length is coming down the
pipe as we speak, so if you dig
that, make sure to wear solid
footwear and thick glasses and
you'll be ready for the "Beach
Brat Sound" (try trade marking that, why don'cha?) of The
Distraction. (Pelado Records,
521  W. Wilson #C103, Costa
Box 21249, Seattle, WA 98111)
Those wacky kids at Gold
Standard Laboratories are
at it again, this time with
ARMATRON, The Locusts
sludge-ier cousins. Spanning
five songs of electro-gloom
that resemble a fight between
Servotron and The Melvins,
my favourite cut is "Tallest
Mics In The World," where
they scream the name of the
song over and over again while
playing at a hundred miles an
hour. You so crazy! (GSL, PO
Box 178262, San Diego, CA
And finally, sometimes
it pays not to judge a book
by its cover, as was the case
Looking at the sleeve with its
cutesy animal drawings, I had
written this off as a wimpy
indie-pop act (not that there
isn't a time and place for
wimpy indie-pop, just not now
in this sentence), but instead
was pleasantly surprised by
its AC/DC marriage to The
Headcoatees rock and roll.
The singer has the Bon Scott
vocals down, and the guitars
are nice and loud and choppy,
but then the girl-gang backups kick in —like on the song
"Mouthful Of Love"— and I'm
reminded of the lasses from
Mesa, CA 92627)
If you're a glutton for
punishment you may need
extra strength relief after
listening to THE EPOXIES
newest effort—it's a synth-
pop headache worth inducing.
"Synthesized" rides a great
keyboard melody and some
smooth-like-butter vocal
delivery from singer Roxy
Epoxy; "Clones (We're All)," is
an Alice Cooper cover done
faithfully and with... roto-
toms!   (Dirtnap  Records,  PO
London. Which is also where
this record is from, see?
(Rex Records, PO Box 23084,
London UK Wll 2YW)
That's it—send your
Christmas goodies (that
means 7"s, dummy) for review
next month care of this column and this fine rag—I'll be radio free ditc&Bk
road worn
and wcai
zines, etc. by Bleek
I'm still wading through a
stack of California zines
from last month. My friend
Dave went to the San Francisco
zine fest and picked up another
wad of zines for me to look at.
I'll never see daylight again.
Remember Lisa (Suckdog)
Carver's Rollerderby zine? This
is one of America's funniest,
most shocking and plainly disgusting things in printed form
from the last couple decades.
Not that it's grosser than say,
Answer Mel, but it draws you
in like a fun little girl zine and
soon you're being assaulted
by subversive lists of sex acts,
interviews with famous misanthropes, and an underlying or
overt violence. If you like that
sort of thing you have to check
out FLATTER.'This is a product
of Lisa's friend Jaina, another
postmodern woman with
that bizarre fascination with
pop culture combined with an
unrelenting nihilism and fuck-
you attitude. Picture Hello
Kitty as Hannibal Lecter. For
the jaded, city-dwelling, nutter Flatter! serves as a dialogue
between everyone with at least
a modest historic and cultural
awareness, but a healthy dissatisfaction and contempt
for everything sacred or profane. It's all up for grabs and
it's genuinely funny. Write to
Flatter! at 661 Shotwell St., San
Francisco, CA 94110-2623.
Missing that cut and paste
look? Tired of zines moving
toward a more polished production? A Santa Cruz zine
called ZENBABY is a hodgepodge of stolen items, collages,
rants, poetry, lyrics, anarchy
and the mishmash of clutter
that recalls the punk zines
of years ago. From reading
through a lot of this (and it will
take a while) I've learned that
Zenbaby is the lovechild of a
female to male tranny (a.k.a.
"addadictomy"). This gives
the zine something of a unique
perspective, or at least it
should. You'd be hard-pressed
to find the difference between
it and other punk-lit zines till
you read the editorials. A column that reprints a chat-room
conversation shows the ignorance of an "open-minded"
male and the assumptions he
makes about transsexuals.
These topics, with the added
punk perspective, are rarely
visited in publications. Find
out more by writing to PO Box
1611, Santa Cruz, CA 95061.
Just who is Mr. AKA?
He sent me three zine-like
things in the mail (or was it
a dream?), and these three
really break the mold. Often
I'm not so fond of this sort of
minimalism which wraps itself
in high art poetry by printing
one confounding sentence on
one otherwise blank page. You
know, it's like the easy joke for
the comedian, the cock joke.
Always sure to make an impact
and cause a stir. So lately i look
through a shit-load of fucking
poetry zines which employ tiny
words of nothingness on a big
blank page and immediately
they're hoisted to the realms
of high art. But no, these zines
are not necessarily all about
this phenomenon. Take the
example of the ELIJAH WOOD
zine, that's right, the elfin actor
from Lord of the Rings. While it
has the anally-retentive attention to detail usually found in
the "fan" zine, there's a kind
of fictional stalker aspect to
it, including fantasy interviews
with Wood and a "Girl" or "Man
with script idea" and "Mom." 1
didn't think I would like this
thing, but it sure won me
over. It's original and almost
disturbing. But there's more,
of course.
zine in the package, is pure
Breton-era-surrealist dreams-
cape, including TV interviewers dropping out of the s
and space aliens conversing
with the editor. The last zine,
JIBBER JABBER, is at least
three times as thick as the others and continues down paths
of what might be taken for
mental illness. Is it nightmare
sequences in a paragraph per
page, or is it stream-of-con-
sciousness creative claptrap
concerning green bugs? I don't
know. I'm a visual artist: I kind
of like a beginning and an end. I
admit that I like my surrealism
in pictures and sounds and I'm
not so good with the written
version. If you are you can contact Mr. AKA at brownblobbloo
zine BABYSUE continues its
long journey across the underbelly of the underground.
There's something to be said
about staying with the same
basic format for many years
because when you see Babysue
you always know what it is and
what you're in for. Nearly every
cover is a different version
of the original and the comics never change much either.
Baby Sue always looks the
same although she has different ways of being cruelly funny
each strip. Cruelty is a major
component of Babysue's social
commentary and they love to
poke at you till you say uncle.
Lots of it speaks of mere undisciplined punk rock and all, but
other times it challenges what
we consider "beyond good
taste," as in the ongoing "Black
Ladies" strip. 1 mean, what is
it? It's a jab at political correctness and it's offensively racist.
By taking a bad stereotype to
a ridiculous exaggeration are
we fighting it or succumbing
to some philosophy of "no
message, no future, no solution, no hope, no worries?" I
don't know, I'm just too old-
school liberal for these times.
Babysue is $3.50 from PO Box
33369, Decatur, GA 30033. •
Tour Diaries
Major Players
Cindy   Wolfe:    band    leader,
vocals, mandolin, tambourine,
lemon shaker.
Sarah Wheeler: drums, vocals,
Monica    Chattaway:    fiddle,
Nen Jelicic: electric guitar.
Neil Walker: the roadie.
Every year the City of
Vancouver shuts down the
Vancouver Public Library
for the entire week before
Labour Day to "save" money.
Being VPL employees (except
Sarah) stiffed out of work, we
decided it was a good week to
tour what we could of Canada.
Here is our story.
DAY 1, Wednesday, August 28:
Vancouver to Calgary
We leave Vancouver at 5:30AM,
girls in the rental mini-van,
boys in Nen's vehicle distinguishable by a ratty Canadian
flag flapping from its antenna.
After not so many miles, we
stop for breakfast in Hope at a
family-style restaurant. Sarah
immediately spills her orange
juice all over the table and her
crotch. Although irritating
many, Monica's exceedingly
high decibel level manages to
attract some cute city workers in red jumpsuits. Before
leaving, we bicker over our
first bill.
DAY 2, Thursday, August 29:
Calgary to Canmore
At the Canmore Hotel, where
we are to stay and play, everyone gets their own room.
Cindy snags the only room
with its own bathroom and
TV, thus dubbed "the party
room." We are charmed and
immediately bond. Super cool
bartender Desi feeds us lots of
fine beer all night long. A very
drunk Canmore Hotel employee, Linda, informs us that she
is "the crazy spoon lady" who
will play during both bands'
sets. The bar fills with an odd
assortment of frat/sorority
types and trashy aggressive
locals who'd rather hear some
rock. Monica tries to oblige
by screaming "I Wanna Be
Your Dog." During our set, we
are oblivious to continuously
hurled epithets, such as, "show
us your tits!"
DAY 3, Friday, August 30:
Canmore to Edmonton
Very early in the morning,
Buttless Chap Morgan knocks
on "the party room" door to
retrieve his shoes. Cindy wakes
up scared, not knowing where
she is or who's knocking.
We collect "li'l smoky" in
Calgary and caravan slowly
and carefully to Edmonton.
Nen and Neil are probably
hung over. Cindy is surely hung
over. After arriving at The Rev
Cabaret, we eventually discover that our promoter has
called in sick. We are forced to
play early and don't succeed in
getting sufficiently fed. No one
wants to party with us. We sell
no merch.
DAY 4, Saturday, August 31:
Edmonton to Saskatoon
Somehow and sometime very
early in the morning, Monica
ever again after she plays The
Louvin Brothers' Satan Is Real
album. Some are shocked to
learn of the age-old driving
rule which dictates that the
driver chooses the music.
Back in Edmonton, Nen's
parents decide to host a BBQ
for us. We all gleefully stuff our
faces, some with big steaks.
Nen's mom finds places for us
all to sleep at the expense of
those who live in the house.
She even provides us with
fresh pajamas.
DAY 6, Monday, September 2:
Edmonton to Vancouver
Alarm clocks wake us up very
early. We find Nen and his dad
Cindy and Neil get naked on the road
purchases a hideous moose
baseball cap. We leave "li'l
smoky" with Nen's parents
in Edmonton, and Neil commandeers the rental eastward.
Back on the highway, Nen
tickles Neil while he's driving
and we careen toward a truck
in the next lane, narrowly
escaping death. A rare quiet
moment ensues.
At Amigos in Saskatoon,
our promoter, Brandt, is very
sweet and takes good care of
us. Even the vegetarians are
well fed, and we get to stay
in a cool old hotel called The
Senator. Cindy is banished to
the small, cold, haunted room
while everyone else shares
"the party room."
DAY 5, Sunday, September 1:
Saskatoon to Edmonton
In the morning we locate a vegetarian and otherwise friendly
breakfast joint. Unfortunately,
the rest of charming Saskatoon
appears to close on Sundays.
Everyone tries desperately to
prevent   Cindy   from   driving
crashed out in front of the TV.
How cute. After eating cereal,
Nen's sweet mom gives us each
a little parting gift. Leaving
Nen and "li'l smoky" behind, we
depart Edmonton by 7:30AM.
After hours of smooth sailing, we encounter a line-up at
the Coquihalla tollbooth. After
eating all the stray snacks in
the car and a brief argument
over who will eat whom, we
discover a small opening in
the highway median near us.
We decide to take this opening, turn around, go back to
Merritt, and take the Highway
3 detour toward Vancouver. At
dusk, Cindy is finally elected to
drive. Complete darkness, torrents of rain, hairpin curves,
and an excess of backseat
driving make this task extraordinarily difficult. But we do
survive, arriving back home in
Vancouver by midnight. We
all have to work the next day.
We kiss goodbye and secretly
hope not to see each other for
awhile. •
9 DiSCORDER flicl
km ft
bullshit by Christa Min
A super secret top confidential hidden underground source that shall
remain unnamed—okay, okay
if you have to know, it was my
good buddy Justin Gimelstob,
pro tennis player, currently
ranked 130th in the world who,
since turning pro in 1996, has
a total of $1,488,938.00 in
career earnings, and who, truth
be told, even if he is my GOOD
BUDDY, isn't much of a tennis
player—told me what METAL
I can tell you're dying
to know, and I'll tell you in a
minute, but first, I should just
inform you, for reliability's
sake, that my good buddy
Justin Gimelstob is one of
Metal Mike's clients. My good
buddy Justin Gimelstob pays
Metal Mike a percentage of
his measly losing salary to do
his taxes. Mr. Saunders, as he's
known in the business world, is
an accountant.
A few months ago, Justin
Gimelstob, my good buddy,
called me up and started
complaining about how Metal
Mike was really hard to get a
hold of and how he refused to
meet him for lunch or dinner or
coffee or tea. The IRS keeps a
close watch on tennis players,
and Justin owed them a lot of
money, so he was desperate to
talk to Metal Mike. Finally, he
couldn't wait any longer, so he
jumped in his Tahoe, drove to
Metal Mike's place, and started
banging on the door. It was
early, and when Metal Mike
answered   the   door   he   was
out of control and opened the
cupboards. Inside there were
boxes and boxes of MOTHER'S
That's it. That's what Metal
Mike eats for breakfast. And
lunch. And dinner.
For your information:
Stephen Malkmus likes to eat
Chile Picante Corn Nuts after
blazing a huge J, Chan Marshall
likes to snack on celery sticks
Justin Gimelstob told me what METAL
wearing puffy hair and slippers. "Let's go get some breakfast," Justin had said, but Metal
Mike refused, He said that he
had already eaten even though
it was clear that he'd just gotten out of bed. "Why don't you
come in," he said. "Just let me
take a whiz."
While Metal Mike was
going pee (which he does
while sitting down; this Justin
also told me) my good buddy
Justin Gimelstob went totally
wild and opened the fridge.
Inside there was a CARTON OF
MILK. That's it. So Justin got
wrapped in lettuce to keep her
from turning into a REAL fat
ass, Thurston Moore snorts a
litre of banana milk through
one nostril, and a litre of
strawberry milk through the
other before he plays a show,
Nelly Furtado treats herself to
a couple of deep fried beef balls
every once in a while, AND if
you really want to know the
details, Elton John and George
Michael enjoy eating each
other's dinks for a midnight
snack! I shouldn't say that. I
don't know that for sure. •
Sterling Boone
The Beatup Ronin
Tuesday 1:00 to 2:00 pm
Record played most often on your show:
I'd almost say Television's Marquee Moon, but I think it's edged out by The
Dirtbomb's Ultraglide in Black, and The Mooney Suzuki's Electric Sweat
Record you would save in a fire:
Most definitely a dilemma in decision making would surface and I'd go out like a
viking with the vinyl. If it came down to it though, most likely—The Rolling Stones
Record that should burn in hell:
Anything electronic can take the fast elevator down, and I Peking hate Fleetwood
Mac's Rumors.
Worst record that you like:
Huey Lewis and the News, Sports, or maybe some nostalgic run with DJ Jazzy Jeff
and the Fresh Prince.
First record that you bought:
I can only remember some comedy records, Cosby, Richard Pryor, George Cariin
and a version of the "Lion Sleeps Tonight" by some generic Disney group.
Last record you bought:
I bought both LP releases from a great garage-psych pop group called The Sights, on
Fall of Rome records, and I picked up an unforunately warped version of Bobby
Womack's original soundtrack to Across UOth Street. Sound is still reaUy good
Musician that you would most like to marry:
I'm not so certain about marriage, but I could think of a mess of things Rachael
Nagy of The Detroit Cobras.
Favourite show on CiTR:
Without a doubt I listen to Third Times the Charm, hosted by Bryce Dunn, the most
frequently—his age offers a certain guru like guidance and I always cop tracks off
his show.
Strangest phone call while on air:
^TJierailexs-arano-wherenearas-strange as the characters that hang out-here on a
daily basis, so I'm still waiting for the true freak-out antagonizing caller. That number is (604) 822-2487, c'mon... I mean it. •
the sound of spectacle by tobias
It is raining cold, hard, and
wet, but by the time you
read this we may be basking in that warm glow, faces
fiush with the hunt and thrill
of the kill, as we bomb the living shit out of Iraq; or, as the
FBI's planes circle and circle
over—not only Washington,
DC—but the entire country,
perhaps even Canada, in that
uncanny hunt for that elusive
sniper in the white van. This
month's column will intersperse itself between quotes
and links. Insofar as it is a "column," it sediments itself and
extends its tendrils past its
limited graphemes in memory
of one Walter Benjamin and
the Arcades Project, a man suicided by society if there ever
was one. 1 leave references to
spurn further reading.
October 6th
20,000 people in Central Park
gather to protest war over Iraq
"Not In Our Name"—"and let
it not be said the citizens of
the West did not resist." But
the question remains of the
name. Where the proper name
speaks—even collectively—
and where the "our" voices the
force of a multiplicity, there
occurs the risk of effacement
and erasure of the name as
the State response. Not In Our
Name—"Fine," says the State;
"Then you are no longer With
Us, but Against Us: You No
Longer Have a Name." Indeed,
will we see this development
in positions where the debate
over nomenclature, over who
can claim to speak—people or
State—precipitates the overt
manifestation of State power
over its own people—what
Virilio calls "endocolonization."
(See Speed and Politics.)
"I have such a horror that
this is going to go on and on,"
said Mabel Dudeney, 76, a
survivor of the 1940-41 Battle
of Britain in which much of
London was destroyed by
nightly German bombing.
"Russia is going to go into
Georgia. China is going to
attack Taiwan. Israel and
the Palestinians are going to
continue fighting. War settles
nothing." This source said
investigators questioned him
extensively; and Wednesday
night he confessed to making
up the story.
1993: The Gulf War
"The 'reality' of 'actuality'—
however individual, irreducible, stubborn! painful or tragic
it may be—only reaches us
through fictional devices. [The
al-Qaeda terrorist network has
reorganized and "intends to
strike us here and overseas,"
CIA Director George Tenet told
a congressional committee.]
The only way to analyze it is
through a work of resistance,
of  vigilant   counter-interpre-
to tell the philosophers of his
time to read the newspapers.
