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Discorder CITR-FM (Radio station : Vancouver, B.C.) Oct 1, 1999

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  BEEN TO THE  NEW SCRATCH STORE YET?     Canada's independent music specialists:
Alt. Country • Ambient • Avante Garde •  Black Metal  •  Comedy •  Digital Hard Core  •  Electronica
Exotica •  Experimental  • Garage • Grindcore •  Hardcore •  Hip Hop  •  Indie Rock • Jazz •  Noise •
Pop • Post Rock •  Power Violence •  Punk • Ska •  Soul  • Spoken Word •  Stoner Rock •  Street Punk
•  Emo  i
Oldies
• Trash
•^VVV* Catch K Recording
artist(s) the Microphones
live and free at Scratch
5:00 PM Wednesday October 20
■ IiilliMlil-lHE
OUT  NOW ON  SCRATCH!
JUNGLE
Long Time, No See  CO
Scratch # 34
Worthy of all the hype, Jungle's full
length debut rocks in a spirited and
glorious manner that boldly leads
Canadian Rock into the next
millenium.   Y2J   is
D. MOEBIUS
Blotch CD
Scratch # 32
Moebius, Founder of Kluster/Cluster.
One of the fathers of Kraut space rock.
His name said in the same breath as
Can, Tangerine Dream, Neu, Faust, and
company. We are proud to release his
second ever solo album.
FRENCH PADDLEBOAT
Conversions In Metric  CD
Scratch # 30
One half of Vote Robot solo with this
tasty and unique concoction of organic
beats, loops, and chimes. Dizzyingly
pleasing dreamscapes from this
Kelowna teen.
Check out our
mpressive selection
of new imported
CDs and vinyl at
attractive prices.
here to stay! We
dare you to not
be infected.
LONNIE JAMES
DEE-O  CD
Scratch # 33
Venerable former SuperFriend sings
and writes great, heartfelt songs.
Warm and passionate rock music.
Impressive all star backing from
Change of Heart, By Divine Right, and
Blue Rodeo folks...
Scratch   releases   are   available   at   discerning   stores   everywhere.
H«*2
catch Ensign
LIVE!
(opening for Good Riddance)
Seylynn Hall,
North Vancouver
Saturday October 9
The Pit
in Kelowna
Sunday October 10
NEW    ON    VAGRANT!
THE GET UP KIDS
Some Thing to Write
Home About  CD
Vagrant 340
A   heartbreakingly   honest,
sonically   stunning   album
from    one    of    the    most
celebrated new acts on the
indie rock scene - filled with the hooks a
melodies that have made them a sensation.
Get Up Kids live at the Starfish Rooi
U«™-W»l
Ensign
Cast The First Stone
BSCff^Q^
CD/LP
Available at fine stores everywhere,     www.nitrdrecords.con
Nitro Records are distributed in Canada by Scratch Distribution
VARIOUS ARTISTS
BEFORE YOU WERE PUNK 2   CD
VR339
I Today's punk bands covering yesterday's
new wave hits, includes Get Up Kids, Rocket
From The Crypt, NOFX, MXPX, Bouncing
Souls, Lagwagon, All, Strung Out, Suicide
Machines, No Motiv, Gotohells, The Hippos
taking on The Cure, Cars, Wall Of Voodoo,
Echo & The Bunnymen, Billy Idol, OMD, Go Go's etc.
Distributed  in  Canada   by  Scratch...
726 Richards Street, Vancouver, BC Canada V6B 3A4
Tel: (604) 687-0499 Fax: (604) 687-0488 Email: spooner@scratchrecords.com
STORES: Get in touch. EMAIL ORDER: commerce@scratchrecords.com
+-  726 is on the east side of Richards Street, between Robson and Georgia. Issue 200 • Octobi
1999 That Magazine From CiTR 101 .9fM
www.sonar.bc.ca
Features
Marine Research
Swayzak
Guided By Voices
Herbaliser
Mix Master Mike
editrix/flake:
barbara andersen
ad rep:
maren hancock
art director:
robert horsman
production manager:
tristan winch
design:
chad christie, rob, mike
josephson, ken paul
photography and illustrations:
jason da silva, ann
goncalves, tobias van veen
production:
julie colero, chris dryden,
mike godwin, ann
goncalves, michael-owen
liston, christa min, cat
moore, gabby resch, anthony schrag, todd silver
contributors:
tania a, mike c, julie c,
chris c, glen d'c, sean e,
robin f, martin f, jamaal f,
anna f, hancunt, John k, bill
k, z k, Jamie m, janis mck,
luke m, christa m, gibby p,
anthony s, tesla v, tobias v,
nat x
programme guide:
anna friz
charts:
julie colero
datebook:
barbara
distribution:
matt steffich
us distribution:
anyone but tristan
publisher:
aaron nakama
Columns
Vancouver Special
7"
Videophilter
Kill Your Boyfriend
Palinkas Eats
Das Book
Under Review
Real Live Action
Charts
On the Dial
Datebook
10
12
13
15
16
5
6
7
9
18
19
21
25
26
28
30
COVER PHOTO BY ANN GONCALVES
© "DiSCORDER" 1999 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
17,500.
Subscriptions, payable in advance, to Canadian residents are
$ 15 for one year, to residents of the USA are $ 15 US; $24 CDN
elsewhere. Single copies are $2 (to cover postage, of course).
Please make cheques or money orders payable to DiSCORDER
Magazine.
DEADLINES: Copy deadline for the November issue is October
13th. Ad space is available until October 20th and can be
booked by calling Maren at 604.822.3017 ext. 3. Our rates
are available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material.
Material can be submitted on disc (Mac, preferably) or in type.
As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.2487, our office at 822.3017 ext. 0, or our news
and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-
mail us at: citrradio@mail.ams.ubc.ca, visit our web site at
http://www.ams.ubc.ca/media/citr or just pick up a goddamn
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1 Zl,
CANADA.
printed in burnaby
__3ML_
EB55SE
 *! bay-area Wicked Crew
W/doors@9
mug
Czech CD Release.
Enjoy "BreakiiY Beats In All Direct!.
Czech's latest i '
ml: FWUH presents Deez. $8/do<
■ AIRTIGHT
The d'n'b Sunday
J LINTON KWESI JOHNSON
FEVER; DJ Rasou!
ii  Vancouver
Special
Recorded live, this eight-song EP
can't hope to compete with the
high-quality production values of
the Brundlefly and Star
Collector CDs. Still, there's
lething about the end r
that  :
STAR COLLECTOR
Demo Model 256
(Independent)
Star Collector is named after
a Monkees song (which I've
had in my head ever since picking up this CD), and in a way
that makes sense. Early
Monkees songs were carefully
crafted (by crack professional
songwriters), flawlessly played
(by studio musicians), and perfectly calculated to be million-
sellers. Demo Model 256 has
that same kind of slick, almost
"greatest hits" feeling to i
*   the
course of its 12 songs, which is
kind of weird since this is Star
Collector's debut CD. Of
course in most ways there's no
link to the hapless Monkees:
this band writes and plays its
own songs here, and the
colour-photocopied fold-out
cover includes adequate visual
; us of the Star
Collector's hip, post-modern
vision of popular music. Is this
perfectly huge mid-to-late
'60s/early '70s boy power-pop
tion, based on the best elements of recent compilations
such as Poptopia! and The
Roots of Power Pop, designed
to mock the listening public's
seemingly insatiable hunger for
Cheap Trick, Badfinger,
and even Trooper-style catchy
arena rock? Well, some might
say so. Some might also say
that the guitar solos tend to be
needlessly long, but I don't
care. The big ringing chords,
mod-ish riffs, and happy boy-
harmonies make me smile, and
every one of these hooks succeeds in reeling me in. A smattering of the strongest tracks:
"Skyscraper," "Turn You On,"
and my own favourite, "Motorcycle."
(<starcollector@hotmail.com>
<www.angelfire.com/ca2/
starcollector>)
BRUNDLEFLY
Locked in This House
(Lotusland)
Ian Somers, who sings and
writes the songs for Brundlefly,
has a likeable, anguished, gravelly voice, and most of these 14
songs are bleak, pained creations with thoughtful post-
Seattle-sound arrangements
Catchy as many of these songs
are musically, the darkness of the
lyrics and that voice makes for a
CD to be listened to with care —
recently heartbroken friends just
might make off with it if they get
the chance. Even "New Girl,"
with its very singalongable and
uncharacteristically happy chorus, is grim and creepy in the
verses — which, of course, is
part   of    Brundlefly's    spooky
<brundlefly_band@hotmail.com>
(1327 Venables St., Vancouver,
BC, V5L2G1)
LAVISH
Demo EP
(Independent)
rell-si
>   tfie
mostly slow, gloomy arrangements and snarly, sneering,
nasal female vocals of this band
Contrary to their name, Lavish
is quite spare-sounding, with
very little keyboard in evidence
but several ominous bass
and guitar-driven Barbara
Manning ish moments. The
singer sometimes slides into a
kind of snotty/pained near-
yodel, which is especially effective in "Our Son," the oddly
satisfying, Valium-paced Eddie
Money cover, "Two Tickets to
Paradise," and the rocking, obvious single here, "Happy/Sad."
Sometimes the best lyrics are
indeed the most straightforward
— how can you beat "I am
happy/You are sad" for saying
it all? (address unknown)
I am the mother of all cows. I'm
kind of fat and I have bad
skin.  Oh, and I'm really mean
and I know it so the following
bands don't have to tell me.
Technically, there's nothing
wrong with JOYELLE
BRANDT. She can almost sing
in tune and she plucks her
acoustic guitar accordingly, but
there's just something wrong with
someone who proclaims that she
sounds like Sarah McLachlan
Brandt's songs are not uncomfortable, I wouldn't even go so
far as saying that they're bad,
but they're just not good. She
might even be famous someday.
People seem to love wishy-washy
females with guitars.
(<rowan@intergate.bc.ca>)
I remember talking to someone about ISIS SPEAKS She
seemed very nice, but unfortunately, this band is not They
sound like spacey jazz for kids
In "Cruise Blues" a woman sings
nonsensical sounds while someone else snaps their fingers in
the background. "Diamonds are
Forever" features lyrics about
slavery and nuclear war with the
added dimension of the sounds
of whips cracking, (address
unknown)
The YACHTSMEN hail from
Victoria. They have that Beach
Boyish charm that some people
like, but the B-side of their demo
tape has a bunch of crap by
somebody named DJ N-oying.
Whoever it is samples Nine
Inch Nails' "Closer " At least
they chose the perfect name.
Annoying is right. (4335
Blenkinsop Rd., Victoria, BC)
:alled
I'm not sure what this band
is called. They used to be called
Fridge Art Tiara, if I'm not
mistaken, and on this tape
they're called BOY VS. GIRL,
ne that they're
Nevertheless, they are a boy
and a girl, playing mostly
acoustic guitar. The girl sings
better than the boy, but together
they sound kind of nice. I'm not
sure what's going on with all of
the backwards record samples.
(<henville@direct.ca>)
When I say something is
good, my judgement may be distorted because I've spent hours
listening to things that are really
bad, but when I heard HOT
HOT HEAT's demo, I felt like
dancing. They've got a synthesizer/drum based sound, and
the vocals are composed of two
guys yelling. I listened to this
tape more than once because I
wanted to. I want to see them
live; hell, I'd even buy their CD if
they had one. (#7-4275
Burbank Cres., Victoria, BC,
V8Z 6T4)
Send hate mail and death
threats with demo tapes to me
(#233-6138 SUB Blvd,
Vancouver,  BC, V6T   1Z1).   •
r-THE DINNER IS RUINED BAND
IXJ
OCT 01 . VANCOUVER, BC @ THE BRICKYARD
OCT 02 . PENDER ISLAND, BC @ TBA
OCT 03 . VICTORIA, BC @ THURSDAY'S
OCT 04 . VANCOUVER, BC @ MARINE CLUB
THE DINNER IS RUINED BAND
A MAGGOT IN THEIR HEADS
CD IN STORES OR SI 2 BY MAIL
SIANSPHERIC ELSE . ON SALE OCTOBER 2«
H'l.'lli'l.'i'.'l.'liH.-l.MI.'H.'l.'.li/.l.'W*^
Eat, dance or relax knowing ALL the money from
your ticket purchase goes directly to the Nature
Conservancy of Canada.
Jazz Now magazine writes:
"Rich Norman has upped the ante in modern jazz drumming.
The pyrotechnic display of lightning fast licks you expect as
the grand climax of a jazz set here becomes routine
accompaniment. "
Count Bassie & Duke Ellingtons' drummer,
Butch Ballard, says Rich Norman is "flat out the best drummer
I'M
n2()v.