[Pollution control officer
Richard Anderson shot and
killed two colleagues before
turning the gun on himself
Tuesday after getting a letter of discipline.] Today, the
same duty requires us to find
out how news is made, and
by whom: the daily papers,
the weeklies, and the TV news
as well. We need to insist on
looking at them from the
other end: that of the press
agencies as well as that of
the tele-prompter. And we
should never forget what this
entails: whenever a journalist
or a politician appears to be
speaking to us directly, in our
(Gilles Deleuze, Interview with
Claire Parnet.) Like Thomas
Pynchon's Gravity's Rainbow...
Today, our Schwarzkommando
is the White Man. The Doctrine
of the Final Zero was effective
enough to convince the White
Man that he too had to do it,
it seemed so cool. However,
the big joke was that the
Schwarzkommando were joking the entire time... [and the
Pentagon has authorized the
use of Army surveillance and
reconnaissance aircraft in the
hunt for the killer.]
And There's Just Nowhere to
...while, at the same time, in
BC, derelict buildings rot in
our downtown cores while
the homeless suffer on the
streets... and now that "they"
(they aren't real people, real
citizens, right? I mean they
have  no homes)  have taken
Ti-::     ~~*"
homes, and looking us straight
in the eye, he or she is actually reading, from a screen, at
the dictation of a 'prompter,'
and reading a text which was
produced elsewhere, on a different occasion, possibly by
other people, or by a whole
network of nameless writers
and editors. [His unflinching message yesterday: The
violent shooting deaths had
nothing—repeat, nothing—to
do with the government's controversial program of downsizing and massive job cuts.]"
-Jacques Derrida.
(What Derrida invokes at
the end is that resistance is
not the only instance of the
multiple. Capital remains the
most deterritorializing force
on Earth and in Empire. This
is why Deleuze and Guattari
say that "it is always on the
most deterritorialized element
that reterritorialization takes
place"- A Thousand Plateaus.)
The Doctrine of the Final Zero
"It's a little like Nietzsche said,"
—Deleuze concludes. "An arrow
is shot forth in space, so a period or a collectivity shoots an
arrow, and eventually it falls,
so literary creation passes
through its periods of desert."
a unilateral—if not ethical,
justified, and necessary—decision to occupy these buildings
(Hell, not so much to occupy as
to have a place to call home),
the Government's move,
backed by a complicit and
often malicious police force,
is to arrest those without
homes, steal and destroy their
only belongings—donated
blankets—and cart them off
to the Courts for daring to find
a home... would we approve of
this anywhere else? "Kosovo
refugees without a home
violently flushed from empty
building." (And of course those
violent Government shootings had nothing to do with
layoffs—how could it? We
all got the tax break, right? I
mean, aren't you happy now?
We'll find a reason to explain
the violence—maybe call in a
psychoanalyst or two, it was
all a bad mother in the end, but
never will we make that connection that Gee, maybe this
layoff-thing affects people's
lives, huh...) •
Until     We     Get     Our     Shit
10 November 2002 W31
Human Highlight Reel
my project: blue
In Media Res
The Feminists
Black Rice
Subconscious Sattelite
The Stunts
S. K. Robot
TBA (winner on Nov. 5 SHiNDiG)
Finals: DECEMBER 10
2 O
O 2
Special Bonus Night!
Clover Honey
The R*A*D*l*0
Three Inches of Blood
clDcr raclrcra.crom
fill W*
THEUBYSSEY     mnn nmnm O  ^fiPI
s"inffilttlK    lEsSiml
t-reNZair/lOmb'   SickollVflLL    flNTl/lA^.   nofX*
Wizo'   600dfidlliu    menm..iiiifiiegiM/M.
FAT WRECK CHORDS • PO BOX 193690 • SAN FRANCISCO, CA 94119  •  WWW.FATWRECK.COM by Natalie Vermeer
Artax is a band out of Abbotsford with no particular defining genre;—
a band to which using a vague description like "punk" would be not
only boring but unfair. At an Artax show, you can sing, dance and eat,
and songs of apocalyptic potatoes and video game faces suck you
into their whirlwind of confusion that actually makes sense. Well,
maybe. Ifl could actually explain them any more, they wouldn't be as
fun, so let's just get to the questions.
DiSCORDER: Who are you, officially, and what do you do?
Julie: Julie, otherwise known as J-Dawg and I play bass.
Frank: My name's Franklin, code name Falkor... [drums]
Julie: I thought 1 was Falkor!
Adrian: I'm Adrian and Morla [guitar/vocals], the wise turtle in the
movie, [ed.note—They're talking about The Neverending Story.
Where the hell were you in the '80s?] You were the horse!
Julie: Artax? But that's the band! What about the bat?
Frank: You're the racing snail.
How did you guys start up and why?
Julie: Adrian and I started playing our instruments and we sucked.
We needed a drummer so we could make a band.
Adrian: We were in FSR, our first band. There were 5 people in the
band and the visions were so [different]. It just had too many people.
Julie: We just wanted a three piece. We decided to have some jam
—nothing official—but then we clicked and Artax was born.
Do you listen to any other bands with Neverending Story-inspired
names like Atreyu or Falkor?
Julie: Yeah, there is that band Atreyu—i wanted to hear them but I
didn't get a chance. They're like a metal band.
Adrian: We should make a compilation album!
How about if you could play a show with any band, who would it
Julie: I don't know, The Red Light Sting maybe.
Frank: Any band? The Police.
Julie: Dead Kennedys.
Adrian: Or d.b.s. if any of these bands existed anymore.
What's been your favorite show so far and favorite band to play
Julie: The Skids.
Frank: Well, let's clarify the bias here—she's going out with one of
the members!
Adrian: Our shows and practices are pure therapy—probably the    Julie: New World on Fire.
main reason that we play music. It's really inconvenient to be in a
band, because you have to organize every week: the jams and the
shows and the promotion.
Frank: And you have to live at the same time!
Adrian: Live and go to school and work and deal with...
Frank: Ex-girlfriends!
Adrian: Well the crazy thing is, me and Julie went out for three    Adrian: But n
Adrian: Yeah.
Frank: At the Chilliwack [Art Centre] show, it was short but the people were into it.
Adrian: New World on Fire is crazy: the energy in the place, the people just went insane.
Julie: It was s
s shut down forever. At that Friday the
Julie: The beginning of Artax was kinda rough!
Adrian: The only thing we did together at the time was play music-
we couldn't even look at each other.
Julie: We wouldn't talk to each other.
13th show—some girl went crazy and ripped down all the
the art area and destroyed it all! And now there's this huge deposit
and people can't put shows on there.
What do you feel about bands losing places to play in?
Frank: I think it sucks.
Frank: And I didn't know either one of them at the time. I was the Julie: We've been through so many in the past year and a half—it
"new guy" and in the middle, playing the drums; it was really weird, started with the Java Joint and then the houses in Abbotsford.
Adrian: I think the main thing about Artax is it's therapy... Frank: I've been working on putting together a venue with a buddy
Julie: In a good way. It's not the whole point, but it's healing. of mine and it's slowly fabricating and it's gonna work out; it's gonna
Adrian: And it's a community—it makes life worth living. be swell. That's all I can release!
Julie: I'd agree. Adrian: It's a punk rave!
That was very nice... so why the name Artax? Is it just the horse Frank: It'll probably be in some dumpster.
that died in The Neverending Story or is it something more? Adrian: You can bring glowsticks!
Julie: Well, we all really liked the movie and we wanted a one word Frank: Yeah, definitely by early 2003, there'll be a new venue in
name that people could relate to. People of our generation have all Abbotsford!
seen it. Adrian: As long as there's a scene, you can't stop it.
Adrian: Yeah, we named our band after a dead horse, but it's also Julie: It just keeps popping up everywhere. Like mushrooms!
The Neverending Story and everyone can identify with it so it has Frank: It's like that adolescent zit on your forehead, the one that
different levels.  It's better than an acronym. We used to be an keeps popping up.
acronym because we couldn't decide on anything. Julie: It just migrates around your face.
FHS? What do you hope to convey with your sounds and your lyrics?
Adrian: See, that's what I mean, acronyms are the worst! Adrian: Music is totally organic. I don't even make it up; it just hap-
What did it stand for? pens. The music just sort of comes out of nowhere. It just grows like
Julie: The first one was "Fonzie's so rad." a weird moid or something.
What do you interpret "The Nothing" to be, in the movie? Julie: We just want to have a reaction from people - whether it's a
Julie: It's the loss of the fantasy, like kids not believing anymore, positive or a negative one.
Frank: The Nothing is when we're jamming and we can't seem to Adrian: And lyrically, we have a combination of things.  Some of
get anything together. them deal with issues, while some of them are just plain fun;
Adrian: Yeah, no communication! our"Kuchen" song is about cake! Then there are other songs that
Frank: That's what The Nothing is. are about genetically modifying foods.
Adrian: Totally!  It's like musical block; writer's block, definitely. Julie: Yeah, we have this cake and everyone can lick it off his face
while we play funk.
Adrian: Last show we had six people licking it off of me! Anyway...
so lyrics I think, just to challenge people's perspectives in a way
that's, I don't know, humorous in a way? It's just more fun that
Last time I saw you, you threw out your lyrics on sheets into the
Adrian: Yeah, every show we do that.
Julie: You've seen us before?
Yeah, twice. Once at the Chilliwack show and once...
Adrian: At our first show, right? [Frank] had just had a spinal tap
five days before!
Frank: Yeah, five days before our first show! I started being able to
walk the day before the show. I hadn't gotten out of bed for three
days, so I swallowed a lot of Tylenol-3s and I felt pretty looped. Near
the end of the show 1 guess the medication was wearing off and the
pain was starting to come back in my head, and so yeah, it was bad.
1 paid for it, but it was tun.
Hey what about this Allen Greenspan song. When I hear that, I
imagine everyone holding hands and swaying. Is that the idea?
Julie: We want them to sway!
Adrian: Yeah, totally. Hey, you know what I found out? I was always
wondering where I got the inspiration for that song and really
what's it's from is "I am the church, you are the church, we are the
church together." So I just realized that "I Am Allen Greenspan" is a
church cover song!
Do you have any plans to record anything soon?
Adrian: Yes, in December we're recording a full length.
Julie: We're just totally busy with school and all...
Frank: It'll be about 10 songs.
Adrian: Lots of art and amazing amounts of written stuff. Hopefully
you won't be able to close the CD; 1 want that much! My main thing
about art is 1 want to know what [artists] think in a different medium. 1 hear their music and I try to understand it, but words are just
so lacking! Almost half the albums you buy, you just get some pictures in the CD. Either they're afraid what they've said is not good
Frank: Or they just don't have the money to print books like that!
Adrian: They just want to make it professional-looking, right? Well,
if we have to, I'll just photocopy stuff—like the way [Frank] did his
tape is brilliant!
What was your tape?
Frank: I do solo acoustic stuff—it's kinda where my heart is; I made
a recording. [Check out www.franklyncurrie.cib.net],
Adrian: It's really good.
Julie: Excellent.
Is there anything you wish I'd asked, 'cause I think that's all the
questions I have...
Adrian: Well, it's funny, the only thing I was preparing for this interview was "What's your deserted island CD collection?"
Julie: No, don't go there.
Adrian: That's an impossible answer.
Julie: 'Cause it changes.
Adrian:    What-   do    you    think    Julie? Do    it    now!
Julie: I wouldn't take CDs! Batteries would run out!  I would take
Frank: Solar powered...
Julie: I'd rather take a hand drum, a guitar and an acoustic bass
and some coconuts and make music! I'd be wearing the coconuts
while I played*
(Artax rock against The Nothing at the Seylynn Hall in North Van on
Saturday November 9f". See them with Billy the Kid and the Lost
Boys, St. Tibs Day, and Drakes Advantage for seven lousy bucks.)
13 DiSCORDER By Chris Eng
"But it's those kids' faults—they're to blame. They're to share the
blame is what I'm saying. Fuck, they've gotta know. C'mon, kids are so
grown up nowadays. Y'know, seriously—you don't walk into a confessional booth and see scented candles and an empty box that says 'The
Violator' on it and not go, 'Huh?' I don't care if you're eight years old
and innocent—figure it out!"
Oh yeah, you think you're witty. Your dad got up in your face the
morning after you'd been out tossing back gin all night and
screamed, "Where the hell have you been?! Are you drunk?!" And
you looked back at him—calm, steely-eyed—and said without a
hint of a smile, "No, I've been touring the night shift at a rubbing
alcohol factory." And despite (or perhaps because of) getting
smacked around by your old man, you knew you were the king of
incisive wit and sarcasm.
Well, let me tell, you—you just lost your throne, motherfucker.
Even assuming that, by some amazing chance, you actually managed to be the wittiest fucking person on the planet—some Boys
From Brazil lab-grown hyper-intelligent CHUD-like Oscar Wilde
clone—you must realize that was only true in a world where David
Cross hadn't released a CD of standup comedy.
Because David Cross is funnier than you. He's funnier, smarter
and more in control of his shit than you can ever aspire to being. He
knows how to work political humour (with the acumen of Dennis
Miller) and he knows when to take the piss out of rednecks (with
far more vitriol than Jeff Foxworthy will ever contain in the course
of his sad little life). He makes fun of Christians and Jews (with the
matter-of-fact attitude of Lenny Bruce) and bends society over,
pokes out its eye and skull-fucks it harder and with morejoi'e de
vivre than he ever put forth during his run on Mr. Show.
Shut Up You Fucking Baby! is the double-CD set documenting
his tour across the US earlier this year—more than two hours
worth of that learning that you don't get in books; that old-school
oral education in a dirty shotglass with a venom chaser. So why
two discs? Why not distill it into one and toss the dregs? Because
it's all gold, baby. The vitamin C-rich golden urine of David Cross
pissing all over all of your sacred idols not because he had too much
%%:        coffee, but because it's funny.
So wipe it off and laugh, goddammit.
DiSCORDER: Is there a point where funny switches over into
I tasteless and from there switches back into really fucking hilar-
|    ious?
J David Cross: Well, 1 don't know if it switches back; it just goes further until it meets itself in a weird Moebius time-strip. But yeah,
there's definitely a thick line between funny and tasteless and
tasteless and funny, but that's just a matter of relative taste, too.
Well, I found the whole Catholic Church bit on the CD really funny,
That's just such obvious sarcasm, you know, and plus I'm also a
card-carrying member of NAMBLA, so I feel differently than other
people do. I'm not a member of NAMBLA; I just have their card. I
hold their cards for them.
Playing cards?
Yeah, they're playing cards. They're pretty hot—I mean, if you like
"W     young boys.
I     There's a long-standing tradition of in-your-face social commen-
I     tary in comedy stretching back through Lenny Bruce to Bill Hicks
and you, now. What do you think you can impart through comedy
that you can't get across any other way?
%-      Well, it's a way to be angry and palatable. Nobody's going to pay
money to see somebody rant and rave—"This is bullshit! This is
bullshit!"—but [this is] what Jonathan Swift did; it's what Voltaire
ii^    did. It's a way of dealing with something that's inherently not
H    funny, that people might find strident and self-righteous and then
r- make it digestable.
Do you think, as a celebrity, you have some kind of social responsibility?
No. I think I, as a person, do. I don't feel any kind of responsibility
as a celebrity, except maybe to try to be more polite than I normally would be, or more tolerant of insensitive, stupid people.
That's it.
So what do you see as the salient differences between the US and
Well, the maple syrup industry is the future for both countries. The
main difference, I think, is that people are less uptight here. My
experience is limited to Montreal, Toronto and Vancouver—I've
never really been in the country or anything. I'm not that big a fan
of Toronto, but I love Vancouver and I love Montreal. I really, really like those two places.
Funny, that's what most Canadians who don't live in Toronto say.
There's not a lot going on there and it closes really early. I love
Montreal for that—for its happening... cultural... heroin access.
And Vancouver for that too.
So considering that much of your material is intentionally based
on pushing boundaries, what do think the place of political correctness is in society?
I think it's only apparent when people call it "political correctness,"
because I don't really see that many examples of it anymore. I don't
consciously see it. It seems to be almost a trend, in a way, that's
dying down—at least the idea of calling somebody on their political correctness or incorrectness. But it's manufactured; it's fake;
it's not organic; it's not real. So, as well-intentioned as it may be, it's
usually covering up something else that's more important. I don't
know what that means, but 1 can't wait to read this interview and
find out.
Well, I'm sure that Mr. Show got called on its shit a few times.
I think everything we did was in the boundaries of being correct, if
not politically correct. We didn't pick on defenseless people, we
picked on assholes—whether it was religious or big business or
Your track titles were hilarious and, appropriately enough, had
nothing to do with the tracks. Is that coming from sheer disdain
for the pithy titles that other comedians come up with?
Absolutely. Yeah, that's it exactly. And they asked me about the
track titles and it just occurred to me, "Oh, here's another place for
humour." I could call it the real thing, but fuck that. Why would I do
that? Extra bonus laughs! Before you even open the disc up; before
you even pay for it or burn it!
Word on the street has it that you're working on a Scientology
Oh, yeah! It's not a Scientology comic, but I was working with an
artist who unfortunately is a little... crazy, and backed out of it and
said he couldn't do it, but'the stuff he was drawing was amazing. I
just have to find a different illustrator for it, but I have this whole
story. It involves Scientology, but it's not about Scientology.
Is that a big interest of yours?
I'm a little obsessed with it. I've a fascination with it that goes
beyond interest, and it makes me angry in a way that other religions don't, but it's not a religion, so I shouldn't even give it that
In what way does it make you angry?
Just that human beings are that susceptible
blatent nonsense, made-up fiction, garbage.
such absolute
And the Bible too, for that matter?
Well, the Bible is also ridiculous—but it's less ridiculous than
Scientology. That's just crap.
The Bible at least has a couple thousand years of history behind
Yeah. I can understand believing in that way before believing in
this science-fiction writer's poorly-written, random, illogical stuff.
And since I've got you here, do you have any feelings on Bush and
the latest push to take out Iraq?