Friday, October 22nd, 9:00 pm at the Mercury Restaurant
1191 Richards St. Vancouver B.C. Phone at: 602-2380
Tickets $ 10 through Ticket Master, $ 12 at the door	
5 nm&°M°m, inrr
nch
■ you're given the benefit ol
m having a nice, ordered i
all the
j hi
into your schedule? It's been a
while since I've turned lo the
turntable — when you work
around music as much as I do,
you often don'l have it in you to
listen to more once making it
home. True, I have been distracted by a whole lot of 19th century literature, but I should be able
to listen to something, no? I
mean, I haven't even made it
past disc one of my Magnetic
Fields box set' I'm hoping that
maybe I will be able to absorb
philosophical and historical babble that little bit easier once I
crank up the drone of my
Bowery Electric or dig out all
my post-rockers which are currently covered in four and a half
months' worth of dust. I'd really
like it if lhat new Five Style
could help me write a better
essay. For the moment, though, I
will be content with a column
that sort of makes sense
rA -•■.-• .*m-.••' \
Any of you readers seen that
Detroit Rock City movie? I sav< a
few trailers, and it looks like a
goofy tale about some young
longhairs out to rock it up with
KISS The soundtrack to this
movie is rocktastic. Lookoutl has
put out a split 7" featuring the
DONNAS and Kiss on clear
vinyl, and I'm sure all of you
rockers are going to need to
have this The Donnas do a
cover of Kiss's "Strutter" in their
usual super-sultry-voiced style,
with some extra fantastical wailing guitar solos to boot. I have
never quite gotten this whole
Donnas craze which seems to
have swept the nation, but after
hearing "Strutter," it all makes a
little more sense Also new to the
world of Kiss, I was surprised at
how much I enjoyed their song,
"Detroit Rock City " I now intend
to go out and purchase all of the
Kiss Psycho Circus comic books
and action figures. Um, no
(Lookout!, PO Box 11374
Berkeley CA, 9471 2-2374 USA)
More stuff I just don't under-
BY JULIE COLERC
stand: Why is it that, if you are a
garage-rock band, you will probably have the opportunity to put
out skads of releases when
you're, well, not very good? The
LOUDMOUTHS are the fuel for
my latest ponderance of this
question They get to put out
releases with excellent packaging (the "Gone Drinkin'" release
from '96 has a great cut-out doll
design) on coloured vinyl, but
the music just isn't that hot I'm
sure they have a lot of fans in
their home town. Now, I want
to make it clear that there are
good garage-rockers out there,
and I don't really know heads'
from tails, but this band is boring They got their gimmick and
ran with it, maybe a bit too far
The songs sound the same from
one release to the next, and it's
all just a big screaming mess. I
hope these guys live far away,
so they don't come and beat me
up. They look tough I'm not
tough enough to take the
Loudmouths on, but I'm sure
some of you are These three 7"s
are all on different labels, so
Irack some of them down if
you're into girls in leopard print
tanks with bangs and ripped
fishnets screaming mod fight
songs and "babyl", and boys in
Converse holding it all together
(Woundup Records, Box 3695,
Kansas City, KS
USA/66103/702 Records, PO
Box 204, Reno, NV, 89504
USA/New Red Archives, PO
Box 210501, San Francisco,
CA,94121 USA)
On to something a bit quieter, and quite a bit better.
Here's music to do homework to:
PAUL        NEWMAN       and
SONNA, two instrumental
bands, take turns doing the
same song, "Way to Breathe No
Breath," each band giving it a
new flavour. The Paul Newman
track has a bit of electronic percussion, and moves along at a
pleasant pace. It's got good repetition and sweet sounds. I didn't  find   this  track   nearly  as
"lonely" as the press material
told me I should Maybe I'm just
not alienated enough Maybe if I
read some of them Acme comics
and then give this another
whirl... Oh, so sad The Sonna
track is a good deal more sparse
than the Paul Newman, but also
sounds really, really good. I didn't even realise, after the first listen, that this was the same song
done differently. That's a good
sign. More diversity tends to
lead to more goodness, in my
books. I like Is quiet and charming. Nice speed, nice feel, nice
packaging — it all works (The
Temporary Residence Limited,
PO Box 22910, Baltimore, MD,
21203 USA)
Anyone out there sad that
BRAID broke up? I remember
enjoying their full-length last summer, and the singles they've put
out since then have been pretty
decent. These guys are pop-
punk-emoooo, and they do it
well enough to not make me
vomit This new single, "Please
Drive Faster", is making me reminisce of trips to Seylynn Hall
and cute little punk rock boys
Ah, how sad that I'm the eternal
morpher, and can probably
never go back. So I'm taking
back my strongly pronounced
dislike of all things emo as I realize that Braid are kinda neat.
The kids like them. I don't mind
them. Does this mean the kids
will like me? Nah I could draw
those x's on my hand like Bif
Naked s got. She must be
straightedge hardcore. No bother in politicizing this — fun is fun
and Braid is fun and Braid is
done so tough nuts! Buy this and
weep. (Polyvinyl Record Co, PO
Box 1885, Danville, IL, 61834
USA)
One more single to try out,
and this one's an epic — but
should I really expect much less
from Michael Giro's new project, the ANGELS OF LIGHT?
This ex-Swans star is capable
of many magical things when
given a multitude of instruments
and a little room to explore
sound. I have never listened to
much Swans, but Giro's recent
project The Body Lovers was
quite interesting, and the full-
length that this single comes from
is excellent. The songs on this
single, "Praise You" and "God
Servant," are both stellar, but
maybe I'm just a sucker for
strings, full sounds, and a deep
and doomy voice. The lyrics are
quite dark, but they work like a
charm. I think this single is probably considerably more accessible than most Swans or Body
Lovers work, so it could be a
good record to try if you're at all
curious about the music of
Michael    Giro. (Stripmine
Recordings, 1031 Park St.,
Jacksonville, FL 32204 USA) •
think smiley, think small.
new album. 'ALKALINE, available now.
the new release from choke
Now Available
•FOREWORD', the much
anticipated follow up to
NEEDLESS TO SAY',
one of EXCLAIM MAGAZINE'S
top ten punk albums of 1998.
GUY SMILEY ON TOUR WITH GOOD RIDDANCE:      CHOKE ON TOUR WITH STRUNG OUT:
October 9   Vancouver. BC
October H Saskatoon. SK
September 23 San Fran.. CA
October 2
Winnipeg. MB
October 10 Kelowna. BC
October 15 Regina. SK
September 24 Bend. OR
October 4
SaultSteM. ON
October 12 Calgary. AB
October 16 Winnipeg. SK
September 25 Portland. OR
October 5
Brampton. ON
October 13 Edmonton. AB
MORE DATES TO BE ADDED
September 26 Vancouver. BC
(w/o Strung Out)
September 27 Kamloops. BC
October 6
Toronto. ON
September 29 Edmonton. AB
October 7
London. ON
September 30 Calgary. AB
October 6
Ottawa. ON
October 1      Regina. SK
October 9
MontreaL ON
MORE CHOKE QUEBEC AND MARITIME DATES TO BE ADDED
PO Box 352,905 Corydon Avenue • Winnipeg. MB. Canada R3M 3V3
www.smallmanrecords.com • tel* 204.452.5627 • CDs $12.00 PPD
smallmanrecords. Video Philter
My year is ruined. I was
not invited to the 1999
Vancouver International
Film Festival Opening Gala.
Rubbing salt into my socially
inept wounds, this Opening
gala, the first one
festive
s that I
vited tc
will be the last Opening Gala of
the millennium! I don't know if
this grievous oversight on the
part of the official festival inviters
was a result of drastic budget
cutbacks (in which independent
music/lifestyles magazines catering to the needs of free-thinkers
in Vancouver were deemed
undeserving of VIFF graft) or my
free-thinking, independently
toasted boozing at previous
Opening Galas. Maybe my mail
carrier is going in my place.
Whatever the reason for my
enforced absence from the only
Vodka-sponsored event on my
one-event social calendar, I will
now be forced to spend the night
before the festival sitting alone in
my apartment, drinking crantinis
and holding imaginary conver
sations with Vancouver's film
community elite. Really, the only
difference will be locale — and
the fact that this year I'll be
naked.
Shaking myself out of this B-
list malaise, and without further
whimpering, I will for your planning pleasure attempt to strip
bare this
yea
s festiv
logue. Viewed al fresco, there
are some noticeable changes to
this year's line up. Replacing the
standard, and much loved,
Hong Kong action flicks enjoyed
in festivals past [Beast Cop [VIFF
98], Once Upon a Time in Triad
Society [VIFF 97], Fong Sai Yuk
[VIFF 93]) are a collection of
Japanese horror films guaranteed to chill your bones just in
time for fall. Taking the X-Files
vibe world-wide, Japanese cinema will hopefully bring all of its
atmospheric, contemplative
charms to such spookfests as
Ring and Ring 2, Iwo could-be-
Cronenburgian tales of evil
videotapes, murder and insanity
told   in   the   race-against-time
investigation style of DOA.
Audition is a spin on the dark
side of the entertainment industry with director Miike Takashi at
the wheel. It's described in the
festival guide as "an extremist
psycho-thriller featuring scarred
thighs, home addresses which
turn out to have been boarded
up for years, drugged whisky,
acupuncture needles, piano wire
and some quite terrifying time
slips...it's calculated to make you
think twice about everything
from ballet lessons to paranoid
nightmares." Just what the evil
doctor ordered on a wet,
windswept Vancouver night
If the Japanese horror series
seems a little too. normal to
you, there's always the Walk
on the Wild Side series
Another change in the standard
VIFF MO, this weekend midnight
series, traditionally the home of
films that the other movies are
afraid of, will not be at the
sparkle-curtained Caprice theatre on Granville St. in 1999.
Instead, the rock-hard seats at
matheque have
estling butts foi
the Pacific C
the honour c
the festival's
tures. The hands-down (in the
popcorn, nervously grasping at
the kernels) most exciting happening   in   the   witching-hour
I  this
year
s  tfie
at Gastown's indie addition to
the Vancouver filmic scene. Each
evening's events will include an
8pm showing followed by a
party at which festival guests
(read: directors, stars, fabulous
people) will illuminate wine-swilling patrons about the fine fea-.
ture just experienced. Seating is
limited to 100 swillers and the
roster of films looks discussion-
Vamp
program
Besides the UK
treats, an ambitious
of visual challenges
awaits, including Tekhne, a
"discussion on the merits
applications of technology
in the arts" and Spectre
the Spectrum, "an altern
nd
of
history to our century, in which
the evil empires of technological
masters are excoriated and
ridiculed, and the technological
dream of the 'information age'
is flipped over like a damp
rock."
On October 1 Oth, when the
festival lights dim for another
year, I'll be slipping back under
my damp rock. Luckily, it's
equipped with a modem, and
my scathing criticism/euphoric
endorsement of this year's lineup will, along with some words
of wisdom from various festival
guests,   hopefully   grace   next
Ultraviolet     A
Special    Police    Unit   battles
humans with the Code-V virus —
commonly known collectively as
vampires — whom they think are
trying to make the rest of us
schmucks subservient to their
master race. Seen it all before?
Probably not, and if you have —
in the guise of such cult creepies
as Twin Peaks, Homicide and
The Kingdom — wh
cares? Ultraviolet was||appjness
shown in the UK in six
parts; if you're reading
about this bloodsucking |Somc days you feci pretty good. Like things
your b^char^ ZZ «'« S°>nS your way. But dont worry. It wont
lost for long. Soon enough, you'll realise
>nth's
Now,
grieve for my long-lost gala.*
at
the
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COMIC REVIEWS BY ROBIN
are so many different
s of comic books that
because it c
improve. You a
that the line wc
dn't    need    to
jld say, though,
e between the good and the       °'
In this
bad. One kind of c
: that
has come under a lot of flak
lately is the anthology: people
don't buy them. This is a shame,
really, because even though you
may   have   to   wade   through
expose yourself to a variety of
stories, art, and artists, some of
which could soon become your
favourites. One of my favourite
anthologies is NON, put out by
Red Ink Publishing.
to the artistic styling of
Aaron Kuehn. He plays with
art, computers, words and even
panels in a style that is unique.
It's so damn artsy that his name
should be Art, not Aaron. It has
drooling monkeys, intelligent
swipes at pop culture and non-
sequiturs. What's not to like?
The second issue is better than
the first!
With the third issue, NON
got bigger, featuring a scrumptious punk  ,
seems to capture
■tent girls at their
They speak s
beai
what    nostalgic.
The plots are heavy but the art
is light and clean. It is almost
autobiographical, but not in
the bunch, two of them stand
out. There is Henry Ng with his
tiny bodied, big headed girls
Sheri and Kathy — who could
be contenders for the Sanrio
crown if they weren't so darn
sadistic. The other artist is
David Choe. His story, "Slow
Jams," is a cut-and-paste, misspelled mess that is all about life
and everything in between. It is
so aimless and perfect. It's real.
The latest issue of NON
(#4) has just come out and it's a
book! It is gorgeously coloured
and square bound, featuring a
ton of people from the indie
Gehweiler [Bomb
Pop & Other Stories) with her
hollow-eyed, skinny youths who
debate love and loneliness over
pinball; Brian Ralph [Cave
Man)  with  his little
key pal and his big,
bold art. But my
favourite is David
Choe's continuation
of "Slow Jams". It
reads like someone's
diary: embarrassing
and heart-wrenching
at the same time. His
art is both simple and
artoonish
I life are jumbled
nd   with   letters
the variety. He writes
and draws the way
my brain works, pure
chaos. The issue
ends with Jordan
itinuation
from #3, but his work
s storytelling
n ("Find you're too tired
to do anything these days? You
need crack!"). I can't say the art
improved from the first issue
On a related note, Cra
just released a small min.
"The Last Lonely Saturday."
, but I promisi
ke you cry. •
house, drum i bass, techno, hip bop, dub, trance,
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Tolerable twee pop? Yes, it is possible Just ask
any fan (and there are lots of themj of dearly-
departed bands Talulah Gosh and Heavenly
Boy, could those people put together a good song
or what? Returning to tour North America after 7
years, the newest incarnation of all things pop and
good stopped off in Seattle for an all-ages gig. I
was scared as all get-out when I got the
opportunity to speak to Amelia Fletcher, former
member of both the above-mentioned bands, and
now responsible for the equally good, if slightly
more "mature" project known as Marine Research.
Calvin still loves them, and so do I. So cute So
pop. So smart. Just take a look.
DiSCORDER: For those not in the know,
names and instruments, please.
Cathy: I'm Cathy and I play keyboards
Amelia:   I'm   Amelia   and   I   sing   and   play
You were speaking before the tape was
rolling about dedicated fans. I know a lot
of people who are quite obsessed with
previous incarnations of Marine
Research. How has it been over here?
Amelia: We were iervous that Heavenly fans
would be a little bewildered by — or unsure of —
Marine Research. [We expected them to] shout out
for Heavenly stuff. We thought that when they
heard that we were a bit different, they'd be
disappointed Actually, everyone's been really
good, and has seemed really excited.
Cathy: We were quite surprised, because we
haven't been here for a long time. It's been a while
since the last Heavenly record came out, and we
weren't quite sure whether people remembered,
or even still cared. When we came here, we
thought that we'd have to convince new people
It's been a mixture of dedicated older fans and
some new fans The thing about being on K
Records is that it means something here in a way
that it doesn't, so much, in England. People who
might not have liked us when we were on Sarah
might like us [now].
You're touring before the release of your
record. Do people know what's going on?
Amelia: We weren't meant to We were meant to
get the record out first, but we managed to not get
it finished in time, and it was too late to change
the tour. We had all booked time off of work and
we wanted to time it with YoYo. I was very nervous
that our audiences would be extremely small; I
talked to the people at K about it, and they all
assured me that it would be fine. They sent CDs
out to radio stations and journalists, so, actually,
there have been tons of people at all the shows.
Cathy: Most people haven't had the opportunity
ia: Some people have heard various things
on the radio, and people have heard 'Queen B',
which was our first single
Why did you choose to include the
.'Queen B' single on the full-length
record?
Amelia: It was quite a limited pressing, and it
sold out Rather than keep a 7" in print when lots
of people can't even play vinyl these days, it
seemed more sensible to take it out of print and
put it on the CD.
Is there any special story behind the label
you released that single on in the UK?
Amelia: Where It's At Is Where You Are...
Cathy:      is going to take over the world! That's
the story
That's a line from a Huggy Bear song.
Amelia: It is He's just a real fan, he's really cool.
It was really nice doing something on his label. It
came at a time when we weren't too sure of
I was quite nice to have someone
saying, 'You're brilliant!' At the time, no one else
was saying that to us, so it was good.
Cathy: It's like how people go to halfway houses
where they get lots of encouragement so that they
can be let out into the real world.
Amelia: He was like our psychotherapist.
[laughs]
Were you recording things before this
single came about? How long had you
been back together?
Amelia: We actually were together and
practicing for quite a while before we recorded
that single, six months at least.
How did this regeneration come about?
In the K bio, it says that DJ, your
drummer, convinced you all to play, but
then I'd heard elsewhere that you all
were playing on your own.
Cathy: All of us except for Amelia were doing
other bands. Basically, what happened was that
the four of us who were in Heavenly all realized,
at different points, that we quite missed it [There
was] a definite period after Matthew died when
we didn't want to dp anything, but then I think
everyone was probably sitting at home thinking,
'Yeah, it was kinda fun.' Amelia's story was that
Rob and I took her out for lunch and convinced
her to do it again, but I don't recall that at all.
Amelia: It's totally true!
Cathy: Amelia and Rob were both starting, but it
was fairly slow progress. I thought that because
Where's It's At Is Where You Are is such an indie
label and comes out of the scene that Heavenly
was a part of, that this person [DJ] who was doing
dance music on the label was bound to have that
same indie background. It turned out that I was
right, he was an old Heavenly fan. He came along
to the first practice, as a programmer, and he sat
in the corner.  He said,  'How am I meant to
practice as a programmer?' and sat in the corner
iooking really glum with his head in his lap; at the
end of the practice, he said, 'I don't think you
really need a programmer, I think you need a
drummer.' We thought he was trying to get out of
it, but then he said that [he used to drum], and so
we said okay.
The word being used to describe your
new record is 'mature.'
Cathy: We are older.
But do you think that that automatically
reflects on a record?
Amelia: When we first started, one of the things
I felt I would never really be able to do, just
because I hadn't done it in such a long time, was
jump up and down on stage in a punk rock,
immature way. The first couple of gigs I was very
still, but now I'm so used to doing it again that I
could pogo with the best of them. Because we did
have a gap, it did feel funny coming back.
Heavenly somehow remained very youthful
sounding, even though we were growing older;
because we never really had a break, we never
had a chance to review that. Having had a break,
it just seemed really natural to come back
sounding mature, certainly mellower.
Cathy: I think the last Heavenly album did sound
slightly more mature than the one before it, but I
think this is more than that same difference. It's
something to do with what sounds you have that
makes it feel mature. It's thicker and denser now,
a bit like a peach when it gets squidgy and ripe,
more than when it's perky and still has yellow skin.
Amelia: You mean we're squidgy now?
Cathy: I think we are kind of squidgy! To use a
word that Amelia uses and Pete really hates, it
'sits'; it's not like a barking spaniel. It's more
dignified. If you took the average beats per minute
of this record, I'm sure they're lower than the last
Also in the K press material there were
articles from the British press. It seems
that  with  the   new  band  comes  new
interest.    Was    there    an    interest    in
Heavenly?
Cathy: There was a very negative interest.
One    piece    compared    you    to    the
Cardigans.
Amelia: I don't really understand that.
Cathy: I think that's another way that being on K
makes a difference. Sarah was always an uncool
label; virtually every Sarah band got slagged off
in the press at home.
Amelia: It was only a critical thing. Lots of people
loved Sarah. Critics didn't like Sarah, I don't know
Cathy: Because they weren't cool. They didn't get
pissed and take drugs and pick up girls and do
the sorts of things that music...
a: They refused to play by the rules. The
result of that was that their bands sold less records
than they might have done, but fair enough. I
respected them for it.
I had heard how horrible the UK press is.
Cathy: It is pretty vicious
Amelia: It's quite up its own ass, really. Even
now, with Marine Research, we've got so many
journalists that love us and want to write about our
stuff, but unless you get the editors, who are
basically in their own little world and only know
about the biggest band, to agree to let someone
do a feature, you're stuck. In Melody Maker, we
have journalists arguing for us, but we're probably
not going to get a piece because the editors aren't
into it, and we're not Suede.
Cathy: It's not just music journalism at home. I
think that the standards of journalism are pretty
darn shoddy. It is amazing coming here, not just
seeing music papers, but how all papers are better
researched and more objective, rather than some
emotive analysis of something, which is what
everything is like at home.
K is probably a better label to get your
stuff out on. I've never seen your first
album. Heavenly vs. Satan.
Amelia: We are going to re-release that at some
point, it's just that I've been rather feckless about
organizing that. At some point those songs will be
available
Cathy: Don't say that! It's subject for a hot legal
dispute in the high court at the moment. As scon
as that's resolved, it will come out.
Amelia: Yes, our lawyers ...
Cathy: We've blown billions.
I read in an Avocado Baby interview that
they considered Talulah Gosh 'punk
rock.' Are you punk rock? Is that what
your ethics are about?
Amelia: It's interesting, there's ethics and then
there's aesthetics. I think our ethics are very punk
rock, we're very DIY, we do practically everything
for ourselves, apart from what K does for us.
Everything that Fugazi stands for is also what we
stand for, ethically. Aesthetically, we're absolutely
nothing like that! We're not really into making the
loudest noise we possibly can or creating a stir,
or even lyrically, writing things that are going to
change the world. Lyrically, we're even more
introverted than we ever were. Our lyrics are
really quite internal now.
That's something I noticed. Heavenly's
P.U.N.K. Girl single was quite ...
Amelia: Political.
You were/weren't involved in the riot
grrrl scene?
Cathy: Exactly. We were/weren't. That's exactly
how it was.
'as a similar thing again, actually, we
IO BY
JULIE COLERO
were really ethically involved. I set up gigs for
Bratmobile and Bikini Kill in England, and Huggy
Bear. We were totally part of all that, but nobody
really realized that Heavenly was, at least in
England, because we didn't go [whole bunch of
Cathy: This country's much better about having a
ew of what that whol
't find it a contradiction. Like thi
Amelia: Most venues are pretty relaxed, nothing
like here. When I was booking this tour, I forgot
about the issue. A lot of the gigs we've been
playing have been 18+ and 21+, and I've felt
really guilty about that. Some of the places we've
been doing in-stores as well, to try to get those who
are younger to come along and see us for free
They don't get the best show, because it's usually a
rubbish
id, but at
DJ: We've actually ended up on bills with some of
the most noisy, abrasive bands, particularly those
American    bands.    Aggressive,    gritty   bands.
Cathy: We played a gig with Fugazi in England.
They, nicely, wanted us to. English people were
like, 'Oh, they're playing with Fugazi.' It lends a
sort of credibility. Music journalists, on their own,
would never think that we could have the slightest
connection to Fugazi.
Do you have any preference to what
types of shows you play?
Amelia: Foolishly, on this tour, I didn't really think
about it. In England, although there all laws about
licensed venues, it's so flexible. I've been going to
gigs since I was 14. My brother used to go and
see the Damned and the Clash when he was, like,
10.
Cathy: Everything is all-ages effectively, if not
staying        in
rrass-edly aside.
motel
and impersc
nal place
. We've chanced
They were loudly
upon
amazing plac
js to stay.
t's been a cultural
Amelia: We were saying that it's one of the better
things about touring when you're a little older. Your
friends tend to be a little older as well, which
means they've got nicer houses. When Heavenly
first came to Olympia, we stayed with Candace as
well, and at that point she had a tiny one-room flat
that was really quite rank. It was alright for one
person, but it was really bad for seven! This time,
she's got a nice house. There's the plus-side of
maturity. The minus-side is that if we had've stayed
in any rank places, we wouldn't have stood it.