It's very disturbing and upsetting to me and, much like my feelings
on Scientology and the Bible, it's also very dismaying because of
how manufactured all this stuff is. Especially knowing the history
of manufaturing this kind of... it's just, there's nothing funny about
it. It's just really disturbing and awful and mean and selfish and...
that's it. Just really selfish. I wish I believed in Hell because I believe
he'd go to Hell.'
David Cross: Funnier Than You
14 November 2002 The Gourds are currently Austin's hottest band. This is no small feat in a city that bills
itself as the "Live Music Capital of the World." That's standard Texas hyperbole, perhaps,
but Austin City Limits and SXSW are worth boasting about. Austin is still considered a
mecca for songwriters and has nourished the careers of the likes of Doug Sahm, Willie
Nelson, Townes Van Zandt, Stevie Ray Vaughan, Alejandro Escovedo, Nanci Griffith and
Lucinda Williams.
Lurking in the Americana and roots corner of the alternative music parking lot,
Gourds' music is hellaciously hard to describe. Various sources have offered up labels like:
The Band meets The Pogues (or London Calling-era Clash); backporch hillbilly punk; Tex-
Mex-Cajun-rock-grass-trad. Take your pick. The band's unofficial motto is "music for the
unwashed and well read." While they are in no way a jam band, the Gourds enjoy a large
following among fans of the Phish / Leftover Salmon / Widespread Panic scene.
A distinguishing feature of this band is the presence of two songwriters with differing
styles. Songs written by Kevin Russell (vocals/guitar/mandolin) are more likely to sound
as if they were plucked from an Appalachian picking party, while Jimmy Smith
(bass/vocals) tends to careen through lopsided landscapes inhabited by shadowy characters. What the two share is a love for what Robert Bly calls "leaping poetry" and the type
of imagery found in the works ofNeruda and Baudelaire.
My introduction to the Gourds came in the spring of 1998 in a college town in north
Texas. The owner of a local club renowned for booking fine indie bands ran into us at a
festival. He waxed poetically about this great young band from Austin that we absolutely had to see. Ifl recall correctly, the phrase "future inductees to the Rock and Roll Hall of
Fame" was even uttered. At the gig, even though the bass player had lost his voice, I could
see and hear that there was definitely something to this scruffy-looking bunch. Myfan-
dom was not instant, but has increased steadily and mightily with each new album.
The Gourds' sbcth CD, Cow Fish Fowl or Pig has already garnered heaps of praise and
college radio airplay. They recently performed in front of a crowd of 10,000 at the Austin
City Limits festival. Looks to me like they're on course for a 2022 induction into the Rock
and Roll Hall of Fame.
Kev "Big Daddy" Russell took time to ramble amicably via email about songwriting,
great Canadian rock bands, and the "Gin and Juice" phenomenon.
By Val Cormier
Music for the Unwashed and Well Read
DiSCORDER: The Gourds achieved some notoriety on the internet for your version of Snoop Dogg's "Gin and Juice." How'd that
Kev "Big Daddy" Russell: Well, I first played that at a birthday
party for our sound engineer, Rche [sic]. That was back in 1997
sometime, I think. It went over very well, lots of laughs and jaw
dropping. You'd have thought I had reinvented the wheel.
I just liked that song so much when I first heard it, which was
sometime after the fact, probably 1994 or 95. My sister Erin played
it for me over the Christmas holidays that year up in Denton.TX
where my folks live. I wanted to figger [sic] out a way to play it,
just for kicks. I could not rap, thank the Lord, so I had to come up
with a melody that would support all those words. It was like learning "Louie, Louie" if Bob Dylan had written it.
One night at the Electric Lounge in Austin I told the guys to follow me on it and we would play it. They had never played it before.
I told them it was just A and D chords, very simple, and we did it.
Again, the place came unglued. I think we all were a bit disturbed by
the reception of this monster song. It gained in popularity around
these parts. Of course our record label at the time wanted us to
record it, so we did. They went out of business before they could
really work it.
So it disappeared into the internet netherworld. I think it got
on Napster first under Phish because it was on some stoner's CD
burned comp. That shit gets traded around without any real liner
notes. So once everyone thought it was Phish, it took off on
Napster. At one point it was the most downloaded song, I heard. I
contacted them about it, but they were of no help, claiming systemic incompetence by design. I realized at that point 1 could
upload the entire catalog of the Residents under the Gourds and
everyone would think that was us. Who needs integrity when music
is free?
It was probably for the best though. Now we are not known as
"that Gin and Juice" band in the way Dynamite Hack became
known shortly after as "that Boyz In The Hood" band. I think we
dodged a bullet there.
Do you still perform it in your live sets?
We still play it when we feel like it or when it seems like a good
time to play it. We played it at the Kerrville Folk Fest. Everyone
said we shouldn't because it might offend the marijuana, wine and
cheese crowd. But they didn't seem to care. We try to offend people, but we never seem to really get it right.
The most surprising thing to me is when we play a wedding
and the bride requests it. It is easily one of the most misogynistic
songs of the last 10 years. But even my mother loves it.
It really has a life of its own. And I never tire of seeing where it
goes and who it finds. Keith recently was drunk down on the coast
of Texas on the beach in Galveston. He said he was trying to fall
asleep out there in the dunes at 5am, but all the cars cruising up
and down the street were blaring our version of "Gin and Juice."
Rumour has it that Snoop his fine self has heard your version and
digs it. Is that true?
Yes, there is a video clip of him listening to it on the website.
The Gourds website says "there is just absolutely no way to categorize this music, these songs, without tearing up the English language." But let's try anyway. Where do you find your songs? What
gets you riled up enough to write?
I write usually when I am sitting around outside. And it all starts
with a chord progression and a melody, which has a certain rhythmic pattern, of course. Then the words I dig up from old notebooks
or magazines or symbolism or great works of literature. I do cut
ups or collages of words and phrases and then add on bits to make
it all rhyme and connect somehow.
1 get ideas from anywhere and everywhere. I can write a song
about the sexual habits of a blade of grass if I want to. There is
nothing in the world that can't be explained through music and
words... well, maybe not explained, but at least represented or presented in an odd way that might make the listener think it means
something more than it does. That is the beauty of the imagination.
1 like the sound of words put together that one might not
expect to be used in the same song or sentence. It is fun to rip up
the English language. I think that is how the English language
became so bizarre and in need of all those stupid rules we learn in
school. It's been ripped up and stuck back together and interjected
with so many other languages that it is honestly a product of our
diverse, crazed, misled and entertaining culture.
Of late I like to call our music "Rag & Bone" or, as Tom Waits
coined, "Surrural." It is something of a game to try and make a
name suitable for it. And, no matter what we call it, we will always
have to be put into one of those categories one finds in the bins at
the record stores.
I think rap was the last accepted category of the 20th century.
It really takes a huge cultural movement to get the retailers to
make plastic signs for their bins to sell it. We are not there yet.
That must be the ultimate accomplishment for any musical artist—
to be instrumental in creating a new genre of American music. Bill
Monroe comes to mind, James Brown also.
Is it true you're a closet Triumph fan? Any other Canuck bands
you've ever dug?
Well, I love Magic Power and some of the other tunes on Armed
Forces, but I would have to say I am not a "fan" more than a man
who likes a good laugh with his rock 'n' roll. Tons of Canuckrock is
great. The greatest of all, of course, is BTO. They flat out are one of
the greatest rock bands of all time from anywhere in the world.
Their record Not Fragile is one of my all-time favorite records. I
always dreamed of being in a rock band like that. I did a lot of my
pre-pubescent mirror-guitaring to that record.
You recently released a fine solo CD which includes a song
("Somebody Bring Me Flowers, I'm A Robot") written with your
son Guthrie. Is the co-write process different with a 3 year old?
And does he get a cut of the royalties or are you just paying him
off in ice cream?
He gets a roof over his head and all the Disney movies he can
watch. He uttered the phrase one day while playing Legos and I
asked him simple questions about what he wanted to say. A question per line. He would answer and I would write it down in a way
that would rhyme and fit with the musical idea I had for it. We have
worked on many musical collaborations. I am going to give it a few
more years before we record and tour with this show. It needs
some time to mature.
Are you happy with how the new CD turned out?
Well, it seems like a regular Gourds record, which usually does
mean there are some surprises. 1 think the main difference is
Jimmy's songs on this one seem to me more structured and fully
realized. He was really into the minute and a half song for a while
there. I really am interested and impressed with where he is going
as a songwriter. I feel like he is taking it less seriously and at the
same time creating some really classic songs. He is growing and
learning like the rest of us and it shows in his songs, of course.
The whole feel, actually, of this recording has that "not trying
too hard" quality to it. At the same time there are some really wonderful moments. "Bottle & Dime" is flat out balls-hung rock.
"Blankets," a Max song, is a beautiful little thing that I always like
to play and hear. "Ceiling's Leaking" is really a cool Sticky Fingers-
era Stones thing that is fun as shit. "The Bridge" is a really fine,
fine song that I think is played very well. It has a great group of
lines in it: "If the billy goat was Bootsy and the troll was Maceo,
only the godfather of soul could really take you to the bridge."
Canadians have some pretty interesting perceptions of Texas. So
what do Texans really think about Canada?
I don't know, really. Most Texans like the idea of Canada. But we are
such an arrogant bunch down here... nothing is sacred but the
Cowboys and the Alamo. I know in the middle of August most anyone would love to be in Canada. BC bud? We might know about it,
1 really can't say if we do... mum's the word. •
15 DiSCORDER zorn
in contro
"I think I have here all that I could possibly want.
I have my books and my music and mother's art
collection and a visit from a beautiful lady from
time to time and what I value most: My privacy."
By NOU Dadoun The eastern European voice on the answering machine sounded like
it came from an old movie but, rather than inviting a message, it
delivered one: this is a man who indulges in artistic and sensual
pleasures, whose world is self-contained and who does not welcome uninvited intrusions into that world. I left a message anyway
and John Zorn phoned back about five minutes later. We had a chat
that was at turns revealing, evasive, frustrating, friendly and
rushed. My overwhelming impression was of someone who hated
being pinned down or restricted in any way—who hated not being
in control.
John Zorn has been one of the most important and controversial figures in contemporary music in the late 20th century and
looks to maintain that standing in the dawning of the 21st. To
someone not familiar with him, his music, and his contributions, it
may be hard to grasp his importance.
He's a cultural sponge with an enormous artistic appetite. An
apocryphal story has him listening to music on a walkman modified to play one-and-a-half times normal speed so he can cram
more in. His record and book collections are legendary, displacing
furniture and even the kitchen in his apartment ("I eat out").
Previously having lived in Japan for a number of years, he's fluent in
Japanese and well-versed in Japanese film and art. He wears the
running threads of his own Jewish heritage like a tallis. His 'top ten'
CD, book and film lists on the Tzadik web site reveal a man who
swallows genres whole, from the cartoon music of Carl Stallings to
Indonesian gamelan to beat poets to film noir.
These influences and cultural references all feed his muse in a
body of work staggering—not only in its size—but also in its
breadth. Explorations of technique in solo alto saxophone improvisation inspired by Anthony Braxton as the "art of strategy";
reworkings of the hard bop repertoire in the Sonny Clark Memorial
Quartet with Wayne Horvitz and then, its logical extension, News
for Lulu with Bill Frisell and George Lewis; psychedelic country and
western with Eugene Chadbourne; funky Hammond B-3 groups
with Big John Patton; free improvisation as a participant in Derek
Bailey's Company Week; the list goes on.
He's tackled experiments in rock music with Locus Solus, dabbled in speed metal and thrash with groups like Painkiller, explored
dynamics, tempos and textures with Naked City, avant lounge
music with The Gift, fully notated compositions like "Redbird"
(influenced by Morton Feldman), "Cat o' Nine Tails" (a commission
for the Kronos Quartet), solo piano pieces like "Carny," and full
orchestral scores like Angelus Novus.
At the same time, he's shown an unwillingness to let his audience get too close or become too comfortable, subscribing to the
"Art is not a mirror, it's a hammer" philosophy. He has a predilection for disturbing images, sometimes drawing from violent
pornography for album graphics—the original cover for Torture
Garden prevented the disc from being sold in the United States.
One of his Naked City compositions is entitled "Eat Shit Jazz Snob!"
sometimes retitled "Eat Shit Naked City Snob!" in performance.
Since the early '90s, he's been a leading proponent of the
"Radical Jewish Culture" movement which has created contexts for
the intersection of contemporary music with Jewish culture in compositions like Kristallnacht and ongoing projects like Masada and
Bar Kokhba. Zorn has been the nucleus (the grit that created the
pearl?) of the New York "downtown" musical community whose
Theater of Musical Optics evolved into clubs and showcases like the
Knitting Factory and Tonic.
His game pieces are a category unto themselves (e.g. Pool,
Lacrosse, Cobra, Xu Feng etc.)—based on 'war games' in which up to
20 musicians/players dynamically team up in shifting groups of various sizes and improvise with (or against) each other. The teaming
and improvisation rules are usually controlled by flash cards and
gestures of the prompter, often Zorn himself. Perversely, although
there are recordings and performances of many of the game pieces,
Zorn doesn't usually reveal the rules and cards which guide the
"game," thus leaving the audience "out of the loop."
Some of the concepts of the flash cards in the game pieces
evolved into his "file card" studio constructions: The Big Gundown
(settings of the music of Ennio Morricone), Godard (his tribute to
Jean-Luc Godard), and Spillane (derived from the Mickey Spillane
pulp fiction of Mike Hammer).
Zorn (at last count) has released 13 CDs of his own soundtrack
compositions in the Tzadik Film Works series, and we launched into
a discussion of film music:
One of the things that I know about you is your admiration for
film composers; one of my first exposures to your music was the
Godard Fans record, which was a wonderful thing and ear-open-
16 November 2002 ing for me. I know that it was at the time a new experience for
you in terms of studio possibilities and you went on to explore
that for a while. Is there any of that studio [file card] stuff there
in the back of your mind in terms of future projects?
Always!... [T]he studio is a tool and I continue to do studio work
that is along those lines. Songs for the Hermetic Theatre, I think, is
an example of a record like that. Or 1AO that just came out.
Conceived and created really to be a CD and nothing else but that.
If it can be done live, it would be learned after it was created in the
I know some of the Ennio Morricone stuff was eventually performed live, but it seemed more like a studio construction than
anything else.
Yeah, very much so. And it's a pain in the ass to do it live.
Have you ever thought of doing anything with the music of
Bernard Hermann?
Ah, that music is sacred. It can't be touched. That's the way it is.
I would have thought that Ennio Morricone's music was sacred in
Mmm... There are a lot more possibilities with what you can do
with his music. Hermann's music really has to stay the way it is.
The orchestration is crucial and if you think about it, it's very simple motivic music with very simple harmonic motion and it doesn't
lend itself to interpretation, to wide interpretation. It was really
music that was not pop music in that sense. Morricone w
of very big pop songs. He worked as arranger for [It;
... so, that really opens up the interpretation possib
music, whereas Hermann's is tied to the film i
in a very deep way and doesn't len.
:ion by a rock group... it's gotta be what it is. So
3t any better or worse than what Mon
n't think I wiRbe doing anything of Hermann's.
Jrersion of "Taxi Driver" in Naked City ... there
Bdoing a pop song. So, you can't take the theme
thwest and give it to guitar, bass, and drums and
Klly gonna have the same impact...
ling from Psycho might...
reard people try to do it and I just think it's unsuccessful. It's not because the musicians aren't being creative. It's
because the music itself inherently needs to be exactly what it is.
Now, you're also an admirer of Maya Deren
Very much so. Yeah.
Have you ever thought of scoring some of her work?
Well, not yet, but I did some music for two Ken Anger films last
Halloween. That was very successful and Ken was there, was really excited and there was talk about synching my scores to a couple
of his films. And I did it recently for Harry Smith, Early Abstraction
and the Oz film and I did a whole program of Harry Smith work a
couple of months ago. That was also really, really successful. I take
these things a step at a time. If it's appropriate, I'll do it—if I'm
asked. Seichi Ito's scores to Maya Deren's films are wonderful and
I don't know whether I wanna replace anything like that, but maybe
if there's footage found or if there's film that doesn't have any
sound synched to it at all, I might consider doing something like
That brings to mind something like Un Chien Andalou or L'age
Right. Silent films to me need piano accompaniment.
You think so? Hmmm...
Yes, that's my personal opinion. I don't like rock bands doing such
and such, orchestras doing such and such. I think it's about one
person at the keyboard interacting with the images on the screen.
When you score something immediately, it becomes a mood type
thing. It's very hard to really follow the action the same way that a
pianist can. Or it just becomes so stiff because you're tying it exactly to the action in one specific way that... I don't know. No, I think
from Norl
expect that
Yes and no.
silent films... piano."
The way you describe it, it sounds like another vehicle for improvisation.
Maybe it's better not to let the pianist actually see the film before
they sit down and accompany it?
Well, you know, once or twice to get an idea... [laughter]
So you don't get too surprised and drop your hands right off the
Right... definitely.
Perhaps his most surprising project is his latter day role at the
helm of Tzadik Records. When I chatted with Zorn back in the mid
'90s, I'd mentioned that as a record store owner and a fan, I'd
always had trouble getting his numerous Japanese releases and
enquired whether he was interested at all in pursuing any record
distribution. He expressed no interest at that point but then two
years later his label Tzadik started releasing material, now with
over 200 releases to date. Wmr
"Well, see? I can't say what I'm gonna be doing with anything
at any time. Sometimes 1 think I'll never play the horn again and
turn around and create Masada... You never know what's gonna
happen. Tzadik came about as a result of wanting to keep stuff in
■int, wanting to^^HJe community that nurtured me, wanting to
^BRMtfig with the pile of money I got from doing, more or less,
fow, kinda Hollywood film shit, which I do not continue to
give me a pile of money, what am I gonna do with it? Here's
; to do with it. Best thing I ever did was to start that label,
as really a good thing to do... We're lucky with the distribu-
och]. It's a lot of work and sometimes I wonder how much
longer I can keep it up, but I think it's one of the more important
things that I'm doing. I hope to keep it going."