We've become more picky. •
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ii n^gsansffi "Definitely a life-changing thing listening to Basic Channel and
Maurizio, Chain Reaction all those mad Germans." —James,
Swayzak
"Beautiful and moody is what Laurent Gamier said, and
we were like, 'right on.'" —James, Swayzak
Horigins in disco to various formations of hip-
house to deep house, jazzy house, Chicago
house, hard house, and Jack house, house music has
now met its dark horse from Detroit — techno — to
form one of the most incestuous and yet creatively
intense formations of both house and techno yet: tech-
There are few producers that have taken
both the house and techno world by storm with as
much intensity as the Scottish/British tech-house duo
Swayzak  From their debut album Snowboarding in
Argentina to brilliant releases on their label, Pagan,
Swayzak has captured the cusp of the tech-house
style    Merging   techno   minimalism   and   drum
patterns with house production, laid-back
BPMs, and a dash of German-
Kingston dub sensibility,
Swayzak has created
a sound that is all at
once beautiful, thoughtful
entirely danceable Stripping away the
elements of house music and taking theii
Berlin/Cologne legend Maurizio, Swayzak creates
music that is fresh and innovative, and strangely
popular among the house and technoheads here
in rainy Vancouver and Seattle
The first time I fully experienced Swayzak
was at a small outdoor gathering called New Moon
01 during the summer of 1998, where local house
DJ Leanne played the majority of the newly released
Snowboarding In Argentina during her 4-6 AM set
As the fog rolled off the ocean and onto the beach
and the huddling enclave of music lovers, Swayzak
echoed out of the trees — dubby, pumping deep tech-
.nd ye.
mteruieu nno  phot as »«#
J asms   Unn  UEEn
Island Records "We're realistic, we know how it works," says James
of the major labels "The independent scene is obviously completely
different and much more exciting." Which is not to say that it also
does not have its downfalls, says Broon "There are a lot of people
who don't get paid Because you are small, you don't have any
control and people exploit you   But most of the people are really
The British independent scene also has its own politics,
including the "British DJ Mafia," a term coined by Mixmaster Morris
which describes the powerful hold a handful of select, popular
progressive-trance DJs have on the clubs:
Broon They definitely control a lot of the British music scene. We
have very few gigs in Britain; we get a lot of gigs in continental
Europe There are big names in Britain, and they are pretty boring,
really It's pop music now
James It's good, it's positive, because it means you have a healthy
underground — and that's always where it is interesting anyway. We
tried to run over Paul Oakenfold, actually In the same day we were
driving around London, we saw one of the Chemical Brothers ond we
tried to hit him   We were doing a service
We all take a good laugh as James, tongue-in-cheek, goes
on about hitting the "Garth-looking" Chemical Brother. More beers
are ordered
Joking aside, James and Broon are serious about their
music Diverse artists such as Ministry, Mr Fingers, Kraftwerk, Human
League, Public Enemy, and DJ Premier are some of their influences It
was Maurizio and the Basic Channel sound, however, that really
caught their ears "Especially on Snowboarding in Argentina," says
James. "We had M4 [a Maurizio release]," adds Broon, "and we
just went 'wow' " "Jesus Christ ... this is like, dub music," interrupts
James. Broon continues on: "Up to that point, we had been making
fo,    |
ning*
The
experienced Swayzak was this past July when they
came to Sonar on a North American tour Performing
a very live electronic set (not something all that easy to
do), they proceeded to play thumping tech-house that
kept the sweaty Sonar crowd going well past 2 AM.
Before the performance, I had the chance to catch up
with James  and  Broon,  the  semi-shy  minds  behind
Swayzak.
James and Broon have known each other for ten
years, and started making music about six years ago. Broon
hails from Glasgow, Scotland and James from somewhere
unidentified in Britain. Before music became their lives, they
both worked as A&R and Promotional reps at then U2-owned
shad
Many would take the chance to criticise Swayzak for not
expanding their sounds through different machines and for being
heavily sample-based. But when you consider what they have
done with so little, you realise the brilliance behind, and
between, the sparse beats "There dre a few secret weapons
as well that we can't divulge," adds James   "We've got a
few analogue synths, but we've got to sample them
anyways," says Broon. "For the new album, we've got
another sampler, and a drum machine, and a few more
toys. There is a bit more depth to the new one. It will
seem more full than the first. The fir-
worked on it on a part-time basis. Bu
on it." Broon pauses to take a sip of something dark,
and James continues on: "The first album is like a
collection of tracks. We put them out on our own
label, and then we put them together to put out the
album. This one we started with nothing — we had
to come up with 10 songs that would work as an
album. We have many different influences, and we
do different styles all the time. We were worried it
would be really disparate and all over the place,
but now it's fine, it's finished."
James and  Broon go on  to  reveal  the
origins of the debut LP: "The first
cident,'
,ays
hop music really, then we started making real deep stuff, just from
listening to [M4] " Talking and finishing each other's sentences, the
British/Scottish mixed accents are as fluid as their music. I asked
them whether or not, in light of their recent publicity, they considered
themselves a part of the "underground":
James Don't know We have a small label, we put out a thousand
1 2"s, we play a lot of clubs wilh sometimes no people, we don't get
Broon: But at the same time, we're crossover. There are a lot of
people getting access to our music. We're not totally underground,
yet we're not mainstream.
James: We're not exclusive. We made a video and got it shown on
MTV. The thing is to get the music heard — I think obviously the
further you go up the ladder, the more difficult it gets.
Broon: People like Terry Francis [British deep-house producer], you
know, they've been underground for 10 years, and now he's making
a big name for himself. He'll be a part of the mainstream British DJ-
culture soon. And he's playing the music that we play.
weather. Swayzak's
,ty mountain forests.
One thing I had to ask about was the
music often conjures up imagery of raining, mi:
Does rain have an influence on the music?
James: Well he's Sco'ish! [pointing at Broon — laughs]
Broon: Definitely I come from one of the coldest, darkest places on
'Airth   It's beautiful — Scotland is beautiful, and it's definitely an
James: I think it's the rain and the weed. And darkness. It gets dark
about 3 o'clock in the afternoon, and it gets really kind of boring, and
you just stay inside. It is nice to escape into warm noises. Some of it
is quite happy, and some of it is quite sad, often in the same song.
Depending on how you feel, it can set off different emotions.
We all take another swig of our drinks. Broon looks up
shyly, and reveals a bit about how they go about production:
"Basically a bit like what Basic Channel and the Chain Reaction guys
— you've got very little equipment, and that's why the music's
minimal You don't have any money, and that makes the music like
that. We've got one sampler, an old guitar, and Cubase, and that was it."
" ^^        "" "Everything's       been       an
accident," adds James, "we finally
got around to putting out a 1 2" single after about
3 years of working together. We did not know
what or where our music would fit in. And we
went around to all the shops, to see who would
stock it. Discovered that most of the shops weren't
stocking it. But there were a couple of good
underground shops that just sold shitloads of it,
and we're like 'wow, that's amazing.'"
They then ran into an old friend from
Island Records, who was running his own label in
New York. Two days after hearing a copy of the
12", he called them up and said, "let's do an
album." Swayzak said all right, and the rest is now
tech-house history.
The new album is more on the Detroit
techno tip, say the two. "We came back from the
Winter Music Conference after hearing a bunch of
electro, and came home and did two tracks in a
week that were like 430 West, Octave One  And we
were like 'ooooh,'" says James. Expect elements of
Detroit, some straight up vocal house, some very
Rhythm and Sound influenced material, and some
collaborations with Benjamin Zephaniah, a British dub-
poet and ex-burglar who has been nominated for Poet
Laureate. With a track record of innovative and intelligent
music, house and technoheads should watch for the new
Swayzak album, which hits stores in early 2000. • Luke Meat met wifh legendary
Guided By Voices frontman Robert
Pollard before their show at the
Starfish Room July 28th,  I 999.
^*-
%P
$
DiSCORDER: Could I just clarify some
rumours that have hovered over the
band?
Robert Pollard: Okay
Rumour: Bob Pollard has written over
2500 songs.
That's probably correct; I mean, I don't count 'em,
but somewhere around that number. I have a big
suitcase full of tapes of songs, and we recently went
through them and tried to put 'em on CDs. Well,
we went through maybe one eighth of the box and
that was 150 songs right there.
Rumour: Bob Pollard knows the titles to
all of them.
[The band nods in agreement]
Well no, not all of them, but I can remember titles
pretty well.
Rumour: All of these songs are about your
ex-girlfriend.
Well, my wife was my first girlfriend, so I don't
have any ex-girlfriends.
Rumour: Guided By Voices never sacrifices
hummability to practice art for art's sake.
Definitely. It's always about the songs whether or
not they're catchy. And you can tell Wayne Coyne
[of the Flaming Lips] that!
So you're not a fan?
It has nothing to do with being a fan, I simply don't
own four CD players to listen to that album
[Zaireeka].
Actually, a friend of mine mixed them all
together on a four-track so you could hear
it all on one tape at once and the songs
aren't really that interesting.
Well there you go!
Rumour: The band has 12 cases of beer
backstage at every show.
We're pushing 12, we push 12 ... they keep 'em
coming!
Craig Marks from SPIN envisioned you
'hunkered down before a gig, engaged in
a game of RISK or recounting last week's
episode of The X-Files.' Is that an adequate analogy?
Not at all, not at all. It's funny because at one time
SPIN magazine were very good to us.
In that case, did you get Jim Greer to kick
his ass for spreading such slander?
Ha ha. Jim was a member of GBV but no, nothing
like that.
*_*
<-$
Garrfeff felr \Trrf<~ej>
By Lilice Meat
You live in Dayton, Ohio, where my hero,
Les Nessman [of WKRP fame] is from.
You mean the actor or the character?
The character. Now, is there such thing as
the Buckeye Newshawk Award [award
won by Nessman's character 5 f/'mes]?
The what?
Is there any award given to Ohio radio
personalities for doing superior hog and
agriculture reporting for the Tri-City area?
Well ... I really don't know what you mean.
Were  you   living   in  Ohio  when  Jerry
Springer was Mayor of Cincinnati?
Well, yes, he was mayor of Cincinnati.
Was he a good mayor?
Uh, I didn't really pay attention at that time.
Oh, okay. The NHL is introducing the
Columbus  Bluejackets this year.  Now,
Ohio has never had a professional hockey
team before ...
That's not correct.
Oh. I'm sorry. The Cleveland Barons [sic],
that's right. However, do you feel that
more hockey will: a) raise morale, b)
lower morale, or c) do nothing?
I'm afraid it will probably do nothing. Americans
are too interested in their football and baseball to
get excited about hockey.
What's the best thing about Dayton?
The pizza. We definitely have the best pizza in the
world ...and beer.
What's the beer of choice?
Bud
Johnathan Valania recently did an article
on the band in Magnet...
Is that out yet?
I don't know; I just read about the article
on the Internet, which mentions 'the Kim
[Deal] and Bob feud.' Would you care to
comment on that?
Now, now It's interesting that you use the word
'feud', since it takes two people to be in a feud,
and I have nothing against Kim. She simply is no
longer on speaking terms with us. It's more of a Kim
Deal/Dayton, Ohio feud.
Okay. If the Who played at this year's
Woodstock, do you think the crowd's
response would be: a) better than 30
years ago, b) worse than 30 years ago,
or c) no response at all?
Pete Townsend said that the first Woodstock was
really bad for them, right?
I thought they were greatl
So did I. Uh, I don't think they would've been any
better than when I saw them four years ago on the
Quadrophenia tour. It was pretty bad. Pete plays his
guitar up here now [indicating high up on his neck].
'College radio' is now a moniker like
'alternative' or 'punk'. Do you feel that
college radio still has an important place
in '90s rock and roll?
Definitely. Definitely. I mean, those were the only
stations that played us in the beginning.
Going from Cleveland's Scat Records to
Matador, and now releasing Do the
Collapse on TVT Records — what influenced the change from Matador to TVT?
We wanted to be distributed by Capitol, but the
deal between Matador and Capitol fell through,
and TVT were very anxious to do an album with us.
With your high kicks and microphone
twirling, do you ever hit anyone in the
head?
All the time. All the time.
What was your weirdest gig ever?
New York, about three weeks ago. I fell down three
Four     years     ago     you     played     the
Commodore, in Vancouver, BC ...
[interrupting] What's the Commodore?
It's a really, really big room.
Was that for some music festival?
Yes, Music West '96.
That was a great, great show!
I agree. For the encore, though, you just
simply took requests.   Can you do that
with the new band?
We don't do requests anymore, but the new band
and I have gone over about 75-100 old songs and
we're adding more each night. Nothing against
the old band, but the new band allows me to work
with more freedom than before.
You recently played a show
Youth, the day they lost their
their equipment. Any word or
No. They found the Ryder truck a c
ago,
but it
/ith Sonic
in with all
heir stuff?
pie of days
mpty.
Oh, I 'was going to check your equipment
to see if you had any weirdly-tuned
Jazzmasters.
No, but we loaned them our gear the day after they
had their stuff stolen, and all our guitars came back
in really weird tunings! [laughter]
Who's the weirdest celebrity fan of Guided
by Voices?
Peter Wolf — I don't know if that's weird — David
Crosby, Phyllis Dillei.
Are you serious?
No. Cameron Diaz had Waved Out in her CD
player apparently.  Jim Greer told me that.
With songwriting, when you collaborate
with someone, does that make it a GBV
song, and when you write it alone, does it
go on the next solo album?
It depends on what record it's going on. Most times
I collaborate it goes on either a GBV album or a
Robert Pollard one, or under a pseudonym or something. I just did some backing vocals for J Mascis,
so that's his. I didn't really collaborate, though. I
just did what he told me to do.
One final question. I know you're a big
White Album fan. Why don't we do it in
the road?