In a way, Zorn is a contemporary version of John Cage, identifying the boundaries for people then crossing them and extending
the music and how people hear and think about music in different
ways. One of the things about Cage's musical philosophy was that
sometimes stuff worked or didn't work, but it always made you
think, it always made you question your assumptions and lea
something new.
Zorn denies it: "I try to challenge myself and keep myself,
ested in doing music... but I don't know how close I am to how
Cage works. I guess a musician doesn't think in terms of bour|
aries, you try to make music. And you experience a lot of differej
things in your life and they all go into the music at some point."
Well for example, one of the things about jazz, per se, is that, in
terms of improvisation, it's caught in a rut in terms of soloing on
changes or soloing within the head-solo-solo-solo-head framework. Communities of improvisers like Derek Bailey and
Company and Time Flies in Vancouver go to the other extreme
insisting on 'pure' improvisation with a 'no tunes' philosophy.
And you've gone beyond that in a lot of ways, by taking new structures for improvisation, looking at game pieces and...
Yeah, but at the same time the basic Masada book is a book of
tunes that function in the head-blow-head format. So, there is a
challenge that I set for myself as a composer and as a performer:
Can you do something in that format that's exciting? You know,
sometimes, you're right, you try and take something and explode it.
Sometimes you take something and explore it. So, ultimately, it's
just about music-making.
Do you think of Masada as something that you're going to be
doing for a long time? Because it seems as though Naked City ran
its course, in a way...
I can't say, how long, how short I'll be doing anything. [Naked City]
served its purpose. That was the end of it. The thing is, to get
together and play that music was very difficult and very challeng
ing and [took] a lot of rehearsal time. Masada is not like that. We
can get up and we can play without rehearsing the music. It's hard
to say no when someone says, "Hey, we'd love for you to play"; it's
fun to play and all we have to do is get up there and play. In that
sense, it's probably something that I will continue in the future.
Masada's previous visits to Vancouver have been with the
ensemble now subtitled "acoustic" Masada. In fact, their first visit
in 1994 pre-dated the release of any recordings of the group and
prompted a comparison to Ornette Coleman's early acoustic quartet, a comparison that Zorn refutes:
"A lot of it is chordal, a lot of it is modal, a lot of it is totally
open, a lot of it has nothing to do with harmolodics... That's the
music I happen to play with Dave Douglas, Joey Baron and Greg
Cohen, you know, the surface of what's happening is a pianoless
quartet and people immediately go to Ornette. I've been influenced
by Ornette; my personal playing has been influenced by what he
does, but, you know, it's gone to a lot of different places. So when
you interpret the written melodies, you can interpret them in many
many different ways. That particular quartet because it doesn't
have a piano in it, people immediately gravitate towards, you know,
Ornette. And I like Ornette's music very much, but if you look at
the compositions and what we do with them, I would say 90% of it
is nothing that's anything remotely like what Ornette would ever
have done or would ever do. AJ|>t of it is very, very different from
his approach."
: is most widely associated with
ctually refers to a song cycie pro-
s) which has been performed by a
From the chamber ensembles of
er to Acoustic Masada to Elect
e jam band with Zorn, Marc Ribi
r Dunn,.Kenny Wollesen and Cyr
raw^H     : same book whose
i over the
Although the Maj
the acoustic quartet,
jeet (i.e. a "book" <
number of differed
Bar Kokhba and The CjJ
Masada, the current S
John Medeski, Jami<^
Baptista, the
jer source rr
:herhe uses H
^^briginal mtj
f Masada bdlH Handing:^
till tunes herMand there. I w^| ^BK fi'm S0J
; in [the springj-and I think,we §
p^e tunes out of that and they kindjj
not something I spend a lot of time o
that pretty much ended after the f irg
couple of tunes pop out once in a while, but it's^
work on consciously.
"The thing about this band is: Other bands jj
very much in control; I had an idea of what I
was on everybody's case to try and get it. Witrl
see what happens, what these musicians do m
have an agenda—'it's gotta go this way, it's gotta go that way.'—
more 'let's see what we can do.' And I respect and trust all these
s and I'm still at the helm, but I'm very open to where they
all there, we learn it and we
-|, but in this particular case I
e in a lot of ways. We'll see.
may wanna take [it]... The heads ar
take it somewhere. I try to guide thi
think I'm gonna be letting them loose ii
Could be pretty wild."
Having heard a recording of the one Ir
done at Tonic in New York, I agree that it
have trouble believing that John Zorn wor
e show that this band has
:ould be pretty wild. But I
't be fully in control. •
John Zorn's Electric Masada plays at the Vogue Theatre on November
8 at 8 pm. Tickets are available at Black Swan, Highlife, Scratch or
Zulu Records or through Ticketmaster.
In the basement of their dilapidated apartment on Commercial
Drive, the Low Pressure All Stars laugh about the neighbourhood of
their newly adopted city.
"If Vancouver is the most expensive city in Canada, then East
Van is the cheapest place in the world," says DJ Moves, the producer and Voltron head of this underground hip hop collective.
While trash-talking wrestlers drop elbow smashes on the television, Moves, Rhek One, Tachichi and Cee!!!!!!!!, who are all originally from Nova Scotia, joke about their fondness for Fast
Vancouver as they drink beer and pass around blunts. Cheap Asian
fruit markets, 99 cent pizza, lesbian hookers, and a high minimum
wage (which would matter if any of them had a job) were all excellent reasons for them to have made the move across the biggest
and most sparsely populated country in the world.
Travelling across the sprawling Canadian landscape from one
coast to the other fueled by booze, break beats and big dreams,
some of Canada's finest underground hip hop artists are now calling Vancouver their home. As if part of a perfectly timed relocation program, over a dozen MCs, DJs and graffiti artists hailing
from cities such as London, Winnipeg, Ottawa and Halifax have
packed their bags and headed West.
The invasion force consists of artists that originally hailed from
smaller cities and make a more abstract and intimate form of hip
hop. The Catch-22 for the hip hop scenes in the small markets of
Halifax and Winnipeg is that their isolation helped creativity but
hampered exposure. Many of the pioneers of the internationally
praised Halifax hip hop scene have now left the city, looking to
branch out elsewhere in bigger scenes.
Led by two of Canada's most praised beatmakers, Low
Pressure's DJ Moves and Peanuts and Corn's mcenroe, the movement has been slowly gaining speed over the past couple of years
and has snowballed into the creation of an entirely new and eclectic hip hop scene in Vancouver.
The globe-trotting MC Josh Martinez, also originally from
Halifax, spent time in Australia, Montreal and parts of Asia before
making the move to East Van. "Out here, there is a fairly large
amount of people that are tuned in and have good heads on their
shoulders, and you do need a big city to do that. You do need, at
some point, some exposure to people—and it wasn't an established
scene that had sort of locked things down and decided this is what
was good and this is what is bad; it was just open. The whole thing
is you could actually have an open scene with everyone kinda contributing in their own way here, and probably only here in Canada
can this exist, just because people are easier going," he says.
Vancouver's hip hop scene has only really begun to blossom
over the past four years. While the Rascalz laid the groundwork in
the city, it is groups like the Swollen Members and the City Planners
who are leading the next wave. Vancouver now has three weekly
nights where you can see live hip hop, plus other monthly and irregular events. Vancouver also recently got its first urban radio sta
tion, 94.5 The Beat (which doesn't play the music of these artists
since it is considered too abstract). The rapid growth of the city's
own hip hop scene has helped create an atmosphere that artists
all over Canada are finding very attractive. The city's scene is constantly described as being "friendlier and more open."
"We're a bit more open minded out here—it's a West Coast
thing," says Birdapres, a native Vancouver MC who has worked on
albums with both Moves and mcenroe. "People have a willingness
to accept a form of music that they aren't used to. It's the same
thing in LA, San Francisco, and Seattle. I guess being a port city
we've always got music and people coming in giving exposure."
The proximity to California played a major role in shaping the
city's tastes. While the rugged sounds of New York, the birthplace
of hip hop, play a prominent influence, Vancouver has also
embraced the funkier style of California artists who have come up
to play, such as the Freestyle Fellowship and Hieroglyphics.
Unlike in the US, Canadian artists have very little choice in the
way of large markets. There's Montreal, Toronto, and Vancouver.
But Montreal is considered to have a more francophone dominated hip hop scene, while Toronto remains the domain of an exclusive
and elite music cartel, where a certain sound and certain artists
tend to dominate the city's scene.
DJ Moves left Halifax four years ago to explore Canada's largest
market for a couple of years. He had been a landmark figure in the
burgeoning Halifax scene as a member of the playful Hip Club
Groove. The group gained national attention in the mid-'90s and
helped put Halifax on the hip hop map, which was in the midst of
producing a plethora of talent including Buck 65, Sixtoo, and The
Goods. Moves' beats have since matured and vary from the dark
and twisting to the upbeat and playful sound reminiscent of his
younger days.
In Toronto, Moves had success when he became a member of
the pop group Len, whose hit single "Steal My Sunshine" blew up
beyond anyone's expectations and was the summer jam of 1999.
He also began working with London, Ontario's Governor Bolts, a
freestyle legend who has adopted a number of surreal personas,
the most popular being a dirty, demented drunk. The Governor
Bolts album A Crooked Mile, which was named 1999's album of the
year by Vice Magazine, is a perfect example of the diversity of
Moves' sound. Strange vocal samples, swallowing organs, and crisp
breakbeats allow Bolts to compose a new character and a different
story on each track.
But Moves says he soon became frustrated with the city's
image. In an interview from his East Van home, he says his beef
with Toronto is that it suffers from a "hardrock" syndrome.
"Everybody by now knows that Toronto does sound like New
York—and that's not even a diss, that's a truth. To get anything big
there, you're forced to be what it is."
This copycat sound that Toronto is often accused of acts as a
push and pull for the city's scene! While many are turned off by
this unoriginality, others enjoy the more commercial sound that is
more popular at clubs and parties. Toronto is also often accused
as being closed to outsiders, suggesting that if you're not from
there, you're not going to make it there. For the artists that have
moved to Vancouver and who make a far more unconventional hip
hop sound, Toronto was an obvious push.
But Toronto still remains Canada's capital for the music industry. Canadian hip hop artists that have received the biggest distribution in the United States have all come out of this city: The
Dream Warriors, Michee Mee, Choclair, Kardinal Offishall, and
However, the success of Swollen Members and BattleAxe
Records has defiantly challenged that dominance and acted as a
great inspiration. The DIY approach that MC and label CEO
Madchild pushed, shows that Vancouver may be ripe enough to act
as an alternative. More importantly, the Members have managed to
maintain their independence yet cross over into mainstream
The reach of the internet has also helped teach artists that they
don't necessarily have to be situated in the largest market. Both
Peanuts and Corn and Low Pressure have had success in cultivating
a fan base online. Following the examples set by Bay Area's
Hieroglyphics, Invisibl Skratch Piklz, and Anticon, underground hip
hop artists are quickly learning how to use the internet as a tool to
get their music out to the public.
"It's the way to go out, everybody basically knows that. If
you're in the underground or if you're not really big, if you don't
have a commercial deal that's not publicizing you out on the street,
shit like that, it's the way to go," says Tachichi.
So Moves and Bolts came to Vancouver and set a trail soon followed by others. The role call of migrants is impressive. From the
East Coast are the potty-mouth sailors from Halifax: DJ Moves,
MC's Tachichi, Oracle, Josh Martinez, graf artist Rhek One as well as
Miles from the We Stain Porcelain production team. From the flat
land of Winnipeg is Peanuts and Corn Records' head honcho, mcenroe. Vancouver has even welcomed hip hop refugees from central
Canada—like London, Ontario's MC's B-Side, Governor Bolts (who
recently went AWOL only to land back in London), and Futility
Records' DJ Neoteric. And from Ottawa is Solspirit, who is part of
the expanding Nextraterrestrial camp, which includes the legendary underground rap group Supreme Being Unit. The Nextra
crew is spread out over four cities in Canada and has since inducted Moves, B-Side, Rhek and Bolts into their family.
This relocation to Vancouver, though, started as an uncoordinated development. Those that were part of the first wave of
arrivals have similar reasons for making the move. Vancouver's climate and scenery has always worked as a magnet that attracts all
types of people. Josh Martinez followed the call of the wild to help
run Low Pressure Records with DJ Moves. He is an extremely introspective MC whose content matter ranges from the Holocaust to
18 November 2002 By Sean Condon
Drawing Pax Lyle
his refusal to conform to society's idea of normal. He says he was so
struck by his new city's landscape that it inspired him to write an
ode to the city entitled "BC Trees." The tree-planting MC uses a laid
back, soulful style to praise the city by crooning, "I love chilling in
the city / but most of all I like its leg room / I like how people here
appear to do whatever they please / Vancouver, BC / I love these
big huge trees." The coastal atmosphere of Vancouver and its small
downtown has been a big pull for the Halifax artists, who say they
feel being near the ocean makes Vancouver a home away from
But the movement also signifies a change in personal development that every individual goes through over the course of their
life. Halifax graffiti artist Rhek One came out to help with Low
Pressure and run its art direction. Rhek is also a member of Halifax's
HomeWreckers graffiti crew, which includes Sixtoo and Thesis, and
whose disfigured, drunken characters are now imprinted on the
walls of Vancouver. His reasons for moving stem from an urge similar to the one that made these other artists bust out of their hometowns. "You can't live in the town you grew up in forever," he says.
"[Vancouver] is still the best place to be and we plan to take it as far
as it goes." In this regard, much of the redeployment has been coincidental as artists from all over Canada in their early to mid-20s
break out of their hometowns and their parents' basements to head
for a bigger city.
The more recent arrivals of MCs Tachichi and Oracle are a testament to the influence and pull that DJ Moves has already had on
the scene. The rapid fire Tachichi is a master of irony who weaves
through topics of innocence and debauchery and has already
recorded an album with Moves entitled Truth of the Trade. The
album includes the song "Bush Gardens," a tongue-and-cheek
pubescent love song that was declared the "best rap song ever" by
Vice. Oracle, now known as Cee!!!!!!!! (the eight explanation marks
are explained as a necessity, since the name is to be shouted), has
already worked with Sixtoo to create an album, Jesus Christ Never
Existed, which madly races through subjects of atheism and conspiracy theories in Hunter S. Thompson-like rants. Known for his
proficiency with profanity, he says he was getting depressed about
the lack of intellectual inspiration in Halifax and knew it was time to
hook up with Moves.
"I just thought Vancouver was the sureshot. I've always felt that
Moves gave me inspiration. He was the main cat that makes some
of the hottest beats. I'm trying to work with cocksuckers that are
hardcore that actually drink every night and fucking talk shit but
at the same time keep things in perspective. It was just a matter of
utilizing the potential and making us a hot-ass collective coming
out full circle."
Moves and mcenroe are both regarded as two of the most proficient beatmakers in underground hip hop. Their arrival to the city
explains why others soon followed. Simply put, MCs need beats. No
matter how great the lyrical skills of the MC, if the beats suck, the
song sucks.
Winnipeg's MC/producer, mcenroe, is at the opposite spectrum
to his emigrant counterparts. The self-proclaimed "biggest nerd in
hip hop" and former engineer is a workaholic with his music and
label, Peanuts and Corn Records. With each release, he has constantly been gaining praise as reviewers drool over his carefully
crafted, moody soundscapes that sample acoustic guitars, woodwinds, and strings. He and his label mates, Gruf the Druid, Pipi Skid,
and John Smith, have created a series of conceptual albums that
cover topics of politics, spirituality and mass consumerism. His label
has been recognized as one of the "next 100" in the popular Urb
Magazine and the impact his music has had on hip hop has garnered
him comparisons to the legendary Pete Rock.
But mcenroe remains aloof from Vancouver's hip hop scene and
his presence in the city is felt more subtly. In a recent interview
from his Richmond-area home, he admitted that he's not the prototypical hip hop performer since he's not out playing shows, "paying my dues and nurturing a fan base." He says he is more involved
with his new distribution company and making all the music for his
other label mates. But mcenroe's influence in the city works by
adding Birdapres to the Peanuts and Corn roster, bringing out his
label mates to do shows, and working with other artists such as Josh
Martinez. He has saved the Moves and Birdapres album Alleged
Legends from tape obscurity by releasing it on his label.
But besides Birdapres and Surrey's Ink Operated, there has been
very little work among the locals and the newcomers. This is not an
uncommon thing, as crews and labels tend to work solely among
themselves, and is not to say that the different camps don't get
"Any time that you've got a label, it wants to make a point with
its sound. All sort of have a mission statement," says Birdapres, who
stands out as a bridge between the two scenes. "But people are
accepted here. Each one complements each other in different ways
and they each fill a role."
However, collaboration between the different camps is beginning to grow. This is an inevitability as time creates new connections. Right now it is mainly the City Planners that are collaborating
with the newcomers. Sichuan produced a beat on the new Josh
Martinez 12" and Peanuts and Corn is distributing the new Jeff Spec
How long these artists will remain in Vancouver is anyone's
guess. These transient travellers offer no insight on how long they
plan to stay. "It's wherever the music takes me. It's the way it has to
be said," says Tachichi. A number of other artists have already come
and gone and another group of Halifax artists have expressed interest in making the move. Low Pressure Records are in the midst of
signing a deal with Universal Records to distribute the new Governor
Bolts record and are creating a side label called Fried Chicken
Records for Tachichi and Cee!!!!!!!! Josh Martinez has parted ways
with Low Pressure for "personal and financial" reasons, but mcenroe
has added Birdapres to the Peanuts and Corn family and continues
to expand its distribution. In the meantime, the city of Vancouver
has the opportunity to experience an amazing collection of Canadian
hip hop artists—at least until they leave for somewhere else or a
new batch arrives. •
19 DiSCORDER e to be created, there must be the corollary genesis of two
phenomena: space and time. I put a microphone on the table in the
back corner of the Sugar Refinery and discussed the geometry and
funk genocide of Parallela Tuesdays with curators Skye Brooks, Masa
J Anzai, andJP Carter. We laughed a lot more than the text shows.
DiSCORDER: Is it "Parallel" Tuesdays or "Parallela" Tuesdays?
Skye Brooks: "Pa-ra-llel-a." It's often broken into two words.
Masa J Anzai: It's always broken into two words!
So is it the female form of "parallel" or the musical form of "parallel"?
S: It's just a homemade word. It doesn't have anything to do with
'Cause I was sitting around one day thinking about parallel lines
and parallela Tuesdays and I was like, "Yeah! It's like two lines...
that never converge! They just travel and they go on and on and on!
They're equal, but they never meet! Don't you get it?" So I'm pleased
to know that none of that went into the creation of the name.
JP Carter: It's got nothing to do with umbrellas? 1 always thought
there was an umbrella thing going on.
M: What country are you from?
S: Parallelogram. Parallelogram. That's where the original idea comes
Is a rhombus a parallelogram?
S: I don't think so. I dunno.
It's got parallel sides.
S: Yeah, a parallelogram is anything with two parallel sides.
and back, and all around touring solo trombone.
A trapezoid would not be. [Interviewer's note: this is wrong if above
definition is correct.]
S: A triangle is not a parallelogram. It's a long story.
So when did it start?
S: JP actually originally had Tuesday nights, and then he went away
to Europe. Then Steve Horwood asked me if I wanted a regular night
when JP went away—around two years ago I guess—and I said yes,
I'd love a regular night. Then I just got talking to Masa and I didn't
really know what 1 'd do, and then I was like, I'll just have people down
that I'm comfortable playing with and just improvise. And then Masa
got involved too and we started making it way more open to any
people we knew who were interested in improvising and it just went
from there. And now it's growing all the time: there's always new
people playing.
Awesome. So what's the most exciting country of origin of one of
the performers you've had here to play? How far away have the
people come to play Parallela Tuesday?
M: Japan.
Japan!? Anybody from Germany?
JP: Yeah, there's Joe Williamson, but he's from Vancouver originally.
I don't get it. What, you do a solo tour as a jazz musician and try to
find gigs all along the way?
S: Some people do that.
M: Some people make a living doing that.
S: I don't think a lot of that h- s happened here, but there's one guy
from Texas, a trombonist, who s actually going across North America
?0 No.ember /002
So how does he find out about you? How do you find out about him?
S: Coincidentally, it came up on a web page called the Tentacle, which
is this creative music page. It's really good.
Is it locally based?
S: No, it's out of Seattle. It's really, really good.
M: Covers the Northwest.
S: Yeah, it's a Northwest thing. Some Vancouver, but mostly Seattle,
Olympia, Portland. Then they have links to lots of other really cool
websites all the way down to Santa Cruz. But yeah, I had [the trombonist] calling me relentlessly, and then his car broke down and he
couldn't make it to the show.
Oh man. Car troubles. Do you guys ever get in shit for playing too
M: Always (laughs). They don't like loud music here.
Did they make an exception for Rob Wright?
M: Oh, I think they did.
So when is the official two-year anniversary celebration? It's
comin' up.
S: It's November 8th.
What kind of things can people expect for this? Are there gonna be
like 50 musicians in here?
S: Oh, on that night? Last year was just awesome; it was so good.
What we tried to do was to invite everyone. Me and Masa called up
everybody, everybody that had ever played—almost, probably. So
we said we're having a party on this night in celebration of doing this
thing for a year, so come down and bring your instrument. There was
also a thing in the Straight about it, which probably helped 'cause
attendance was really good. It was packed and it was just a really
fun time. Somehow it worked out that people just sorted it out playing amongst themselves. Sometimes it was chaotic.
M: Yeah, it was pretty crazy.
S: Everyone had respect. They wouldn't hog the stage: once they had
their five minutes or whatever people would switch.
M: There were some weird things here and there.
S: Sure, for about a half hour period, there was this funk jam going
M: And it was those guys who hadn't even played.
They crashed the celebration!
S: Anyways, we fixed that funk jam [everyone laughs]. Actually, it was
me, and Masa, and JP, and Steven Lyons. We ruined the whole thing,
fucked shit up.
(Insert a welcome food service interruption here, at which point JP
starts askin' the damn questions.)
JP: What purpose do you think these Tuesdays serve the community?
M: Well, it's an outlet for doing this stuff. It's here every week so the
consistency is important for the musicians to play and the audience
to listen. It's there. Once a week. Always.
S: Without this, there's a lot of people who probably wouldn't—I
know they wouldn't—have a place to play this kind of music in this
way. And it's very easily accessible, to set it up I mean. You just call us
up. They don't have to have a demo. They just have to have an interest in doing it and that's it. So it's just a good opportunity for people
By Steve DiPo
to play and for people to see others who they wouldn't normally see
playing music.
So what were some of the highlights looking back into the last two
years? Is there anything that stands out as just amazing?
M: So many.
S: Personal ones for me? It's really hard to say, but obviously Rob
Wright was a highlight. That was huge excitement for me. It was so
good. It was so fun. To me they're almost always good. I always feel
like it's a good show. I can't remember many times when I've walked
away from playing one of these shows, unless I'm really tired or
something and it's for my own personal playing reasons. But for the
music, I always walk away feeling good about it.
How about you Masa? Over the last 104 Tuesdays?
M: I can't think right now. Some of it's good, but some of it's not as
good. But every night there will be something that happens that
makes it work.
How about you JP? Any standouts?
JP: Yeah, it really is hard to say. It's hard to remember perfect ones.
It's easier to remember particular ones that I played in more 'cause I
was there or whatever. I remember once Masa and I did one with the
Dylan van Der Schyffe trio. That was pretty cool. And Skye and I did
one with Chris Kelly at the beginning of this month, and that was
pretty cool.
S: That was great. That was a recent highlight for me for sure.
Does anybody ever bring in any really unconventional instruments? Does anybody ever walk in with a hammer dulcimer or anything like that?
S: At the end of the month we're having a show with a shakuhachi
player. And you don't see that every day.
Wow. What's the instrumentation gonna be that night?
S: It'll be congas, shakuhachi, harp, and sitar.
Sounds intriguing. Well, where can people find out about nights
like this that might appeal to some more than others? Have you
got an email list?
S: There is an email list, and if people want to get on the list they can
email me. We've got a pretty big list going now. There's always
posters up at Zulu, Scratch, here at the Sugar Refinery. In the future,
my brother's actually making a website for Almost Transparent Blue
and there'll be a section that we'll update every month.
How often are you surprised by the other players and how often do
you surprise yourselves?
M: All the time. Every night.
S: All the time. Even Masa and I, or JP and 1, we play together all the
time, and I still get surprised all the time by each one—by everyone—
I play with all the time.
Anything else to add?
S: I suppose we should thank the Sugar Refinery 'cause they've let
us do this for two years. There's nowhere else that we can do it so
we're really grateful to have this place to do it. •
Parallela email list: <skyebrooks@hotmail.com>
Website (under construction): www.almosttransparentblue.com
Celebrate the 2nd anniversary of Parallela Tuesdays on November
8th—after all the other shows you have to go to. From the Mole to the Molar:
Dirt, Decks, and Dub
the Mole" is showing
me his first record on his own
label, Next Door. "Look," he
says, pointing excitedly at a
locked groove cut into the
vinyl, "It isn't cut properly!"
Oddly enough, the grinning
Mole isn't upset. In fact, he
seems to enjoy the manufacturing mistake that resulted in
a single groove splitting into
three—for it allows him, with
just the precise weight adjustments on the tonearm, to make
the groove skip at odd intervals.
The same can be said for
the dirt. As 1 walk into his small
studio room, he plays me some
very muffled and dense hissing
sounds, obviously originating
from some sort of turntable-
record combination. "I took dirt
from the floor!" he says—I look
down at the dirty floor, and
notice the sludge—"and 1 put it
on my records!" The result? A
dense, skipping atmospheric
layer of sound that could only
be captured by an analogue
needle and a creative mind...
Colin, a native of Victoria,
BC, now lives in Montreal. In his
former days at CFUV, UVic's
campus radio station, he was
known as the "Mole of Soul,"
although he tells me that now
he goes by the elusive "Hans
Molar" alias, even though he is
known around Montreal simply
as "the Mole."
As a fellow ex-BC-patriate
myself, I was immediately
drawn to Colin the Molar Mole
as someone I could talk to
about trees and the ocean in
this land of cement and pou-
tine. But more than that, Colin
the Hans Mole is a talented
turntablist and electronic musician whose love of the warm,
stripped, deep, and sensuous
minimal groove has landed him
residencies in the city alongside
Algorithm and Mike Shannon
as well as holding down
Saturdays at the legendary
new media hangout, Laika.
Back in May,- Colin had the
opportunity to open for
Germany's dub legends Scion
and Tikiman at the prestigious
Micro_Mutek 5. This was no
ordinary opening—Colin the
"Octa-Mole" was going to be
playing his own hand-cut
records on five turntables, two
mixers, and a couple of carefully chosen effects boxes.
Hunting through old bargain
bins and digging through crates
of dub, he assembled everything from The Muppets to
Monty Python and Walter
Carlos, noting specific spots
where a weird sound could be
lifted out of context and heard
as something entirely different.
By tobias v
marking the spot—
sometimes with tape, other
times on the record label with
a pencil—Colin the Soul cut the
record with a knife, cross-
hatching deeper cuts for
smoothness and assembling
cuts of different lengths and
strengths across a total of 20
records for the performance.
The result? A skipping locked
groove that metamorphoses
the sound of Eric Idle slapping
his cheeks together into a percussive splatter, and transmogrifies the ending note of The
Muppets' "Pigs in Space" into a
spacey-tom-rim-shot. Mixed
and blended with the precise
use of effects—namely a
space-echo—the ensuing mix is
a soft homage to the loop and
a wonderfully relaxing listening
experience that is nevertheless
precise, intricate, and surprising in its complexity of sounds.
Deep, rich bass resounds while
clicks pop across a spectrum of
spatialised and atmospheric
washes; it's a tactile performance-dub that contrasts
sharply with the nano-bot
rigidity of the all-too-ubiquitous laptop performance.
I began asking the Mole
how he assembled this many
records and made it all work,
and why he decided to play it
the way he did. For despite his
hip hop skills—the Molar originally mentored as a hip hop
DJ—Hans had a different idea
in mind for the Tikiman show.
He shows me his yellow-bound
notebook of drawings and
handwritten notes that log
conceptual ideas on how the
performance should sound, as
well as organizing charts for
gear placement and the setup
of five turntables. To make it all
piece together without becoming one big mess, Colin invented a script for the looping of
samples which represents the
five turntables, their samples,
their durations (1-4 beats), and
gives markers for the placement of effects. In his notebook are two carefully
elaborated concepts that
define the combination of elements that comprise his style:
"Don't dazzle them with all
eight hands. Cloud them with
the ink and pull them in slowly
with all eight, surround and
"The Question is not the
speed which 1 can move, but the
quality which I can deliver."
In today's world of flashy
showmanship on the one hand
mystifying technology on the other, this is a dedicated aesthetic agenda
designed at creating a slow and
deep relationship between
audience and performer
through a new arrangement of
sounds and performance.
Taking known techniques—
turntables—and subtly turning
everyone's ideas of this format
upside-down, Colin breaks
down the audience's conception of the DJ and the foi
and purposes of the
turntable—like a dub and beat-
driven Janek Schaeffer.
And it isn't easy. All of this
thought and planning is to
avoid sounding repetitive and
boring. "The toughest part,"
says Colin, "is not sounding like
a loop, but like it is music and
not just skipping." To not get
too caught up in the loop, to
keep it moving, and most of all,
to have patience—"Silence is
always key!" it says in his notebook—this is the nut of the
moment, the crux of the performance. Hans Molar the Sole
Solar Mole has learnt his
lessons well from John Cage,
and I am happy to say that the
elusive Octa-Mole performed
spectacularly at the
Micro_Mutek, slowly sucking
the crowd of curious onlookers
into a deep and mental sonic
landscape spread across the
physical environ of five turntables.
What's next for the Molar
Mole? He is currently hoping to
release his mixed-cd of
turntable-skip-work, titled The
Starchy Root Machine, somewhere soon, and he has a
record coming out on
Portland's Starbass Records
with his good friend Mike Bisco
called Like Disco. Colin also has
a track on Victoria's itiswhatitis East Meets West Vol. 1 compilation as "Bodensee," and a
track with Mike Shannon on
the Mutek 2002 compilation
CD. "The Mole" continues to
pump out the deep BC-influ-
enced grooves every Saturday
at Laika, 4040 St. Laurent, in
Montreal, the City of Sin. •
ffiS^rt*    PLOUGHBOYS
*r p.o-box -Nbbi. tot,*™ meanwhile back at...
(#    Vancouver BC VbK MPH wWW.ranch.ipfOX.COITI
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21 DiSCORDER iinder review
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Amplified pop musi
become a huge menace
public eve rywhei
(Action Driver)
Industrial music, here is your
much-needed blood transfusion. Stand up! Wreak havoc!
Get the party started!
A Luna Red have been playing with gizmos for a few years
perfect balance of that which is
hip (no-wave, if I dare) and that
which was forgotten. In a cyclical scene, I suppose it's only logical that Skinny Puppy would
eventually hump the right leg to
create this new breed....
What the band started on
The Death Birds has evolved
(through numerous player
changes, much hard work, and
some silly dancing) into an
insanely well-crafted oddity—
and-the kids love it! A Luna Red
was definitely ahead of the pack
on this one, being the best in a
small-but-growing pack of new-
no-industrialists. Or whatever.
This stuff defies both logic and
classification, and would make
any young Blixa start dancing in
his gumboots. Yeah!
Julie C.
Don't hold AK120O s past failures
in mixes (let alone his puerile militaristic vocabulary) against him:
as a producer his perfectionist
leanings have served him and his
listeners well in the past, and the
tracks on Shoottokill that are
good are gold. Unfortunately,
there are only a few of these
("Junior's Tune" with Junior Reid,
"Midtempo Deluxe" with
Timecode, and "Seared Rare," for
my money) and there's no getting around the impression that
AK1200 is a man of pre-simian
intellect. Exhibit A: he thanks
Linkin Park and Blink 182 in his
liner notes (which might be
excusable if the defence were,
you know, 15). The rap tracks—
"Contact" with Last Emperor
and "Take You There" with Phife
Dawg (of A Tribe Called Quest)—
would make Vanilla Ice cringe—
and I am not a man who speaks
from a condition of unfamiliari-
ty with the works of Vanilla Ice.
We're talking "Huh/Uh huh/True
'dat"-bad. "Drum, and Bass/In
your face"-bad. D&B sounds
ridiculous with rap lyrics to begin
with; this is the worst of the
worst. "Lycan" with Dom &
Roland—a far superior producer
who, nonetheless, also occasionally struggles with mediocrity—
was a disappointment, too. (Dom
should know better than to collaborate with AK1200—it was all
too predictable—"Lycan" is
quickly written off as generic,
too-fast D&B constructed without skill or real ideas.) And I
would be shocked to hear "Fake,"
the first single, spun by any reputable DJ: an excellent example
of how not to do a vocal D&B
track, the harmonies sound like
they were pulled off of a
Christina Aguilera song. It
occurs to me that AK1200 is trying to address the "Where the
Drum and Bass at/Go back to
Europe"-mentality still in effect
on the American party scene and
win himself some mainstream
credibility (not to mention mainstream-scale profits). But the
negative trend in D&B is to push
it towards this uncreative, anti-
intellectual juvenility—by taking
the genre backwards, the man
known as AKI 200 shoots himself
in the foot by making it boring.
With his association with brain-
dead, machoistic MCs, and his
contemptible predilection for
pop formulae, nothing on this
album is going to win AK1200
any converts that "Porn Breaks"
didn't already entice.
Sea Change
Please stop saying that this
album is a masterpiece. This is
one extremely bunk idea. Beck
has, of late, gotten very good at
copying interesting things, as
evidenced by his fine work on
Midnight Vultures. Sea Change is
no different. Boy, is Beck doing
a great job of manipulating
other people's musical ideas!
Most of this album sounds like
it could be any old alt-country
extravaganza, which is nothing
to complain about, but—and
here's the key—it's nothing to
get excited about either- The
most blatant of the rip-offs is
"Paper Tiger," which has the
same guitar riff and sound (not
arrangement) as the first track
off the Serge Gainsbourg album
Histoire de Melody Nelson. Now
if you want to talk masterpieces, that album would be a
much better contender.
It is true, however, that I
can be a bit of a polar-opposites
type of girl when it comes to
reviewing music. I should stress
that this is not the worst album
ever, just kind of dull and uninspired. 1 was never a "Folk-
Beck" fan, but am not opposed
to the idea that it might be his
thing. Just need a little more to
work with, is all...
Julie C.
Gran Rise'wa
(Six Degrees/Couch)
It distresses me that people
think it's okay to make music
this boring and then sell it.
1997. This is garbage: unoriginal
beats, irritating vocal samples
and nauseating, watered down
jazz thrown in to complete the
illusion of substance. Avoid this
like you'd avoid an uncooked
seaweed stir-fry that you found
in a pail in the cafeteria.