Because no one would be watching us. And we
like people to watch us. •
t3t^^mm £?/*&""
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Oct 1
Performance
An Cabarel
Vogue Theatre
918 Granville St
875-9516
Oct 2
Andrew McCully
Oct 30 & 31
Maya Love
Dynamo Callerv
142 VV Hastings St
(02-9605
Oct 6
Writers' Talks:
Archer Pechawi*
Li/aid Jones
Oct 15
Ann Hamilton
Reception
& Artist's Talk
Oct 20
Writers' Talks:
Warren Arcan
Margarel Dragu
Ofct27
Writers' Talks:
Todd Davis
Tanya Mars
Aiyyana Maracli
Vancouver Art
Gallery
750 Hornby St
662-4700
Oct 7
Satina Saturnii
@ An/a Club
3 W 8th Ave
Oct 16
Dana Claxton
@ Western Front
303 E 8th Ave
Nov 5 & 6
Taste This
grunt gallery
116-350 E 2nd Ave
875-9516
Oct 8
Helena Goldwater
Oct 15
Marlene
Madison-Plimley
Western Front
303 E 8th Ave
876-9343
Oct 9
Kiss'n Tell
Oct 13
Writers' Talks:
Glenn Alteen
Paul Wong
Ivan E Coyote
Oct 23
Notes From
the Lab
location tba
Nov 4 & 5
Paul Wong
Video In
1965 Main St
872-8337
Oct 12
Judi Norris &
Reona Brass
Oct 19
Lori Blondeau
Thirza Cuthand
Oct 26
Ruby Truly &
Sandra Lockwood
ALA
Havana Gallery
1212 Commercial
Drive
253-9119
Oct 21
Artist's Talk
Andrea Fraser
@ Western Front
303 E 8th Ave
Morris and
Helen Belkin Art
Gallery, UBC
1825 Main Mall
822-2759
Oct 22
Judy Radul
Contemporary
Art Gallery
555 Hamilton St
681-2700
Oct 22
Clint Burnham
& Mark Laba
Artspeak
233 Carrall St
688-0051
Oct 2
Jerry Allen
& Trevor Gould
Oct 23
Geoffrey Farmer
Or Gallery
103-400 Smithe St
683-7305
Oct 23 & 24
Millie Chen
& Evelyn Von
Michalofski
@ Granville Island |
Public Market
Charles H. Scott
Gallery
1399 Johnston St
844-3809
Festival guides
available at all
festival locations
or call
875-9516
OCT 1-NOV 6'99 *******
>■__ du Maurier
For the latest schedule information
visit our Festival website:
www.grunt.bc.ca/century/index.htm I BF i:ii_^nii_^:i]_^
It sucks when you really like a band, then you talk to them or interview them and
they end up being total jerks. I was a bit apprehensive when I was given the
opportunity to interview Jake Wherry, one half of the Herbaliser. Fortunately, Jake
ended up being one of the nicest guys ever. Musicians this talented with so little attitude are hard to find. We yibber-yabbered on the phone for awhile and I was very
happy he wasn't a jerk.
DiSCORDER: With this new album that you have out, you are working with more MCs than you did on Blow Your Headphones. Other
than What?What? you now also have Bahamedia and the Dream
Warriors, etc. What made you decide to work with more people?
Jake: We always wanted to. In retrospect, looking at how our production style
has evolved, I think it's a good thing, that. I mean, we're just from a fairly white suburb of London, there's no rappers around ot all. We've always had a common love
for sorta funky music and hip-hop. Rather than not make any music, we decided to
go ahead and make instrumental, hip-hop inspired music. Being inspired by soundtracks and cinematic music as well, we're able to develop quite a deep, layered,
orchestrated, musical, instrumental style. Then we found ourselves working with rappers, like we knew Fabian and he was on ihe first album. Remedies. By the time we
did Blow Your Headphones, we got to know What?What? and we did another
track with Fabian and Big led. Then just before we finished Blow Your Headphones
I put the band together which is like reforming my old funk band, the Profiteers, and
we just stand. It was a real hit or miss thing but the band turned out to be really successful. We did a lot of tours and shows. For instance, we met the Dreom Warriors
last summer In Toronto at the Waterfront,
t was going to ask you how you got to work with the Dream
Warriors 'cause being from Canada everyone here knows them.
Well, we've known them since their singles came out 11 years ago or whenever it
is their stuff come out. We're nearly 30 so we've been around a while. We were
playing down there and they came down and just did a bit of guest rapping with
us when we played live ond we hooked up from there. If was through the Dream
Warriors I got Bahamedia's phone number. Roots Manuva has been with Ninja
Tune and Blaze, he's a really good underground London rapper. He'd been doing
work with Vadim ond Mabb Deep and Vadim's got his own label but he's also a
Ninja artist so [we] kinda hooked up with him through that. The more we travel, the
more people we meet. ____r      m
You said you put together the band from an old funk band you were
in. How did you hook up with Ollie? I     Bt
We're from the same area. We went to the same college. We were aware of each
olher, we had heard our names mentioned in different circles, [but] it was awhile
before we met up. By the time we had met up I had been playing guitar for twelve
years and I had given up and I had bought a bass and started making beats with
a sampler, also jamming with a drummer and o keyboard player. Ollie had had a
sampler for a couple years as well. We just had a common interest when we set out
and basically as soon as we hod a couple records out, Ollie was doing a lot of
DJing nround the world, and I thought I'd make the Herballser Into a larger project
as well. It's just gone very successfully.
Your sounds are pretty different. It's like you're coming from different sides. Ollie definitely seems to have more of a hip-hop kinda
That was the trumpet player in the band. I met him about four years ago. It's like a
smaller, songy kinda Herbaliser thing. It's quite retro. Like a funky, soul thing.
I read in another interview that you don't keep on top of what's new
and hip and all that kinda stuff. What inspires the Herbaliser to keep
changing, then?
Um, I don't think we do, i think we just get better at what we do. We're still inspired
by music that we were inspired by five years ago. It's quite a lot of mechanical
processes to go through in the music that we make 'cause it's 90% samples, so we
have to take records off, then EQ them into the sampler, then we chop them all up
into lots of pieces, spend a lot of time editing them, getting different things in tune
with other parts. That takes a long, long time. We're better at that and going through
those processes. [A very loud airplane landing is heard on Jake's end.]
What's that? Do you live by an air base? What the hell is that?
No, that's my studio. Train Track Studios. I've got a mainline railway just right next
to my studio.
Well, what is your studio like? Other than being by train tracks?
tt's nice and organic and warm. When I went on tour with the Ninja Tune Dj tour
last summer —- last May, actually -— I bought so many records that when I came
back 1 had to knock down a wall. I used to have two studios; I've now made il into
one big control room with lots of cables, a big mixing desk, speakers and lots of
records. And a massively fast Apple Mac. I love it. We made our first two albums
on o Mac Classic ][. Primitive. ________..
Okay. This is kind of a weird question. I never realized this but I was
told that British hip-hop was intimidated by American hip-hop, d_
you see that at all?
f wouldn't say we felt intimidated otherwise we wouldn't be doing it. I think peopt
have been aware [that] in the past Americans were very dismissive of British hi
hop. Whereas now hip-hop has become a whole global ... like a patchwork quilt.
(t's been in France, Germany, Italy, Australia, Canada and England. People in
Japan — there's big scenes everywhere. People are obviously influenced by
Ameucan stuff. In the last few years, it seems like mainstream in America has com-
pleiely lost its values and principles of ihe original hip-hop disciplines. It's taken the
underground acts, like the people from San Francisco or the Bay area and British
producers like Vadim and Mark B, the Creators and us to start challenging things.
We've been accepted in America now. We're selling records there. We're gonna
produce two tracks on the new Bahamedia album. And Rove, she's quite a famous
rapper from LA. She's in London and we're going to produce tracks on her new
album as well.
After this point, the
being shacked up, r
onversation degenerated to gossip about Ollie and T-Love
:ord stores in Vancouver, and where to buy pot. •
II
MB M
-^_^__T__f ______ mm ^^ ^^     ShawnChappelle JoelleCiona PeterCourtemanche AnnaFriz EileenKage BHIMullan
«S fff Cff ^S _____r     somewnere a 9rouP of dazed musicians crawl out from the rubble and into the future where the Information Age is purely a memory
front records 002
CD Release Periomance October 27 8pm
Free Admission § the Western Front
Special CD price of $5 at the launch
CO Available at finer record shops or by mail order $15 fincludes tax and postage)
Western front303 f. 8th Ave. Vancoaver BC Canada V5T iSi wwwMntbc.ca I M _■ ix Master Mike is beyond cute. Always
I Jwl raising one eyebrow at you to accentuate
l_V w I t/ie verbal, he is as playful as his music,
mbut way more laid-back. You should have seen him
mbounding around the network of metal stairs that
Mcrawl up the back of the Holiday Inn, eagerly
tstriking poses for Ann's lens. After speaking with
Whim for a while though, I began to glimpse the
Maggressive personality that roughs up records and
mbrings you the hardest hitting beats. So expert is
MMix Master Mike with his hands that his tactile
Mscratching seems to cut grooves not just in your
s but down your back, straight to your rump.
UDiSCORDER: Mix Master Mike, how was
■Victoria?
■Mix Master Mike: It was cool. Seemed like
(there are a lot of kids are out there, I saw a lot of
lb-boys and b-girls,  lotta DJs ... they're really
■ hungry [for the music]. When I walked out on
■stage I got a warm welcome. I was happy.
iHow   are   your   teeth?   Last   time   you
■played here you had to cancel due to
■abscessed teeth.
■Yeah, yeah, I had some major surgery done on
Jmy jaw, because I had some poison in my jaw
■as about to burst and kill me.
|Shit.
., like, life threatening.
■Really?
■Yeah, it was really serious. That's why I couldn't
out here.  I feel real bad that I couldn't
out here,  but I  had to take care of my
■thing.
Bit's a good thing you're not an MC. Do
■you ever dabble in rapping? Do you find
■that, being around so many rappers,
■you all of a sudden bust out with a
■rhyme?
-lot at all. There's always instrumental
h crazy music going on in my head, it's
a psychedelic instrumental vibe. Yeah.
■ if you could collaborate with anyone,
■living or dead, who would that be?
■ Sun Ra. And his whole orchestra.
■what other jazz players do you want to
■ hook up with?
lohn Coltrane, of course Miles Davis.
■Anyone living?
■ No, all my heroes are dead.
■what's the most frustrating thing about
■being a DJ?
(Finding the lost break you've never found before,
s beat records, and beat mining and digging
■through crates and trying to find the one you're
■ looking for, just really obscure breaks. You know
■ the title but it's just hard for you to find, you hav
d go to all these used record stores, and you'
>nstantly just searching for stuff. Sometimes it ge
■ frustrating, but I end up finding other things too.
Does being a DJ mean that you don't b
same problems as more visible, commercially
successful musicians? Can you go places and
just be 'Mike' and not have fans on your ass?
Well, I'm not having problems, but pretty much
everywhere people know me. In Japan they chase me
with their mixers and stuff like that. They want me to sign
their mixers and they chase me down the street. It's cool,
it hasn't become a problem yet, but I know how it can
become a problem, hanging out with Ad-Rock for eight
months.
Because he's the babe-est of the Beasties.
That's my boy. By the way, me and Ad-Rock are coming
out with   an   album.   We're  collaborating   on   an
instrumental record.
Are you experimenting with playing different
instruments?
Yeah, like drums, Moog organs.
So is that gonna be on the album?
\ Maybe.
Us it coming out on Grand Royal?
It'll be under whatever we make up.
k Do you think it has become necessary
^ to include live instruments in order to
k advance hip-hop, keep it from going
k stale? Or do you think that element
% has always been there, in hip-
k hop's jazz and funk roots?
s far as the advancement of
khip-hop?    Maybe.    It    sort    of
^branches   it   out,   widens   the
k creativity of the whole hip-hop
. Like me, I'm learning
k how to play stuff here and
ind I feel like it
send      hip-hop
|_into other directions.
mber     the
Razzmatazz album,
k by Guru.
Just
listening     *°^
that        alburn^
I   can   tell   that^
Guru thinks that^
he   invented   the^
fusion   of   hip-hopl
and jazz.
No,   I   don't  think   i
think   the   Beasties
They [the Beastie Boys]^
had an album out by the^
time  you   started   DJing.*
You   were   14
started, right?
Right.
Were   they   an   influence   on
you?
Yeah, huge.
So when they approached you to
play, did you wet yourself?
It wasn't that unreal 'cause, you know, I had my V
own crew, the Invisibl Skratch Picklz, and I'
doing shows with them, tours, so they recognized^
me and they knew what I was about. And wher
Adam Yauch wasn't home I would leave these
messages, like scratch messages, on his machine.
And one ended up on Hello Nasty.
Yeah, that was one of the actual ones. It just drove
him berserk. This was while I was working on Anti-
Theft Device. They called me up and they sent me
some plane tickets. Mike D. got on the line: 'What's
up Mike?' I was like, 'Yo, shit, fly me down, cool.'
So were you happy with Anti-Theft Device
and Surprize Package, with how they
turned out? Did they turn out the way they
sounded in your head?
Yeah, I think so. I just want to say that 'Three MCs
and One DJ' is the number one video in Japan right
I just saw it two days ago. It's fucking great.
Whose idea was it?
Uh, mine and Adam Yauch's.
Is that someone's actual basement?
That was our dungeon. That's our practice facility in
New York City, we call it the Dungeon.
Do you still live in San Francisco?
On the outskirts of San Francisco, yeah.
Do you think that hip-hop and turntablism
revived rock and roll? With all those shitty
bands coming out, like Limp Bizkit, all those
shitty top 40 bands that have jumped on the
l bandwagon of mixing hip-hop with rock
\ and roll ...
^k Actually, I hooked up with Tommy Lee. He's doing
'       solo album called Methods of Mayhem,
motter of fact I've been in the studio with him
k [for] like the past four months, just hanging
out, staying over at his house, working on
:. So I'm trying to bring the hip-hop INTERVIEW BY CUNT E. F3ESH
PHOTOS BY ANN GONCALVES
T... whiter      than
fmy ass?
' 't know,
Fhe's got to get rid of the
F Motley Crue vibe, because
Fthe Motley Crue vibe is not
^happening.
Trie cut his mullet off,
Fwhich is a good start.
FYeah, he's got dreads now.
f [Hysterical laughter from Hancunt
and Ann] Yeah, it's funny. It's cool
though, but he's cool, he's cool people.
£ So do you think though that hip-
I hop and turntablism revived
"commercial rock and roll? Saved it
j from the slow death that happened
Jr after the commercialization of garage
Frock, aka 'grunge'?
fYeah, I think that hip-hop has taken away from
ind roll, if anything. Just became more
r popular, more of a money making business than
/rock and roll music, you know?
There's been a lot of talk lately, saying 'Hiphop has come full circle.' Do you agree or
disagree?
I think it's more recycling itself, it's just changing
constantly, just finding its way back, coming forward
and finding its way back again, as time changes the
music changes with it. People think it's dying, rap is
dying.
Because of Jay-Z and Brandy & Monica and
that shit?
Yeah, and all the collaborations. It's just getting
watered down and stuff like that. I agree sometimes
with that, but there are some underground artists
keeping it real, alive. But that's why I have my music,
I want to bring back the raw element of hip-hop and
the basic backgrounds of just music, the music aspect.
That means getting it out of the hands of
white money ...
Yeah, yeah, I mean kind of like wheeling and dealing
with them, you know what I mean? As long as you
have your own creative control, you're fine.
So would you say that Rockit was a seminal
recording for you?
Yeah, I used to DJ in my bedroom, and I turned
on my TV, and I seen Grandmixer DST
vith  Herbie Hancock,  and  I sa
th
ving the
nething to i
'   3 be.
xd back
Foundation?
The Global Skratch ... ?
Yeah, it's on the Invisibl Skratch Picklz
website. You guys started this foundation
called the Global Scratch Foundation?
The Global Skratch Foundation?
Yeah, do you know anything about this?
No, I'll have to call my man up. 'Yo Q, what the fuck?
What are you doing, trying to start a foundation?'
No, I just have a lot on my plate, you know?
Who came up with the name Galactic Butt
Hair?
Not me, no, not me, you know me, not me.
I love it.
You love it?
Is it too far out for you?
No, that's Q-bert for you. That's Q-bert, that's my boy.
So you're more down to earth than Q-bert,
would you say?
No, I'm pretty, I don't kn
You just don't have a butt hair fetish..
No I don't.  I don't put those two words
together, I don't want to share that with^
people, you know?
You prefer to keep the hair up_
here and the butt down there?i
Yeah, yeah, yeah.
I        hear       contradictory.
rumours that A-Track isi
part     of    the     Invisibl,
Skratch Picklz
Yeah,     he    is,
honorary
though.    I'll    tell    youj
what it is, it's me ar
Q-bert, then D-styles
and Shortkut, andj
then the hone
nd forth and creating   ,
scratching, and it did_f
And    what    about    Grand    Wizard_j
Theodore?
Theodore, Flash, Theodore's the inventor of_
and I give him much respect.^
inducted into the DJ hall of fame.l
Which honour has meant the most toj
you?
Really, the most rewarding is being able to fly tt
Beirut, Lebanon, and take hip-hop there. Being th*
first hip-hop act to fly to Lebanon and play to the kids I
in Beirut. It was incredible, you go there and pe<
[are] in biker boots, tight jeans. They're into tec
music and dance music, electro. After we perform, I
we plant a seed and we flew back there, ever)
[was] wearing hip-hop hats; everybody thought theyj
had to get a name chain like me, they were copying 1
our tricks.
So where haven't you played that youi
would like to play?
I don't know. Cairo, Egypt. The only place I haven't|
So what's a tweak?
A tweak scratch? When I pull the plug from the wall
the turntable and the record drags and it's powerles
So I'm manually controlling it with my hand.
And   you   invented   that.   Did   you   give I
yourself the name Mix Master Mike, or was I
it given to you?
It was given to me, by a close friend who's like,
here with us today. I went to high school with
back in 1985.
He just decided that you were the master, I
he said, 'You're the master, you're the mix!
master!'
That's what he said, yeah. Three Ms. It's always b
Two more questions. What do you think are I
the most innovative, promising trends in the I
future of turntablism?
I'm taking it to video games now, branching out, |
making video games out of the music.
Then, interactive media might be one of the I
promising     trends     in     the    future     of I
turntablism?
Yeah.
So you're going to do a video game, where I
you get to make your own Mix Master Mike |
song?
No, right now I'm doing a snowboarding game with I
a   company;   they're  going   to  actually  mak
snowboarder that looks just like me.
Are you big into snowboarding? Have you I
visited our Canadian 'hills' yet?
No, I want to.
What else does the future hold for Mix|
Master Mike?
A movie. Yeah, I'm directing and doing the scor*
a horror movie.
Oh really? Can you elaborate?
Not really.
Is it going to be scary?
Oh    yeah.    Serial    Wax    Killer    stuff.    Yeah.|
Yeah. Yeah. • Palinkas
Eats
We arrived at DV8 at ten
o'clock on a Wednesday night
to find it almost packed. This
ildn't have been so bad in
nd of it-
ad to sit in the upstairs
he upstairs is hot, smoky and
iped for space — not too
different from the dox
when I think about it. When (
finally     arrived     .
the first round of drir
and appetizi
nd a few ciga-
Not bad for ten dollars.
Looking back n
say that my dining experij
at DV8 wasn't bad at all My
drinks were good, the food was
tasty, and the portions were
than adequate Of special
though, was the service
Every time the server walked by,
one of us ordered s
He was a good sport about it
■idering he had to carry stuff
up the sta
One of us was also one of those
finicky diners with tons of questions, complaints, and requests.
There weren't that many hipsters
there, and the DJ they had spin-
too bad
either. Considering all that we
ate and drank (three appetizers,
four entrees, three desserts, four
s, a bottle of wine, three
>chas, I
i pints of beer), the bill
:r two hundred dollars
asonable, espe-
iidering my share was
plus tip. • Das Book
fateful night" that mi
story worth reading
s journey through
sad  of  the
I abuse she
suffered, the dire
ROBERT BUDDE
Misshapen
(Newest)
YVONNE JOHNSON AND
RUDY WIEBE
Stolen Life: The Journey of
a Cree Woman
(Alfred A. Knopf)
Rudy Wiebe, besides being
one of the finest writers in the
country, is one hell of a mentor.
The man is not only prolific at
turning lines, but helping others
turn them as well. Two cases in
point: Misshapen by Winnipeg
writer Robert Budde, and
Stolen Life: The Journey of a
Cree Woman, old Rudy's collaboration with Yvonne
Johnson. Each book is clearly
prairie ... clearly Rudy, but distinct enough to be valuable
Budde is a sweet, sweet
guy from 'Peg city who, coinci-
dentally, taught me when I was
a starry-eyed first-year at the
University of Manitoba. He's
responsible for getting me interested    in   writers   like   Rudy
Wiebe and Aritha Van Herk.
interest that I'
but I'll ji
and tell you i
book. It i<
magic re*
-i asshole
ally |
No shit. Equal parts
nd metafiction,
engaging tale involving a turn-
of-the-century freakshow. Based
partly in reality, factual characters like Jojo the Dog-Faced Boy
and the Bearded Lady become
fictional in Budde's imagination. Budde writes revolutions
and births and deaths into their
histories and makes their stories
as fascinating as they probably
were to the multitudes who
once ogled them. What Budde
makes clear, though, is that running off and joining the circus
made out to be. The tired, hungry, exploited performers had
to put on a different face for the
crowds but, behind the scenes,
they were fighting a monumental battle with the Barnums and
"% Jkflre !_0(,r pareots... get dreads!
I worry bo/ ^z
DMDfAX .ii
'***      iKrt'Sog
tioned. With the help of the old
man from Edmonton, she has
produced a book that echoes
the work of Rigoberta Menchu
Woman has recently
released in a paperback
,n from Alfred A Knopf
:an be purchased at all
BY GIBBY PEACH
the Baileys It's this sort of working-class heroism that I found
particularly appealing in
Misshapen. But that's not the
only thing: it's wonderfully written, brightly imaginative, and a
sure sign of more great work to
come. Even better, it's available
from a small, independent
bookseller called Newest Press,
based    in    Edmonton.    Rudy
significant role in Newest and
has used his Midas touch to
help Budde turn this thing into
gold. Hopefully, folks will pass
by the latest Mordechai Richler
or Margaret Atwood and pick
up some real CanLit. Toronto
sells enough books. Prairie
Pride, kids. Prairie Pride.
Stolen Life is a little bit different. Rudy didn't proofread.
He didn't edit. He helped write.
Yvonne Johnson wrote. She is
currently in prison serving a life
sentence for first-degree murder. Yvonne doesn't deny her
crime, so it's the harrowing
story of what led her to "that
important
read. Forget Old
Man and the Sea,
this book is a real
story of hardships
endured
Yvonne's edi
be  described
best. Her inte
other hand, c
in its ability to expose the injustices    faced    by    indigei
n throughout the world.
n the       And it's wonderfully written.
ques-       Stolen Life: The Journey of a
folks
Rudy
works. He gives the little
a chance, and that's why
Wiebe is champagne.  •
do you want toboa f\i>\^..
TiJ.kT   «A_^_,^e  r<^=~,   _;t*,
Irtftfp"
roortiZ^   sub budbLtia   txhc   &2Z.y>JJ • bvpylp*
Bra
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Wholesale Inquires call 250-537-0058
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iss^gaaiss VANCITY'S 1st AND MOST COMPLETE HIP HOP SHOP!
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" « » « ■ -%' ■*_■* mr    ■* C -
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CDS, TAPES, RECORDS, CONCERT POSTER
AND MEMORABILIA
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the dark and haunting musical companion
to the scariest movie of the year.,.
listen with the lights on.„
O&6sound
wvAv.ams.ubc.ca/media/citr/discorcl/discord.htm Under
Review
ANGELS OF LIGHT
New Mother
(Young God)
Wim van de Hulst's photos for
this CD depict dead earth and
lush, choking vegetation.
Michael Giro's musical arrangements likewise run from stark to
unthinkably baroque. When the
brain and voice behind Swans
decided to write a love song —
an album of love songs — for his
estranged and departed
Jarboe, he recruited a battalion
of players and more instruments
than can be listed. Nonetheless,
even the most thickly layered
songs seem quiet and lonely.
This is partly due to a country
aesthetic which brings to mind
the eerie deadness of certain
American folk art forms. I have
to laugh at myself for comparing
New Mother to Shaker cabinetry
or Mennonite quilting, but the
association sticks. Giro's work
has become startlingly introspective and graceful over the past
couple of years (anyone who
has heard the Body Lovers
will agree) — even his lyrics,
which are often embarrassingly
heavy-handed and Gothic, come
across as less blatant. The country atmosphere feels authentic
even when peppered with synthesizers, tabla, xylophone, and
dulcimer. Those acclimatised to
the oppressive darkness of
Giro's earlier visions may find
themselves dazzled by the relative brightness and potential of
these new songs.
zkray
BEDSPINS
Oral Exciter EP
This one totally came out of right
field — or should I say the right
coast? This extended player from
Halifax quartet, the Bedspins,
came out late last year and has
not received a lot of press anywhere in Canada, which is a
real pity.