(Black Bow)
The number one reason to get
this record is because you can't
get it on CD. The number two
reason to get this record is
because it's WAY BETTER THAN
Christa Min
Clever One
(Pink & Black)
Holding The Flipsides Clever One
in my hand, I looked at the cover
and thought, "Here's a girl who
seems gung-ho to be fronting a
three-piece band." I was biting
my nails with fear, expecting to
hear severe candy-coated voices
like those of Nina and Louise of
Veruca Salt. I have this deep-
down feeling like I should support females who play in cute
little guitar-driven rock groups,
but not if they're going to nause-
Instead, the  lead
vocalist Sabrina
Stewart  is, well,  not
(Her lyrics about puking don't count.) Her
voice is refreshing to
listen to as she has a
raw yet perky quality;
it suits the fast-paced So-Cal
punk songs found on this 12
track album. She's also the gal
responsible   for   the   band's
catchy guitar riffs which typically stick to the three-chord punk
To put in a shameless comparison, I couldn't stop thinking
that the Flipsides were like a
sarcastic, punky cub. Maybe it
was the rawness of Sabrina's
voice, or the cute stories told
within songs. Maybe it's because
the songs are interlaced with
vocal harmonies? I don't know.
There are funky neo-Rancid
bass lines that dance up and
down the fret board, quite
apparent in "So Disgusted," and
while the pessimistic would
claim that the ninth track,
"Tough Love," kills the rapid
flow of the album, I'd say that
this jazzy number is a welcome
change in pace; it also highlights
Sabrina's singing ability.
The first two songs, "The Best
of Times" and "Two Weeks," are
fun and fast-paced— and they
introduce the Flipsides' catchy
punk style—but it can lose its
originality after that. The
songs—while short, sweet and
to the point—start blending into
each other, especially after a
few  listens. There's  nothing
innovative, although the
Flipsides seem to realize this,
and therefore have fun with the
Sure, the Flipsides are
stereotypical punk pop. While a
chorus or two may get stuck in
your head, the lyrics aren't necessarily worth writing home
about. Perhaps the Flipsides'
music is not so clever after all,
but they're definitely solid and
genuine. Don't buy this expecting a new format, but if you're a
fan of the punk frequently associated with the San
Francisco/So-Cal scene, you'll
enjoy The Flipsides' Clever One.
Rollin' Stoned
Do albums like this really matter
that much to people that don't
smoke mad chronic? I ask
because apparently these So-Cal
dudes have managed to put out
five full-lengths so far and I can't
imagine that there's an enough
appeal outside of the head-shop
market to sustain them.
I mean, come on—they've
got two guys in the band who
dress up like nu-metal clowns!
And not even the scary ones like
Slipknot; the loser kind like
Insane Clown Posse. Is there
anyone who's not constantly
high who thinks the antics of
dope-smoking evil clowns is in
any way interesting at all? I
mean, all they do is talk about
dope and killing people! How is
that interesting?
As for the rest of the band,
they also enjoy the loco weed
Drawing By Andrea Nunes
22 November 2002 and discuss it on such tracks as:
"Light It Up," "Pot Head,"
"Strange Daze," "Rest of My
Life," 4-2-0," "Full Throttle," and,
well, pretty much the whole
damn album.
Cypress Hill did it better,
Cheech & Chong did it funnier
and any other clown on the face
of the planet did it scarier. Let's
face it, if you have the need to
puff mad ganja then $20 worth
of weed is going to do you better
than this sad-act CD will.
Chris Eng
Over the course of six LPs, Low
have maintained an admirable
faith to their artistic vision,
altering their sound so subtly
with each record as to render
the changes nearly imperceptible—but all the more significant for that. Low's music has
a fragility that should not be
casually tampered with; there
is a sense that one misplaced
snare, one over-enthusiastic
guitar solo, could render the
intangible beauty of it all irre-
trievably lost.
You can imagine my worry,
then, to see that on Trust Steve
"Safe Hands" Albini has been
usurped on production duties
by someone called Tchad Blake.
Admittedly I haven't heard of
this guy, but his resume—
including Pearl Jam and, er,
Latin Playboys—doesn't exactly inspire confidence. Before we
hastily proclaim Low to have
abandoned all artistic integrity
in the hope that they might
attain the star-struck heights
of the Latin Playboys, however,
it should be noted that Albini
has a few skeletons as well—
Bush being the name that
immediately springs to mind.
Anyway, a cursory listen to
Trust revealed my worries to be
unfounded. There are new elements to Low's formula—
notably enough reverb on the
drums to make any self-
respecting '80s pop outfit jealous—but they serve to
delicately complement the
intense solemnity of the songs.
Sonic integrity aside, Trust
demonstrates Low's continuing
commitment to a more fundamental ethical vision—their
unflinching confrontation of
whatever emotional depths
they encounter in the writing
of their songs.  The funereal	
results) reflect this particularly, both songs demonstrating
the sense of life's difficulties
being confronted—and ultimately , transcended—that
characterizes Low's best work.
It's tempting to ascribe this
redemptive quality of the songs
to Low's religiousness, but this
fails to explain the universal
appeal of their music; Low's
music is religious, but in the
spiritual, not theological, sense.
Their relevance in an age dominated by irony and lightness
might, instead, be attributed to
a common instinct to derive
meaning from life. Low articulate a yearning for spiritual
commitment to the unknown,
which transcends the merely
religious: Trust.
Sam Wiseman
(Plague Language)
This marks the second full-
length independent release by
hip hop recording artist
Noah23. Produced by label-
mate The Orphan, the album is
a mix of breakbeats and melod-
yet slow unpredictable verbal
manoeuvres. Noah23 pulls
words and phrases out of the
stratosphere and makes them
move and sing in laughing,
playful rhymes.
Sometimes the deliberate
disconnection between words
energy and obvious vocal skill
carry the album . He flows "I'm
the verbal version of those
green/With my germ terminology protean/And there's no
machine" with an early '90s-
style jazz-sampled flute loop
and alongside drums fluctuating between 80 and 160 beats
per minute. I find the album
reassuring and warm—there is
coldness to his rapping. It
sounds and is so good to listen
Arthur Krumins
Sinking Hearts
(Global Symphonic)
Let's face it, the '80s are no
place to spend your life. Pastel
golf-shirts, leg-warmers and
Duran Duran are not worth
worth putting on an altar and
venerating. The only fashion
example from the entire
decade worth emulating was
Judd Nelson's "John Bender" in
The Breakfast Club, and only a
fraction of the bands that
released albums were worth
listening to. When you narrow
'80s music down to '80s
dreamy synth-pop, the number
of viable candidates drops to
less than five. Trying to track
those select releases down
would drive a sane man mad,
but luckily you don't have to.
You can just listen to The
Organ, a current band that's
distilled the essence of those
albums and transended them.
The bodies of work from Echo
and The Bunnymen, Siouxsie
and early Depeche Mode have
been put under a microscope
by the five girls who make up
The Organ. They've figured out
what made them work the first
time round, and adopted and
transformed their styles, creating a wholly classic yet thoroughly personal style for
You can't own the '80s
(and why in God's name would
you want to?), but you can take
parts of it and make them your
own. If you're lucky and/or talented, they'll be the good parts.
And if you're The Organ, you'll
not only score the good parts—
you'll release of a six-song EP
that has audiences clamouring
for more.
FYl: Nostalgia sucks, but
The Organ rule.
Chris Eng
A dance pop band that's been
together for over ten years?
That has a devoted cult following? Such things usually require
some manner of divine influence, but in Saint Etienne's
case, perhaps it's just a matter
of skill, perseverance and some
catchy tunes. Their latest
album, Finisterre, finds them
combining the stripped-down,
subtle pop of 2000's Sounds of
Water with the sophisticated
lounge/disco hybrid of older
albums—along with some new
surprises. Songs      like
"Language Lab"—a violin/keyboard/drum machine chill-out
instrumental—sit alongside
"New Thing"—and its primitive
synthesizers—and "Action," a
standout dance track which
features the always-sultry
Sarah Cracknell cooing over a
set of beats that sound like
they were lifted from Kylie
Minogue's last album. Then
there's "Soft Like Me," with
female rapper Wildflower (a
rapper on a Saint Etienne
album?) rhyming over the verses. Even more amazing is that,
whereas a band like Morcheeba
would horribly mangle such a
concoction, Saint Etienne
makes it sound effortless.
Between songs are spoken-
word pieces by a chap with a
haughty English accent, who
shares revelations like, "The
world began in Eden, and
ended in Los Angeles" (chuckle). The title track ends the
album, with Cracknell declaring: "Finisterre/To tear it
down/And start again." If they
keep making records this bubbly and fun, Saint Etienne could
go another ten years without
having to tear anything down.
Neil Braun
The Digital Mix
This is an unexceptional album
in a moribund genre. As I listened to it I had to keep turning
it down, so concerned was I
that my neighbours would
think I actually listen to this
kind of thing—and 1 am not a
man easily swayed by the opinions of his neighbours. On closer inspection: although the
songs are dull, the multi-platform digital mix is excellent. In
my limitless mercy, I have contrived three possible uses for
this disc: as a mixing primer
(Dick, Jane, etc.) for beginning
DJs, as a wheel for a small,
lightweight wagon, and, if it
can be found as a 33 on vinyl,
as a 45.
A Hundred Days Off
(Junior Boys Own)
Underworld returns—sans former member Darren Emerson.
The songs are full of hypnotic,
groovy beats, and Hundred
Days does a good job of repeating Underworld's past musical
palettes. For one, the group's
trademark of using snare
drums along with stream-of-
consciousness lyrics is back in
full force. Their current single
"Two Months Off" is the standout track and does an
admirable job of building up the
main beat, eventually having
Karl Hyde's hypnotic vocals
kick in for the better part of
five minutes. The only other
track that gets close to replicating its energy is "Dinosaur
Adventure 3D." Don't let the
name throw you off—it's a rich
ride through a landscape of
trance and jungle—but then
again, Underworld has always
been good at breaking the traditional genres of dance. "Sola
Sistim" is a seductive track that
plays like hip hop in slow
motion. You won't find any
dance floor-friendly tracks
here, but what you will find is
an enjoyable, ambient ride.
Don't expect immediate payoff:
it's a record that gets better
with repeat listens.
James Hsu
"Candy Girl" and sublime "In
The Drugs" (on which the insatiable lust for reverb is extended to Mimi's backing vocals,
with    startlingly    beautiful
ic samples, often cutting in
with double-speed rhythms
and jungle programming which
flows toward and against the
alternating speed and sweet
. ,:*-■.
23 DiSCORDER real live action
live music reviews
Monday, September 30
Piccadilly Pub
Opening spot jitters got The
Engaged, who started things
off a little cautiously and never
quite caught the audience's
attention long enough to make
a lasting impression—seems to
me they need a bit more practice and less attention paid to
pulling their friends on stage
for birthday songs.
However, that 30 minutes
of awkwardness was quickly
erased by current Swedish fan-
boy crushes Sahara Hotnights
who, without a word, launched
into "Out of the System," from
their North American debut
disc Jennie Bomb, and never
looked back. Half the crowd
stood stone still, like they had
been hit by lightning; the other
half imnrediately flipped out,
banged head and screamed,
"Sahara HOT DAMN!" in utter
amazement. Barely in their
20s, these gals had more chops
than a butcher shop and style
to spare. We were treated to
most of the tunes from their
new record, with notable
standouts including "Keep Up
the Speed," "Fire Alarm" and
"Alright Alright"—all souped-up
doses of glam-pop rock-'n'-
roll—but midway through they
blasted through an awesome
version of Suzi Quatro's "Can
the Can" that had all the subtlety of a sledgehammer
pounding your skull into little
bitty shards. "Not fair, you sul
try rock vixens!" I wanted to
shout as they left the stage
with a wave, coy smile and a
thank you, but I was too busy
trying to pick up the pieces in
time for New York's answer to
the energy crisis, The Mooney
Yes, they sarcastically
claimed to have created the
solution to our West Coasters'
wanton misuse of technology—
most importantly, our personal foot massagers—but they
indeed produced enough electric sweat to probably power a
small Third World country.
They needed no stage to
accomplish this feat either, as
both guitarists spent more
time in the audience than on
what ended up being no more
than a platform for the drummer to prance around on with
a cobra held up over his head.
This form of worship was a bit
troubling to me, so instead I
paid my own form of idolatry
by hoisting my index finger in
the air at the appropriate
times. Not the middle finger,
folks—INDEX finger, as in
"Number one!" Songs were not
simply played, but sliced, diced
and served up hot and spicy in
an R&B-mixed-with-Motor-
City-madness stew from both
LPs. The current hits "in A
Young Man's Mind," "Natural
Fact" and "I Woke Up This
Morning" were given equal
billing with older cuts from
their Estrus debut, like "Make
My Way," "Half of My Heart"
and "Everything's Gone
Wrong."   On   the   contrary,
r~'   fee   r
,   D^
3*fk     Ortt     "fa
everything went right for those
who braved a school/work
night to check out a stellar
evening of rock and roll. I went
home thoroughly spent, going
straight to bed and giving my
personal foot massager the
night off.
Bryce Dunn
Friday, October 4
Commodore Ballroom
An enormous crowd of 20-
somethings packed the
Commodore for the
Manchester band Doves who
have been gaining a powerful
Vancouver following, widened
further this year with their latest, The Last Broadcast.
The opening band, My
Morning Jacket, won the crowd
over with a high energy set of
songs that started out sounding like Sigur Ros, but ended in
a fiery retro-rock jam session.
The five-piece band from
Kentucky amused the audience
with their face-obstructing
curls, making them look like
lost Fraggle Rock characters.
Lead vocalist Jim James displayed some impressive stage
presence, really getting the
crowd going and the beer flowing, and drummer Patrick
Hallahan wins the award for
best musical performer of the
The audience was pumped
for Doves when they hit the
stage, starting things off beautifully with "Pounding." "There
Goes the Fear," the weakest
song off The Last Broadcast,
became a mesmerizing number
that ended with Doves' signa
ture guitar-swirl melting into a
wicked percussion samba.
Songs like the crowd favourite
"Words" and the soaring
"Satellites" were performed
with tripped-out perfection.
Unfortunately, lead Jimi
Goodwin's voice began to tire
near the end of the set resulting in so-so vocals on "The Man
Who Told Everything," my
favourite Doves tune. Guitarist
Jez Williams proved to be a
great sport though as he entertained the crowd during "technical difficulties" with some
psychedelic guitar licks. A three
song encore ended with an
incredible surprise as the band
brought out an old favourite
from their years as mid-'90s
house act Sub Sub and invited
the crowd onstage. That's
right... the crowd. It was chaos
as I found myself squished
right up against Jez, and we,
the drunken onstage mass,
rocked like Weebles to their
bass-heavy electronic musings.
Doves cranked the volume
to 11 and made the evening
with that final, unsafe invitation. (That's gotta be a fire hazard!) They proved that they can
deliver a wild show and, as they
say, they're "not at all like U-
fucking-2." Keep an eye out for
My Morning Jacket, who had
not been forgotten at the end
of the night. Expect big things
from them.
Jeff Sanders
Wednesday, October 9
Vancouver East Cultural
In the two long sets of their CD-
release concert, Safa only
played a few numbers of their
beautiful Persian-inspired
ethno-fusion jazz, but all were
extended improvisational versions of songs from their new
debut CD Alight. But this was
expected since Safa's whole
concept is essentially coming
up with a sketch of the piece
and then getting into the prop
er headspace to figure out to
how to play it that time around.
The members of the group all
seem to function as three parts
of the same mind when playing, and they have all talked
about feeling a deep instant
kinship with one another that
allows them to be of a single
spirit when playing. This
incredible unity is something
that is all too rare in music
nowadays and the effect was
mesmerizing, holding the near-
capacity audience at rapt
attention despite the extra-
long length of some of the
pieces, which lasted up to 20
The group played wonderfully well together as a result of
this unity of mind and spirit;
seamlessly flowing from one
piece to another and from one
solo to another as the players
traded solos in the traditional
Persian call and response style.
Amir Koushkani sung beautiful songs in Farsi while
accompanying himself on the
tar, an exotic and delicate
sounding instrument related to
the guitar and lute. Francois
Houle played some incredible
solos on his clarinets, exploring
different effects and sounds to
add to the moods of the music.
Being a percussion freak, I of
course took note of Sal
Ferreras' great metronomic
timekeeping on various drums
when he wasn't doing amazing
intricately-rhythmed solos in
complex irregular meters.
Special guest Celso Machado
sang, played additional percussion, guitar, and a great solo on
the kora, a kind of West African
harp with 21 strings.
It's somewhat difficult to
adequately describe the experience of hearing Safa play.
Time seems to stop and you get
caught up in the moment of
just being absorbed in the wash
of sound.
Vampyra Draculea
' H    -~T<* V"Hr
The Goxxipl Photo By Lindsay Sung
Tuesday, October 8
Railway Club
It seems that every year's
SHiNDiG! has one night during
its preliminaries where the,
shall we say, heavier bands of
the competition are showcased. Well, this round was that
night. Ears were left a-ringin'
after sitting through this one,
no doubt about it.
The first band up were
Vancouver stalwarts Motorama, who seem to have gigged
around town in the past more
than the majority of peers featured in this year's competition. Maybe it's just me and the
places that 1 frequent, but this
is the only band this year who I
was even remotely familiar
with. They were noisy, abrasive
and rocked! The drummer
flailed away like a man possessed and provided much of
the visual focus for the band.
The only thing that I could
complain about in their set was
the lack of any really memorable riffage. This apparent
deficit could, however, say
more about the fact that I am
getting old and require more
melody. That aside, they were
The next band, Black Rice,
were heavy as well, but in a
way which juxtaposed different
styles and musical eras in one
cool hard-rockin' package.
Consisting of two rather hairy
mustachioed fellows on 6-
strings and vocals, a Jack
Bruce-circa-1969 looking bassist, and a heavy-hitting lady
drummer, they had many
memorable elements to their
set. The two guitarist/vocalists
(who looked like brothers, incidentally) sang late '70s UK
punk sing-along choruses while
banging away on their
Telecasters. The bass player
played John Entwistle-like lead
bass runs, but with a heavy,
distorted bass sound. The overall effect sounded like a mixture of musical eras: a bit of
Stooges/MC5, a bit of English
punk, a bit of newer stuff like
Royal Trux. They were hard to
describe but don't worry, readers—seeing as they won this
round, you'll be able to see
them again in the semi-finals.