Singer/songwriter/guitarist
Charles Dickinson has a real
knack for writing self-deprecat-
ingly trad prog-pop lyrics and
music which jets you back to the
when every schmoe with a guitar decided he/she would
release an album, and, for some
wacky reason, it seemed to work
both aesthetically and aurally.
The fine lead guitar work by
Chad Murphy — cousin of
famed Murphy Brothers, Chris
and Matt — adeptly leads this
short six-song (and one secret
ALBUMS • ZINES • RECORDED MEDIA
track) album through blues- and
country-tinged rock and pop and
a quirky surf instrumental called
"Strange Days Revisited."
The addition of Dawn
Hatfield's (of Johnny
Favourite Swing Orchestra
fame) baritone sax on "Here and
There" and "Hey Mama" makes
these tunes feel like a cross
between the music heard at the
blues pub our parents now
spend their weakends at and
early '80s art-rock jazziness.
The Bedspins is more or less
a studio band at this time, but I
am really looking forward to the
day leadman Dickinson decides
to yank the Bedspins out on a
tour. The band's cheesy enthusiasm is that infectious.
Spike
ERIK BELGUM & INERTIA
ENSEMBLE
BLOddER
(Innova)
I have never reviewed spoken
word. This is odd, considering I
am majoring in Creative
Writing. I never really thought
about mixing sound with word.
Well, I had, but I thought that
was a good opening sentence.
And it's not a bad opening sentence is it?
BLOddER I have never
heard of before. My instinct tells
me that the creators of this project are from the ultra-postmod-
of
that
deconstruct everything from
image to sound to word to CD.
I like that. A lot.
The sounds are honestly
pretty neat; the over-lay of
words, schizophrenic repetitions,
returning to old sentences over
and over again like they're layering the very fabric of the nar-
The sounds focus mostly on
violent crime. The first two tracks
are specifically concerned with
death and the pointlessness of
nience store is held up, someone's life flashes before their
eyes Someone else dies when a
police car runs out of control and
Mig
up onto the side walk.
An interesting aesthi
One might go as far as
gest that this project is the
Natural Born Killers of spoken
word. It's as good a metaphor
The CD itself (it's a double,
by the way — 99.17 minutes of
deconstructionalist spoken word)
is perfectly packaged: the cover
art depicts a person recorded on
black and white photo capturing
the malaise and disassociation
of humankind with its surroundings and the angst of being a
white male in North America.
Yeah, whatever.
Anthony Monday
DEERHOOF
Holdy Paws
(KRS/5RC)
Hey it's Blonde Redhead, but
more prog, and they sound pretty boring. Wait a minute ... this
band is called Deerhoof This
band puts out Olympia-styled art-
rock, complete with lyrics that
make no sense at all, high-
pitched vocals, some grainy guitar licks, and odd rhythms.
Unfortunately, I find that the
ideas within their songs don't fit
together properly or flow well at
all. They're too long for what
they are, and well, they don't do
anything for me. To put it bluntly,
Deerhoof sounds like they have
a good idea of what makes for
good songs in their genre, but
they don't meld together very
well as a band, and thus they
are not very nice to listen to on
Chris
FOLK IMPLOSION
One Part Lullaby
(Interscope)
Lou practiced for this
going the luxury of wr
recording as they hav
I, John &
sounding than anything w
heard from the Folk Implo*
there are more
reviews on page 22.
yes there are.
 Lineups ^
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°ggiro*f OTRposse!
automatic Slim
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PRESENTED BY:
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CUSTOM DRUMS
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GRAPHIC OeStQN      t,\;;: ■_
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CRRFT5MRN
TATTOOS'
21 St£ga]5l3& i told you there
were more reviews
here, non-believer.
kinkin
Dare
Moment of Truth. Plus there
Surprised, os well as the lurking
angst of the Kids soundtrack
stuff, and I guess that it's a testimony to the character and skill
of these very fine musicians that
One Part Lullaby is more folk
than implosion If /ou're anything like me you like yr meat
done RARE or just RAW (those
are metaphors — I'm a vegetarian). But I wasn't disappointed.
Instead of having an overcooked mess on my hands, One
Part Lullaby is tender and Havour-
ful I love metaphors, don't you?
Hancunt
FRANKLIN
franklin
(Tree)
Pennsylvania's Franklin play
decent post-punk with an obvious reggae/dub influence. This
band has been around for quite
a few years and it seems that
time has definitely had an effect
on their sound. Originally a very
screamy and energetic band
with more of a punk side to
them, Franklin has gone for more
of the long jam-out oriented type
of songs on this effort. This is not
a far cry from June of 44's last
two albums, but Franklin's take
involves less artsy noise and
more lyrics. The thing I've
always liked about Franklin is
their distinct vocal harmonies,
ond on a number of tracks on
this album they show off their
voices, particularly in the super-
catchy "Major Taylor," which
combines an excellent dub
bassline with some good lyrics
and an inventive vocal harmony.
The album as a whole doesn't
really keep my attention the
entire way through, but every
song does have its moment. If
you haven't heard this Franklin
yet and are into dub-influenced
indie-rock, this might be worthwhile listening.
Chris
GANG STARR
Full Clip: A Decade of Gang
Starr
(Noo Trybe)
It's been out for a while, but I'll
give you the run-down anyways:
Full Clip consists of favourites,
remixes, and b-sides from duo
Guru and DJ Premier, aka
Gang Starr. Thirty-three tracks
on two discs (or four pieces of
vinyl) provide a definitive look at
Gang Starr's previous five studio
thre
Like
"Greatest Hits" collections from
great groups, this is a great
album Don't let my redundant
tone spoil that fact. Despite the
fact that lame-os like K-Ci & Jo-
Jo appear on the album (while
way cool "family members" like
Bahamadia do not) Guru's
love of jazz and conscious lyrics
make up for it the entire time His
thoughtful, multi-leveled
approaches and responses to
"bitches" ond "gangslas" provide the proof that some newcomers claiming to be conscious,
like Canibus, are full of shit and
still sucking on their mamas' tits
Speaking of child-rearing,
Guru's frequent references to his
son turn me on big-time Not
'cause I'm trying to make an
incestuous Oreo cookie with me
in the middle, but because there
is something infinitely wonderful
in hearing someone other than
Sinead O'Connor or Will
Smith discuss parenthood.
Hancunt
THE GO
Whatcha Doin'
(Sub Pop)
Stupid rockers Silly boys. How
long is the attention span of
today's youth that they expect us
to still be interested in bands
rehashing the old lock sounds? I
like The Go alright, but I don't
really know if they're anything
So they rubbed me the
wrong way right off the bat by
recording their first song so that
it sounds poorly mastered and
about a million years old. Arg. If
I wanted that sound, I'd listen to
crackly old Kinks records. The
fact that they are so openly ripping off everything good is no
surprise, it's just weird to see
them do it so ... precisely. Once
the sound quality improves, this
CD is a lot easier to enjoy. The
lyrics are trashy and the guitars
are thrashy — you can dance to
your heart's content. This record,
unfortunately, doesn't have any
special qualities that make it
stand out from the current
onslaught of rock revival specialists. It is good, but not great.
No legends being made here,
only stolen from.
Julie Colero
GUIDED BY VOICES
Do the Collapse
(TVT)
Robert Pollard is a big pompous
idiot I hate his guts Everything I
read about him makes me want
to rip the pages up I want to
draw moustaches on every picture I see of him. When I recently saw Guided By Voices in
Vancouver, I was hoping that his
pants would split because they
were too tight for him Robert
Pollard really wants to be a rich
rock star. For Do the Collapse,
he enlisted the help of Ric
Ocasek with hopes of becoming radio friendly
So what about the music?
Underneath the shiny coat, it's
the same GBV Happy, guitar rid-
'    atchy  And I listen to
would be, if it weren't Merritt's
music. You've got your sad love
songs, your happy bits, and a
couple of plain old oddities on
these three discs chock-full of
this
albur
pompous idiot too.
Christa Min
IQU WITH MIRANDA JULY
Girls On Dates
(K)
Before I had ever heard anything
about IQU I was told by our
illustrious Music Director, "They
just kinda play music and chain-
Listening to this single makes
me think al! the smoke has gone
to their brains. Not in a bad
way But there are some definite
weirdly-fun/odd things about
these people. Definitely some
lack of oxygen in the brain cavity. But in a really good way.
Miranda July provides the
vocals while IQU breaks up
some funky shit. Good, odd electronica. The vocals tell the story
of Ms. Sting (pronounced
"Staves") who has witnessed the
bizarre death of Mr. Mosel. The
victim then proceeds to ask the
young Ms. Sting (that's "Staves")
on a date despite the fact he
cannot speak. ("Oh, I get it,
you're building a language, how
cute.") If you are don't understand this review, be thankful.
Get the CD. You still won't get it
I don't think I do.
That's not to denigrate IQU.
No, it's a good thing to make
music and audio art that push
the boundaries of established
modes and tastes. IQU succeeds And they're not just some
crazy folks who smoke too
much, they make some excellent
music. The remix of this single is
beautifully relaxing.
Get this piece of music, if
only to play to your straight-edge
friends to prove how wacky you
truly are.
Anthony Monday
MAGNETIC FIELDS
69 Love Songs
(Merge)
It's no joke: Stephin Merritt has
actually gone and written 69
songs about love. True, all his
songs are about love, but 69 of
them all at once? Yikes. That's a
lot of mushy stuff, right? Well, it
*  There
st five
"hits" on each of the three discs,
plus a bunch of almost real-
goodies I was pleasantly surprised to discover that, of the 69
sary or over-the-top
Even these few excessive
tunes will be welcomed by most
Magnetic Fields fans, who
seem to be willing to take anything that Merritt dishes up and
cuddle it to death. Why? Merritt
is the man with the golden
tongue and the clever sense of
sound, and he knows how to
write a good pop song His use
of  wacky   keyboards,   banjo,
song, either
If you're a Magnetic Fields
fan, you probably already own
this — people were fighting over
the few copies of the box set that
Merge made available If you're
new to the world of Mag Fields,
start with disc one and collect all
three. You'll all have Merritt's
painfully catchy lyrics embedded
in your heads in mere seconds,
and you'll be much better off for
it.
Julie Colero
THE MICROPHONES
Don't Wake Me Up
(K)
When I was at YoYo a GoGo, I
lost count of how many bands
Phil Evrum played in. The
Microphones is kind of his
solo project. Evrum is what
Leonard Cohen would give
birth to if he could breed with a
drum set (He sounds nothing
like Cohen's real son.) Don't
Wake Me Up is full of quiet
noise, distorted/acoustic guitars
and accordion loops. The back
bond v,
rt of out of
tune, but they're charming. I
remember seeing the
Microphones perform: Phil and
friends huddled in a circle, sharing a microphone, singing an
Eric's Trip song. How nice.
Christa Min
NO KNIFE
Fire     in     the     City     of
Automatons
(Time Bomb)
No Knife are not breaking any
new musical ground or blowing
any minds with their guitar-led
(and for lack of a better word)
"emotional" indie-rock, but for
what they are doing they are
definitely doing a great job. Fire
in the City of Automatons is
made up of completely catchy,
melodic songs with very inventive, dueling guitar hooks and
full-sounding vocals. Each of the
12 tracks sounds like No Knife
has spent a lot of time and care
writing  it,  they have a great
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22 October 99 knack for playing indie rock that
flows really nicely. Their music
portrays a sense of urgency without resorting to (often unnecessary) screaming, cheesy
power-chord choruses, or overly
earnest lyrics. This is what I
would venture to call rock that is
quite polished, definitely tasteful,
and somewhat guitar heavy, but
still very easy for almost anyone
to listen to. Good stuff!
Chris
OCOSI
[IN]
(Negative   Air   Research)
Paul Molyneux and Simon
Smerdon pretend to be Ocosi.
Meanwhile, Mick Harris mails
in his drum bits and gets to be
the invisible English master
behind an otherwise Canadian
dark rhythmic release I like Mick
Harris. I never listened to
Napalm Death and there
were a couple of tedious Scorn
CDs, but he's done so much
wicked death ambient and
played with so many cool people that I have to plug anything
with his name on it. [IN] isn't the
greatest thing I've ever heard but
it has potential. "Yous" sounds
like one of those unpleasantly
dull Scorn tracks — six minutes
of a single, unvarying drum
beat. Fortunately, "Comascene",
"Bwoing", and "Suck Radius"
are all fine examples of rhythmic
sombience. It doesn't stand up to
half of Harris' original work, but
such is life.
zkray
JOEL R.L. PHELPS AND THE
DOWNER TRIO
Blackbird
(Pacifico)
Joel R.L. Phelps is the best songwriter in the entire world.