The last band of the night
was a heavy, sludgy Fu
Manchu-esque power-trio
from the woods outside
Nanaimo called BuIIbucker.
Stripped down to their shirts,
they sure stood out visually—
especially their beast of a
drummer. A great big guy with
a mat of hair on his chest, a
bald pate with long shaggy
black hair down the back and
sides and a prodigious belly, he
pounded the drum kit into total
submission. The wah-wah'd
bass and guitar, both fuzzed
out to match, provided a set of
cool heavy stoner rock.
The only unfortunate part
of the evening was that whoever was doing sound made himself scarce for much of the
24 November 2002 Fly Pan Am. Photo By Lori Kiessling
night. As a result, the mix was
shoddy at times, handicapping
some of the bands to a fair
extent. Other than that, it was
a great night. All three bands
were good fun and my ears
kept ringing their approval for
the entire walk home.
Michael Staniszkis
Thursday, October 10
Vancouver East Cultural
Hard Rubber were their usual
magnificent selves. The band
started off with a swing chart
and then played a 9-movement
orchestra piece written by
Hugh Fraser. The pieces contained alternating movements
of full-band sounds and instrumental duets. Notable were
solos by Dennis Esson on trombone playing a beautiful muted
ballad, an introspective duet by
Rebecca Whitling (violin) and
John Korsrud (trumpet), and a
humorous exchange between
Daniel Miles Kane (bari-sax)
and Brad Muirhead (trombone).
Hard Rubber finished with a
blistering tune that saw Bill
Runge (sax) and Vince Mai
(trumpet) exchange hot hot
The Hugh Fraser Quintet
with Strings opened the night
with a pile of cool bopesque
pieces. I appreciate the fact
that Fraser was experimenting
by adding a string quartet to
his regular quintet, but I found
them a tad distracting. They
took away from some of the
spontaneous chemistry that
makes a tight group like his so
entertaining to watch. Still,
there were some great solos in
that set—notable were Fraser
himself,   who   pounded   the
piano with expressive enthusiasm, and drummer Dave
Robbins, who plays with such
explosiveness at times that you
get the idea during some of his
climaxes that he will not be
done till he snaps his drum-set
in two with his sticks. It's really
something to see.
I can't think of words to
sum up this concert. After it
was through, I had a conversation with a friend of mine, and
he summed it up better than I
could. To paraphrase: "Hard
Rubber is, no question, consistently the best Vancouver band
event you can see. It's such a
simple idea, I wonder who
thought of it: 'Hey... let's get all
the best jazz musicians in the
city together and make a really
big band. Hey, then let's get all
the best musicians/composers
in the city to write for our
band. Okay, now let's play.'" I
found that funny. Such a simple idea and it works so well.
Lucas TdS
Tuesday, October 15
Piccadilly Pub
Something has to be done
about the scourge of annoying
baby boomers at local clubs. I
mean, let's consider the boisterous, barrel-chested fool with
a misguided loyalty to CCR.
This yahoo (who no doubt
dwells in high school sport-hero
glory) yakked-up everyone that
made eye contact, flirted with
the Pic staff and extolled the
virtues of classic rock. So now
I'm setting aside some time for
a personal business venture. I'll
set up something like a 911
number that you can call and a
member of my team will speed
to the scene of the crime and
begin cutting out tongues. Send
your resumes.
Helio Sequence fuzzed the
club with reverb-heavy,
shoegaze pop. Nice sound, really. I've always been a sucker for
that guitar "Bwawawawawaw"
sound since it's the closest I
ever come to illicit drug use.
Reports from scenesters all
over Vancouver tell that this
Tuesday night after Thanksgiving day was a dull one and
few were out to do much of
anything that night. Too bad:
ENON gave a good show. John
Schmersai led the band
through much of their new
material while handling a load
of small electronic devices and
showing a penchant for hammy
showmanship. Recent ENON
and former Lapse member
Toko Yasuda has added her
very yummy and gifted new
presence on bass, keyboard
and occasional vocals. Both she
and John made their way into
the audience, singing into our
faces—you know, "keepin' it
real," as you kids say.
In many ways ENON is primarily a studio band, a goulash
of pop genres colliding with
found sounds and unusual
instruments, so I wondered
what they would do to present
this mix in a live performance.
Of course, through the miracles
of digital recording, they were
able to bring some of the studio to us—you know, "keepin' it
Would I see ENON again?
Hell yes. For those that missed
it, find yourself some ENON
and a pair of headphones. You
may be pleasantly surprised.
Tuesday, October 15
Oh,  the   institution   that   is
If you haven't been down
to the famous Railway Club for
CiTR's battle o' the bands
before, then don't let this
review discourage you. Some of
Vancouver's now known bands
have gotten good and drunk
and started their long journey
into rock 'n' roll stardom in this
hallowed railway car. Unfortunately, none of the bands this
night compared to their predecessors.
Arriving early to get a seat
was unnecessary since this was
the most poorly attended
SHiNDiG! I've been to. I'd like to
think the poor attendance was
a result of ENON playing that
same night, but I'm not entirely convinced of this. Shit, even
the ubiquitous hecklers weren't
present! Unlike other preliminary SHiNDiG!s, this night was
a musical grab bag comprising
three very different sounding
The Olden Days took the
stage first and looked to have
potential. They're a quaint little
band of a handful of members
with a soft singer, keyboards,
and violin, as well as the multi-
band member Chris Harris on
guitar. This band has potential,
but instrumentation seemed to
take a back seat to the vocals
because the sound was pretty
much inaudible. Looking as if
they just started playing
together, perhaps they are yet
to blossom.
Next up was an inspired,
but by no means phenomenal,
twenty minutes by Subconscious Satellite. These guys
were definitely into their
Yes/Genesis-era prog rock.
Avoiding the typical shortfall of
most SHiNDiG! bands, Satellite's songs were varied in
composition. A weak-ass Jokes
For Beer followed the second
band—the highlights being the
drunks yelling unintelligible
words at Ben and another pint
successfully quaffed by yours
truly to dull the pain. Although I
enjoyed their enthusiasm,
Raksasha was a hard nightcap
to swallow. All their youthful
exuberance and angst resulted
in a Creed-esque cacophony of
sound that didn't make my
peanut brittle. I endured long
enough to learn Subconscious
Satellite was the night's winner.
This was truly an anomaly of a
night for SHiNDiG!
Robert Robot
Sunday, October 20
Piccadilly Pub
Slightly delirious with anticipation at the prospect of finally
witnessing Japan's finest
deranged punk/thrash/hardcore merchants, my appetite
was pleasantly whetted by the
detuned twin-guitar antics of
The Nons (think early Sonic
Youth with less ambition and a
greater predilection for
garage). They didn't blow us
away, but support bands aren't
supposed to, right?
At this juncture it would
seem apt to proclaim that
STREETS demonstrate an
admirable lack of respect for
this axiom. Their irrepressible
blend of West Coast punk and
twiddly metal—the songs,
apparently without exception,
based around extolling the
virtues of skateboarding-
seem to be beloved of just
about everyone who likes to
ROCK in Vancouver.
Finding myself unwittingly
squished into what might
grandiosely be termed the photographer's pit (that is, the
square meter or so between the
monitors) for Melt Banana, I
was fortunate enough to be
periodically hit in the face by
Yasuko's microphone lead as she
subjugated the Pic beneath a
relentless barrage of frenzied
vocal assaults. 1 should like to
say I was also flecked with spittle, as a cheap device to try and
communicate the intensity of
this performance to the reader,
but Melt-Banana are too
focused—too calculated—for
spittle. And therein lies the brilliance of their music. They confidently eschew the typical
methods by which hardcore
bands obtain their potency—
random, chaotic aggression, and
a deliberately low standard of
musicianship—for something
ultimately purer, more deadly in
its precision. This is truly organized chaos. Admittedly, things
went a little astray during an
inadvisably long theremin workout, but ultimately this primed
the crowd for the resumption of
Agata's brutal chainsaw riffs,
spiced with a bewildering array
of effects, ensuring we all went
home satisfied—if a little disoriented. Vancouver wasn't quite
prepared for such an efficient
Sam Wiseman
Sunday, October 27
Commodore Ballroom
There are times in your life
where there is a hole right in
the middle of your being and
you don't even know it's there
until it gets filled. GWAR and
its collective members filled my
hole swiftly, efficiently and
To say that 1 was baptized
would be putting the point
mildly. By the end of the
evening, I was covered in blood,
cum, pus, viscera and all manner of fluorescent bodily fluids.
Yes, it was a glorious baptism;
but a rebirth? I dunno—I think
I'm still covered in afterbirth.
Chris Eng
BY08: i
Melt Banana! Photo By Sam Wiseman I
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The •Ataris
-n & KELLY
what's being played at CiTR 101.9fm
November Long Vinyl
November Short Vinyl
November Indie Home Jobs
1 The Organ
Sinking Hearts            Global Symphonic
1 Gentlemen Of Horror     5 Song 45               Independent
1 Bikini Shop
Sick of Charlie
2 Destroyer
This Night
2 Frog Eyes/JWAB
Split               Global Symphonic
2 The Department
Be Your Friend
3 Ladytron
Light And Magic            E
nperor Norton
3 Destroyer
The Music Lovers           Sub Pop
3 Video Tokyo
4 Loscil
4 New Town Anima
s         Fashion Fallout                Dirtnap
4 Felt Phallus
Slip it In
5 P:ano
When It's Dark...
5 The Spitfires
Juke Box                 High Glazed
5 Winks
April Fell
6 Notes From...
6 Kevin Blechdom
Jelly Donuts       Four States Fair
6 The Feminists
Me and My Army
7 Thievery Corp...
The Richest...
7 The Lollies
Channel Heaven       Evil World
7 Bent Sinister
8 Sahara Hotnight
Jennie Bomb
8 Kung Fu Killers
S/T                                      TKO
8 Jordan Mackenzie
If You Were My Girl
9 Amon Tobin
Out From Out Where
9 Cato Salsa
Picture Disc       Emperor Norton
9 Byronic Heroes
I'm a Drunk
0 Hot Hot Heat
Make Up The Breakdown
Sub Pop
10 Get Hustle
Who do You Love           Gravity
10 Hinterland
Destroy Destroyer
1 Neko Case
11 Chromantics/Monitor     Split                                        GSL
11 The Perms
So the Stories Go
2 Dirtmitts
Get On
Sonic Unyon
12 The Evaporators
Honk The Horn           Nardwuar
12 Chris Lindsay Electronic
Free Trade
3 Low
13 Gene Defcon
Baby Halleujah    Modern Radio
13 The Organizers
4 Op. Makeout
Hang Loose
14 Mirah
Small Scale                                K
14 Crop Circle
Mexican Cock Fight
5 Danko Jones
Born A Lion
15 The Riffs
Such A Bore                          TKO
15 End This Week With Kniv
Let's End This Here
6 Interpol
Turn On The Bright Lights
16 The Agenda
Are You Nervous?     Kindercore
16 The Accident
Just Relax
7 Spoon
Kill The Moonlight
17 V/A                  Modern Radio     Modern Radio
17 Barfburn
8 Nasty On
18 Scat Rag Boosters
Side Tracked                   Zaxxon
18 Cat Piss Toque
Surrey Gurls
9 Cinch
19 Veal
1 Hate Your Lipstick  Six Shooter
19 The Red Scare
Always Come For You
0 Liars
They Threw Us All In...
20 The Cleats
Save Yourself                Longshot
20 Collapsing Opposites
War and/or Peace
1 Zubot V Dawson Chicken Scratch
True North
2 Sleater-Kinney
One Beat
Kill Rock Stars
3 Ron Sexsmith
Cobblestone Runway
Kicker In Tow
Got What We Want
Rice Lightning
Of Rome
4 Hanged Up
5 Sights
6 Black Rice
7 Black Dice
Beaches And Canyons
Songs For...
The   monthly  charts   are   compiled   based   on   the   number
of  times   a
0 Nightmares on..
1 Beck
2 Tegan and Sara
3 Reyksopp
4 Pattern
Hot Charity
Mind Elevation
Sea Change
If It Was You
Melody AM
Real Feelness
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
Astra Iwerks
previous   month   (i.e.,   "November"   charts   reflect   airplay   over   October).    Weekly   charts   can    be    received   via   email.    Send    mail   to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts." •
5 Mecca Normal
The Family Swan
Kill Rock Stars
The Blinding Light!! Cinema   36 powell street (between Columbia and carrall) info: 604 878 3366
27 DiSCORDER om "lite; dial
your guide to CiTR 101.9fm
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 hol-
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.
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, and also Qawwalis,
pop and regional language num-
12:00AM Join us in practicing
the ancient art of rising above common thought and ideas as your
host, DJ Smiley Mike lays down the
latest trance cuts to propel us into
the domain of the mystical.<tran-
THE SHOW 12:00-2:00AM
BREAKFAST        WITH        THE
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
of all sorts. The program most likely to play your band!
GIRLFOOD alt. 11:00-1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
4:00PM A show of radio drama
orchestrated and hosted by UBC
students, featuring independent
works from local, national and
international theatre groups. We
welcome your involvement
Nov. 4: The Order of Good Cheer
(UBC production).
Nov. 11: A spotlight
5:00PM A chance for new CiTR
DJs to flex thei
Surprises galor
6:00PM Join the sports dept. for
their coverage of the T-Birds.
CRASH THE POSE alt. 6:00
7:30PM      Hardcore/pl
fuck from beyond the gravi
6:30PM Kenneth Chan brings
you a current affairs sh<
the core of the show is engaging
young people from all walks of
life and all spheres of influence in
other. Sola
issues that make the headline:
form a different perspective, but
MY   ASS   alt.   6:30-7:30PM
Phelps, Albini, V me.
Celebrate the triumphant return of
DJ Vyb. Listen to DJ Vyb and
Selecta Krystabelle for your reggae education.
1 2:00AM Vancouver's longest
running prime time jazz program.
Hosted by the ever-suave Gavin
Walker. Features at 1 1.
Nov. 4: The Modern Jazz Sextet—a
one-time only all-star band with
trumpet master Dizzy Gillespie and
alto saxophonist Sonny Stitt.
Nov. 11 Arguably the finest tenor
saxophonist in Canada, Kirk
Macdonald has come up with a
winner in Pure and Simple with
drum master Terry Clarke, bassist
Neil Swainson and British piano
genius John Taylor.
Nov. 18: One of the best Big Bands
ever! Tune in to find out!
Nov 25: Never before released
material from pianist Dave
Brubeck's alma mater. Dave and
alto saxophonist Paul Desmond live
at the College of the Pacific.
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts—
thank fucking Christ.
6:30AM DJ Christopher Schmidt
also hosts Organix at Club 23 (23
West Cordova) on Friday nights.
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-
trial-electronic-retro-goth program.
Music to schtomp to, hosted by
LA BOMBA alt. 11:30-l 2:30
everything!—— TROPEZ l_	
PARTS      L
THE SHAKE     fe.
SKA-T'S      L
| Rts
10,000 VOICES (Tk)
so^™sPo/Ec S'a
~7^e   S
ON AIR       Li
LIVE FROM...    '—I
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Rg= reggae • Rr= rock • Rts= roots • Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world
28 November 2002 makes
REEL TO REAL alt. 12:30-
1:00PM Movie reviews and
Where dead samurai can program music.
CPR 2:00-3:30PM
Buh bump... buh bump.,
the sound your hearl
when you listen to science talk
and techno... buh bump...
alt. 3:30-4:30PM
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living.
Music and spoken word program
with a focus on people with special needs and disabilities.
10,000 VOICES 5:0O-6:0OPM
Poetry, spoken word, performances, etc.
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, yo.
alt. 10:00PM-12:00AM
alt. 10:00PM-12:00AM
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.
3:00PM Zines are dead! Long
live the zine show!
MOTORDADDY alt. 3:00-
5:00PM Cycle-riffic rawk and
3:00PM-5:00PM Primitive,
fuzzed  out  garage  mayhem!
Socio-political,   environmental
activist news and spoken word
with some music, too.
FILL-IN 6:30-7:30PM
(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-songwriters, worldbeat, alt-country and
more. Not a mirage!
HAR 10:30PM-12:00AM
Let   DJs  Jindwa   and   Bindwa
Promo mix the undergi
hop, old school classics
inal breaks.
2:0O-3:30PM The best mix of
mentary from around the local
and international Latin American
Bhungra! "Chakkh de phutay."
12:00-3:00 AM
3:00-6:00 AM
8:00 AM
11:30AM Music inspired by
Chocolate Thunder, Robert Robot
drops electro past and present,
hip hop and intergalactic
YUKON HO alt. 11:30AM-
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
with Robin.
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! www.sustainabil-
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1942-1 962 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-
i   <worldheat@hot-
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
Email requests to <djska_t@hot-
12:00-2:00PM     Top  notch
crate diggers DJ Avi Shack and
ound hip
and orig-
6:00PM A volunteer produced,
student and community newscast
featuring news, sports and arts.
Reports by people like you.
"Become the Media." To get
involved, visit www.citr.ca and
click "News Dept."
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
HOMEBASS 9:00PM- 12:00AM
Hosted by DJ Noah: techno but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
HEAD 12:00-2:00AM
2:00-4:00 AM
8:00AM Dark, sinister music of
all genres to soothe the Dragon's
soul. Hosted by Drake.
8:00AM-12:00PM Studio
guests, new releases, British
edy sketches, folk music calendar, and ticket giveaways.
8-9AM:     African/World   roots.
9AM-12PM: Celtic music and performances.
for a full hour of old
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:O0-5:0OPM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
SOUL TREE 6:00-9:OOPM 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.
1:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
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. •
    • S-f^Ury  • j. W>lc\4,C • datebooL
what's happening in november
604.822.9364 OR EMAIL
Shelley Adler@State Gallery (1564 W. 6th, exhibit ends
Nov. 9); Hildegard Westerkamp CD release@Western Front;
Blinded@Langley Civic Centre; Lester's Wagon, Bush League,
Lauren Klein Band@Brickyard; Andy Stochansky, Emm Gryner,
Luce@Richard's; Shoofly@Silvertone; Badly Drawn Boy@Vogue;
Blue Rodeo, Sadies@Commodore; 7e#tovvne@Blinding Light!!;
Heather Griffin@The Main
Blue   Rodeo,   Sadies@Commodore;   Floyd   Favel-Starr@Native
Education Centre (285 E. 5th); Echophone, Good Night Irene,
Hunter    Gracchus@Brickyard;    Tegan    and    Sara@Richard's;
ye#cowne@Blinding Light!!; Blackfeather, Rob Wilks@The Main
BB King,JustinKing@Orpheum; Hoobastank, Greenwheel@Richard's;
ye^ftowne@Blinding Light!!
Filter, Exies@Commodore;Je/frovvne@Blinding Light!!
Ben Lee, Vanessa Carlton@Vogue; STREETS@Snacker's (Surrey);
Je_#towne@Blinding Light!!
NoMeansNo,    New    Town    Animals,    Moneyshot@Richard's;
Scene Creamers, Red Light Sting, The Accident@Pic Pub; Neko
Case@Commodore;ye#toivne@Blinding Light!!; Origins@The Main
Low,     Pan     American@Richard's;     Remy     Shand,     Dayna
Manning@Commodore; Guns 'n' Roses, Mix Master Mike@GM
Place;     Vicente     Amigo@Vogue;     Diese!boy@Sonar;     Prison
Ce//u/oi'd@Blinding Light!!; Clay George, Amy Honey@The Main
Blue Rodeo@Queen Elizabeth Theatre; John Zorn's Electric
Masada@Vogue; The Spirit Wrest/er@Blinding Light!!; Eugene
Ripper@The Main
Bowling   for  Victory:   COPE   Fundraiser@Commodore   Lanes;
Engine Down, Hot Hot Heat, Dismemberment Plan@Commodore;
Diamanda    Galas@Vogue;    Superstar:The    Karen    Carpenter
Story@Blinding Light!!; Blind God@The Main
SUN 10
George Clinton and Parliament/Funkadelic@Commodore; New
Town Animals, Wednesday Night Heroes, The Riffs@Brickyard;
Jackie and the Cedrics, Go Devils, The Satisfaction, Ramblin'
Ambassadors, The Radio@Shenanigans (1225 Robson); Fata
Morgana w/ Eye of Newt@Blinding Light!!
TUE 12
States@Richard's; !CTV@Blinding Light!!; comb Brent Sopel's hair;
Ev'rybody Wants to Be a Cat@The Main
WED 13
Julio lglesias@Orpheum; Painters Painting@Blinding Light!!; Joel
Gibb (Hidden Cameras)@The Main
Black Heart Procession, Jerk With a Bomb, Pleaseeasaur@Richard's;
Kid Koala@Sonar; Mr. Otto Biograffiti@Blinding Light!!; Robyn
Carrigan, Heather Griffin@The Main
FRI 15
Paul Plimley, Mei Han, Ellery Eskelin, Akikazu Nakamura, Jason
Robinson, Robin Fox and Anthony Pateras@Planetarium; The
Anniversary, Burning Brides, Pris@Pic Pub; Mediaeval Baebes,
Cirque Vampyre@Croatian Cultural Centre; STREETS, Burnside
Brawlers@Cobalt; Radiohead Vs. Matrix@Blinding Light!!; Coal, El
Dorado@Sugar Refinery; Aaron Booth, Dave Gowans@The Main
SAT 16
Paul Plimley, Mei Han, Ellery Eskelin, Mia Zabelka and Le Quan
Ninh@Planetarium; In Medias Res, The Feminists, Second, Pnuma,
Me@Basment 62 (62 E. Cordova); Kim Mitchell@Commodore;
Destroyer@Crocodile (Seattle); Suffering and the Hideous Thieves,
Blood Merridian@Blinding Light!!; Carolyn Mark@The Main
SUN 17
Destroyer,     Frog     Eyes@Thursday's     (Victoria);     The     New
Deal@Richard's; braid Brent Sopel's hair
MON 18
Del the Funky Homosapien, Lifesavas, Motion Man, People Under
The Stairs@Commodore; The Warlocks@Richard's; Legendary
30 November 2002
Pink Dots, Origami GaIaktika@Graceland (Seattle); Shifting Light:
Films by David Rimmer@Blinding Light!!
TUE 19
Cobra High@Richard's; Beth Orton@Commodore; BY08@Blinding
Light!!; stroke Brent Sopel's hair
WED 20
Stephen Fearing@Cap College; Alcatraz is Not an /s/and@Blinding
Light!!; campaign for a Brent Sopel bobblehead
John Prine, Todd Snider@Orpheum; Captured By Robots@Pic Pub;
VUFF@Blinding Light!!; The Circus In Flames Trio@The Main
FRI 22
Mad Bomber Society, Dance Craze@Royal; David Wilcox, Barney
BentalI@Commodore; VUFF@Blinding Light!!; The Colorifics@The
SAT 23
SK Robot@Anza Club; New Town Animals, Knucklehead@Brickyard;
VUFF@Blinding Light!!; Late Tuesday, Conrad@The Main
SUN 24
Joe Satriani, Ned Evett@Commodore; Cato Salsa Experience, The
Soundtrack of Our Lives@Richard's; VUFF@Blinding Light!!
TUE 26
CLUB; Walking Wounded: Films of Lech Kowalski@Blinding Light!!
WED 27
DJ UFO, Kuma, Mechwarrior@The Drink; Sigur Ros@Vogue; Thievery
Brundlefly, Hinterland, Anabret@Purple Onion; Afro Canadian All
Stars@The Centre; cut my hair like Brent Sopel's; Antoine Baby
Harry Calaway@The Main
FRI 29
Tom Landa and the Paperboys, Ivonne Hernandez@WlSE Hall;
Richard Buckner@Sunset Tavern (Seattle); Daisy Duke, Ann Louise
Genest@The Main
SAT 30
Jim Brickman@Vogue; Brent Sopel's hair gets tangled with Ricci's
hair in a scrap; Kris Demeanor, Chantal Vitalis, Matt Allen@The
Beck, Flaming Lips@Queen Elizabeth Theatre
Rocket From the Crypt@Commodore
Place; The Blue Pony Videos of King Anderson@Blinding Light!!
Film 1999@Blinding Light!!
Strange Grey Day Thi's@Blinding Light!!
Apecial event*
If you want to get kicked in the face by accident, you should go to this show.
If you want to piss all over yourself by accident, you should go to this show.
We at DiSCORDER are so frightened by Diamanda Galas that we can't even talk about
it. We're just going to go and cover our eyes.
What the fuck?
place* ta he
bassix records
217 w. hastings
pic pub
620 west pender
beatstreet records
3-712 robson
railway club
579 dunsmuir
black swan records
3209 west broadway
richard's on richards
1036 richards
blinding light!!
36 powell
ridge cinema
3131 arbutus
3611 west broadway
red cat records
4305 main
club 23
23 west Cordova
1029 granville
917 main
scrape records
17 west broadway
commodore ballroonr
868 granville
scratch records
726 richards
crosstown music
518 west pender
66 water
j  futuristic flavour
1020 granville
sugar refinery
1115 granville
highlife records
1317 commercial
lotus hotel
teenage ramapage
19 west broadway
the main cafe
4210 main
Vancouver playhouse
hamilton at dunsmu
ir 604.665.3050
mesa luna
1926 w. broadway
video in studios
1965 main
ms. t's cabaret
339 west pender
western front
303 east 8th
orpheum theatre
smithe at seymour
WISE club
1882 adanac
pacific cinematheque
131 howe
1300 granville
j pat's pub
403 east hastings
zulu records
1972 west 4th
604.738.3232 vancouvers newest and most
connected record shop
Octive Pass records
Vancouver's providers of house, techno, idm, drum&bass,
hip hop, trance, downtempo,broken beat & nu jazz,
electro and 2 step.
Featuring exclusive white label and limited promo runs you
will find no where else!
Seasons clothing line. Plus bags, gear and all dj supplies.
APR002 Coming Soon : Vernell de Long People Get Up Ep'
we are custom order specialists
seasons recordings
nordictrax HT*
store location
324 W. Hastings | Vancouver, B.C. | R 604.646.2411
E. info@activepassrecordings.com
ikara colt
chat and business
"Entirely admirable-brilliant!" NME
"Insane genius" KERRANG!
"Intense and exhilarating" UNCUT
"This could kick start everything," ORGAN
Debut record out 11.12.02 on Epitaph
epKaph.com mm mwmm «n, mu^ i ulu mm.
Calling Vancouver home, Scott Morgan's smooth
electronic music is always tasteful and subtle, an
exercise in cool and intelligent restraint. Triple Point,
his debut for Kranky records, was played at Zulu a lot,
its low tones, steady pulse and crackly textures drifting
nicely around the store. We've even had Morgan in for
a mesmerizing in-store performance, a lesson in laptop dynamics. Submers, his second recording, is a
concept record, each song dedicated to a different
submarine, the final track a requiem for the truly terrifying yet darkly poetic sinking of the Kursk. As the fine
people at Kranky describe it, "Submers is an album
that easily merges ambient, contemporary classical
music and minimal techno in defiance of the current
mania for micro-genres." Indeed. And we must add,
"Highly recommended," too.
CD 16.98
Slanted and
Luxe and
Reduce 2CD
Nothing sums up the '90s pop underground quite
like Slanted and Enchanted. Basement suites
and university dorms everywhere were filled with the
slack, self-reflexive and smart (maybe too smart for
some) music of Steve Malkmus, Spiral Stairs and
the rest of the boys. Yes, this record changed the
field, spawning many, many imitators, but none as
inspired as the lackadaisical original. At a time when
notions of "the canon" and "great works" were assiduously called into question, Pavement went ahead
and produced an era-defining album anyway. Ah,
those were the days. Now re-released as a deluxe,
embossed 2CD set (with bonus tracks, Peel
Sessions, the Watery, Domestic EP, a live recording
and more), Slanted and Enchanted reaffirms its
much-celebrated status in the recent history of popular music. Probably see you in ten years for the box
set - and we don't mean that ironically.
2CD Re-issue 22.98
None CD
Talk about your mixed
signals. Smog has
long employed the emotionally challenging mind-
fuck as an aesthetic device, not only in the content of
his moody, moody songs but also in the very practice of producing records. Each Smog release is a
mixed blessing, both great and terrible. We're thrilled
to get knocked down and kicked in the guts by
Smog's grim and dark sensibility. Even when he
seems happy he's so damn black. Of course, however, we love and savor every last sadomasochistic
minute of it, always ready for more. Oh, make it bad,
Smog, real bad. Accumulation: None is a collection
of past Smog singles and EPs, from 1991 to now,
including one new track, the stirring "White Ribbon".
Ah, sublime. AVAILABLE NOV 5TH
CD 16.98
Live From Camp
Someone call their management! These guys have
been playing the circuit so long they should get a residency at a classic Las Vegas hotel like the Flamingo.
Have you seen them live? The uniforms, the big band,
the giant snakes, the stage presence - they'd feel right at
home. Here's the basic equation: experience + skill + a
tight as fuck band + Americana = RFTC hard rock action
all night long! Las Vegas? Hell yeah. Seriously. They play
the crowd like putty. They ask for a call out, we call out.
They want to see our hands in the air, we put them up.
It's as easy as that. More undeniable proof comes in the
form of Live From Camp X-Ray, their latest full length.
Okay sure, it's a studio album. But it's all there, man,
every last guitar squeal and rocking refrain. Sweet.
CD 16.98    LP 14.98
Transmission received from Godspeed HQ, dispersed and noisy: "u.x.o. is unexplod-
ed ordnance is landmines is cluster
bombs... yanqui is post-
colonial imperial- s  \
ism is international
police state is multinational corporate oli-            -^MlSM^ '*
you! black
complicit is guilty is
resisting... the new
album is just music...
recorded by steve albini
at electrical audio in
Chicago... mixed by
howard bilerman and god- "    / ^
speed you! black emperor at
the hotel2tango in montrfeil... available on single compact disc and double
phonograph record... stubborn tiny lights vs. clustering darkness forever ok?" Transmission over, decoded:
redouble the efforts, storm the barricades, and change the
world one living room at a time. Massive new ambient
instrumental rock from this progressive-minded collective.
Heralding times to come? OUT NOV. 11TH
CD 12.98    2LP 16.98
Nice n' groovy new recording
from this always welcome,
regular Vancouver visitor. Andy
Carthy, also known as the lovable Mr. Scruff, knows his stuff. Heavy on the 70s
funky-jazzy soul, with some quirky genre hopping here
and there, Trouser Jazz is classic Ninja Tune material: a
playful, entertaining romp; some honest, right-on party
music. Like his appealing, childlike graphic art, Mr.
Scruff's music is completely and straightforwardly light-
hearted and good. In short, Mr. Scruff wants you to get
down and enjoy yourself, something his famous DJ sets
are, well, famous for. So lighten up, Vancouver. SEE
Stack these new logs on the hearth!
Pablo CD
CD/LP 16.98
Cut Yourself A
Switch CD
'ith her stirring
Appalachian timbre,
Spend The Night
Now on a major label, The
Donnas seem right at home.
Glossy and bright production
really brings out the truth of their
style, like all those high '80s rock records rolled up into
one, a cool hybrid of the Runaways in Kiss make up. Full of
sing-along choruses, thick power riffs, awesome leads,
pick slides and a little cowbell to take it to the next level,
Spend The Night is the real deal. With driving tunes like
"You Wanna Get Me High", "Take It Off", "I Don't Care (So    CD/LP 16.98
There)" and "Too Bad About Your Girl", this album should
blow the roof off your next an night house party. Bug your
neighbors, buy The Donnas. (For a limited time, Spend The
Night comes with a cool DVD with a band interview, a
video and more).
CD 16.98    LP 14.98
Irwin has always
been much more of a traditionalist
than most of the alt-
country scene. With The
Carter Family, Hazel
/     Dickens and Roscoe
Holcomb in the background, Cut Yourself A
Switch, Irwin's first solo
album, draws on this rich
history to produce some
awfully mournful, stripped
±   bare country downers (but
^ with alew lights on the horizon, too). With excellent playing and great production, this
recording is mighty fine country
music. While you're at it, make sure to
check out our newly developed Roots
Section, bringing together traditional folk and country with
the newest wave of alt-country music.
CD 19.98
Have You Fed The
Fish? CD/LP
No sophomore slump for this
toque wearing singer-songwriter and former Mercury Prize winner (and we certainly
don't mean to under-appreciate the quality soundtrack
music he did for About a Boy, which was great as well, but
not exactly an "album" album, if you follow our distinction).
Both poignant and irreverent, Have You Fed The Fish?
shows a maturing Badly Drawn Boy (or Damon Gough, to
his family), honing his craft and lyrical depth, culminating
with the first single, "You Were Right." Not a moment too
The relative isolation of Canada's
prairies can inspire bursts of idiosyncratic creativity in some. Take
Litterbug, for example. They handily
prove that the frosty great white
north can be a hotbed of creative sublimation. With lots of different instrumentation (including clarinet, trombone, violin, and
glockenspiel), Litterbug brings together elements from the
Feelies, Danielson Family, Yo La Tengo an Neutral Milk Hotel
to create an enjoyably wide-ranging and sometimes off-kilter
pop album. This one's for those of you who long for the heyday
of the late-'80s indie boom as much as those who enjoy the
somewhat weirder indie rock of today. Some dancing required.
CD 14.98
The long awaited new capital "C" Concept Record from these
mysterious Icelanders. With a cryptic symbol for a title, {) is
a thoughtful follow up to the atmospheric and beautiful Agaetis
Byrjun. Often subdued and understated, the eight long untitled
tracks on () - each track guided by one central, repeated musical idea, such as a piano figure or spooky guitar line - form a
71-minute progressive rock masterwork. Like the absent album
title, untitled tracks and blank-paged CD booklet, the possible
meaning of the lyrical content - now sung entirely in Sigur Ros'
imaginary language, Hopelandic - is also up to the individual listener. Yet, for all its "absences," () is heavy with powerful emotional content, invoking a truly moving journey in sound.
CD 18.98
Machine CDEP/10"
Haven't heard of them yet? Sure you have. The/re a dirty rocking three piece from New York City, fronted by the commanding, fashion-forward Karen 0 (chutzpa-wise, fast in the footsteps
of punk icon and other famous "0", Wendy 0. Williams, we wonder?). They recently opened for Jon Spencer, and from all reports
taught the old man a thing or two about rock and roll. This second
EP is the lead-in for their anticipated, soon-to-be-released full
length (check this space for it, too). More of the screaming bump
and grind that they do so well. How much noise can three people
make on voice, guitar and drums? Check it out, man.
CDEP/10" 8.98
ADD N TO X- Loud Like Nature CD/2LP
DEADDEAT- Wild Life Documentaries CD
Songs With Chords CD
Third Season CD
RONI SIZE- Touching Down CD
SUICIDE- American Supreme CD
VARIOUS- Clicks & Cuts 3 2CD
VARIOUS- Digital Disco CD
VARIOUS- Trash Companion #1 CD
IN THE AFTERNOON EVENTS: Sunday November 3rd at 4:00 PM
The Carrie Walker Art Opening: 'Two primates, three varmints and some docks."
I K£CdPb3\
Zulu Records
1972-1976 W4th Ave
Vancouver, BC
tel 604.738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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