Christa Min
RED HOUSE PAINTERS
Retrospective
(4AD)
Before y'all rush out to get this
new  Red  House  Painters
record, you should probably
know that it's one of those
"greatest hits and other miscellaneous scraps" albums.
Retrospective is a double CD
representing the band's 4AD
years. The songs on disc one
were selected by 4AD from their
own releases, while those on the
second disc — demos, live
tracks, and out-takes — were
selected by the band's Mark
Kozelek.
I suppose disc two is meant
to be a privileged peek into
Kozelek's own personal shoebox
of warbly cassettes and long forgotten master tapes, but I'm
more interested in listening to
disc one's more familiar album
tracks, whose highlights include
the charismatic Kiss cover,
"Shock Me", and hypnotic epics
like "Drop" and "San
Geronimo."
In small doses, the songs are
thoroughly engaging and
Kozelek's voice is, to quote the
liner notes, a "natural wonder."
But listen to Retrospective's entire
two and a half hours at once
and the 1980s style production
(chorusy guitars, overused
delays and reverbs) becomes
aggravating, the songs don't
capture the listener like they normally would, and Kozelek's
beautifully dreamy voice seems
dreary and monotonous.
Retrospective's first disc is
an adequate summary of the
Red House Painters' 4AD discography but I find disc two more or
less a throwaway. The live and
demo versions of album cuts
generally differ surprisingly little
from the released tracks. If the
outtakes were really that great,
they probably would have found
their way on to an album by
Wow, I guess I'm sounding
a little harsh in my critique I really do love the Red House
Painters; I'm just more interested
in their future than their past. I'd
much rather hear some fresh
material than assorted leftovers.
If you care to check out
Retrospective, be sure to listen in
moderation.
Fred derF
RHYTHM ACTIVISM
Jesus Was Gay
(G-7 Welcoming
Committee)
Jesus Was Gay is (if you buy
into the liner notes) at least the
37th release from Montreal poetry/music collective Rhythm
Activism. Founded by Sylvain
Cote and Norman Nawrocki in
1985, these cats specialize in
politics, humour, drinking, playing those rubber band things
you put in your mouth, and just
generally causing a scene. The
music is a kind of folky, circussy,
gypsy-like chaos with a lot of fiddle and very little bona fide
singing, so you may want to listen to this one before committing
to a purchase. If, however, you
can get into the leftist anarchy
and good-times humour of the
lyrics, oil else will slip away into
irrelevance and you'll be begging to support the movement.
Besides, at $1 1 through the
mail, you can hardly afford not
Jamaal
ROAD RAGE
Nothin' to Declare
(Radical)
Being a Martin myself, I must
give this band points for writing
a song with lyrics like, "You
know he's coming round your
place/ And he'll be coming in
your face/ Old Martin what a
cool guy" as Road Rage does
in the song "Smarmy Martin" off
their first full-length release
Nofhin' To Declare. This album,
originally released in Europe by
Bomb Factory Records, has been
re-issued by the American
oil/ska/punk label Radical
Records (home to Blanks 77,
Social Scare, Inspector 7,
etc.).
Road Rage describe themselves as "'77 style English
punk" — a description I'd agree
with — but the sped-up tempo
and grade school sing-song choruses that surface on certain
songs are rather more characteristic of a band signed to Fat.
This record is certainly well done
and easy to sing along or wave
your fist to, bar the questionable
lyrics on track 3 ("What's Your
Gender"). However, it does not
necessarily stand out from other
fast-paced, drinking, fighting,
obnoxious English punk bands.
If the Exploited were to force
themselves upon the Toy Dolls
(who from the union would have
a baby which spent a lot of time
in the orphanage with Snuff)
you would have Road Rage.
Fartin
SQUAREPUSHER
Maximum Priest EP
(Nothing/Warp)
And in this corner, Tom Jenkin:
(aka Squarepusher) starts
with the most slow, melodic,
echoing track I've ever heard
from him. Sounding like a cross
between Pole (without the bass)
and a funeral oration, the heavy-
handed marching of the song
lines up mourners in black at the
death of the nation's favourite
android. The echoing sounds are
apparent in the title — "Our
Underwater Torch" — and then
move on into the more familiar
d'n'b of "Decathlon Oxide " A
somber, pallid mist is cast over
all of these tracks. Death mood
Underwater death, being suffocated by strong-armed scuba
divers. Piono chords and humming, rotating washes drift in
and out of a morphing, sometimes junglish, sometimes
Autechre-cold analogue-ish
d'n'b/breaks drum patch that
sucks the listener down beneath
the subterranean depths of the
deepest ocean canyons. At the
bottom, you discover a demented lounge-party featuring all
your relatives in '70s polyester,
as apparent in the loungey-slow
odd quirkiness of "You're Going
Down," a song which comes
complete with utterly fucked Mr.
Bungle-styled bass guitar and
vocals. "Cranium Oxide" sounds
like a torture session with a car
battery, while the AE mix of
"Two Bass Hit" continues on in
the same off-key underwater
glockenspiel-beat fashion, and
the Yee-King mix of "Circular
Flexing" ends up winning as the
standout track, working the same
underwater sounds, pushing
them to the background of the
eerie complex intelli-d'n'b which
becomes rife with squelches of
the glow-in-the-dark-deep-sea-fish
kind. Sharks unite!
Tobias
VARIOUS ARTISTS
Soundtrack:
Enterprise
(Unforscene)
What is this? Where is this
movie playing? Why does it
have William Shatner rapping a monologue from
Shakespeare's Julius Caesar?
Isn't Duran Duran dead?
Bertine? Manufacture with
guest vocalist Sarah
Maclachlan???
Stop it. Just stop it all now.
I've had just about enough.
Anthony Monday
udtai tke diAc&ide/i mo^Jze^i Uitested to-:
anliaa and cam&um, ant keU,kecUle£,{te<u4, pumd, lua UIwwaJu dmunAtnack, bu,
daaUd lm^,c(Hl,ev&,lfUqaft,li&aAt^^ to- betiy, Incnbalti&n-, macy anay, mecca
msimal, milteumm pAaject, new- had tkmcfA-,piu^d/iee, public imaae ltd.,
dupencHOKk,tiU, tmdenAticJzi, w~eakentkani, and a wJwle lumcli af otketi din^- that
li hand, to- nememb&i at //:35 p<m.
goods for the
urban
reuolution
motherland
2539 mam st.
uancouuer, be
604.876.8721
OCTOBER
LISTINGS
FRIDAY, OCT. 1
SUBSTANCE
CHARLIE DROWN
HARDWARE SPEED
RELIGION
SATURDAY, OCT. 2
TOASTERS
EASY BIG FELLA
SUNDAY, OCT. 3
SPEEDEALER
JP5
FELCHERS
TUESDAY. PQ. 5
BLINKER THE STAR
LEETCHDRIVE
THE DIRTMITTS
THURSDAY. OCT. 7
ABERRATION
MODUS OPERANDI
FREAKS OF NATURE
FRIDAY. OCT. 8
THE GET UP KIDS
CLOSED CAPTION RADIO
ALL STATE CHAMPION
SATURDAY. OCT. 9
GOD AWAKENS
PETRIFIED
G.R.A.V.E.L.
TRACTOR
WEDNESDAY. Oa. 13
DON CABALLERO
KAREN FOSTER
SAUL DUCK
THURSDAY. Og. 14
SQUARE THE CIRCLE
SAM
VERSION
FRIDAY, pg 15
VEAL
OH SUSANNA
ZUBOT & DAWSON
SATURDAY. Og 16
WILLEM BREUKER
KOLLEKTIEF
MONDAY, OCT. 18
JAILBREAK V WITH DJS
SLIM, YANN SOLO
& JASON HOPE
TUESDAY, pg 19
STRANGEFOLK
THURSDAY. Og 21
TEMPLAR
FRIDAY, OCT. 22
BOCEPHUS KING
TIME WAITS
SATURDAY. OCT. 23
FREAKWATER
GIANT SAND
SALLY TIMMS
MONDAY, Og 25
STEREO TOTAL
THURSDAY. OG. 28
BLONDE REDHEAD
THE BLACK HEART
PROCESSION
TWO TON BOA
FRIDAY, Qg. 29
JOHN POPPER
SATURDAY, Qg. 30
METAL DE FROMAGE
SUNDAY, Qg. 31
ROY PATTERSON
2?.E[^»S®SB Real Live
Action
LIVE MUSIC REVIEWS
HERBALISER
Thursday, August 26 and
Saturday, August 28
Sonar/The Rev, Edmonton
I like the Herbaliser a whole
lot. Everything they've ever
recorded, I dig This was my
heodspace as I headed out to
Sonar to see Jake and Ollie
and their eight-piece band. Of
course so did the entire population of Vancouver Admittedly,
when a show is disgustingly
packed, I don't have as much
fun It's hard to see what's
going on, it's hard to dance
and everyone is all slimy with
sweat Some people, however
think seeing live performances
like this is more fun, not me
(even though I did get elbowed
by one of the "stars" of Breaker
High]. Anyway, my grumpy self
edged my way up to where I
could see the Herbaliser busting out Instantly I knew why
they were the hit of the
Montreal International Jazz
Festival: a percussionist was
going crazy, the horn players
were great, Jake was hiding in
the background and Ollie was
behind the decks.
Unfortunately, from where I was
thing Ollie was doing, no samples floated my way The
Herbaliser was tight and it was
exciting to hear "Mother" and
"Ginger Jumps the Fence" performed by a full band. They
played a short set thanks to jet-
lag and Roots Manuva s
cancellation, so the night
ended early.
Then, two nights later, I
was lucky enough to see the
Herbaliser in good ol' E-town
(that's Edmonton, not a druggy
haze of ecstasy). The venue
was smaller, the city houses
fewer hipsters, and I was able
to comfortably watch the band.
I could even see and hear
Ollie, definitely my favourite
member of the Herbaliser. They
were just as tight and played
the exact same set but, because
I was in a better mood, I loved
them a bazillion times more.
They made me wanna dance,
not scowl. Another cool thing
about the Herbaliser is that
even if you don't like what
they're playing, they're such
talented musicians that they're
awesome to watch anyway.
Viva the Herbaliser!
Tesla Van Halen
THE SMUGGLERS
PANSY DIVISION
THE CATHETERS
Saturday, August 28
Piccadilly Pub
I've never really listened to the
Catheters in the past, but I
think I may start They failed to
motivate the crowd, but they
did play some good rock and
roll  I had a little trouble getting
"Manada" to "Dick of Death'
to "Bad Boyfriend" with overh
■cdotes       ir
ahead only as a formality It
was one of those pretty sad,
bad aftertaste, "is rock and roll
dead in Vancouver?" kind of
finales You known what I'm
talking about
Jamaal
MOGWAI
GANGER
Wednesday, September 15
Starfish Room
Donning their wooly sweaters
and Poinde;
from across the
Lower Mainland surfaced en
at the Starfish Room to
hear   the   latest   in   so-called
Glaswegian post-rock.
Ginger'",   and   I   can   only
imagine he was joking.
Ganger opened amidst little hoopla with Natasha on
bass, Craig on guitar, Stuart on
keyboards and both James and
Pat the bus driver on drums.
Their first few songs were of the
familia
niety:  quiet guitar
s building into heavy bas;
riffs, mile-a-minute guitar slashes and machine-gun drum rolls,
and   then   settling   back   into
_     ar    dro
Ganger has built a repute
around the ol' guitar i
do,      and      they      c_    _
unleashed its full potency on
this  night.  Many  songs,   like
"Cats,    Dogs    and
Babies' Ja
"Upye",
upward of I
utes as Crc _
Natasha threw themselves into extended
jams.  Wobbling to
and fro like so many
into their performance on the
account of my inability to see
the stage and the constant chatter of clearly unimpressed pan-
sies sitting all around me, but
they still warrant further investigation. Just a note to all you
local bands: when opening up
a multiple band show, insulting
the audience for their lethargy
is neither an intelligent observation nor a good way to whip
up cowd support.
They worked it, they owned
it, they took it home. Like a gay
Chixdiggit with a little less
blow and a little more polish,
Pansy Division had the
Picadilly Pub in their back pocket. Their music was poppier
than I had anticipated, but they
sounded fantastic Their set
flowed       seamlessly       from
With my brand
to the Core 7" safely packed
away in my bag, I was ready
for the main event, but let me
tell you, I was in no way envying the Smugglers' position
following Pansy Division. It was
going to be difficult, but
Vancouver's own seemed ready
to rock. Rock they did but, alas
and alack, the crowd wasn't
with them. Maybe too many
people left before their set, or
maybe their aging fan base just
was, or maybe their most enthusiastic supporter had such a
small penis he felt the need to
push unsuspecting frontliners
onto the stage until there were
no more people on the front-
lines. Whatever the excuse, the
vibe died. Their encore went
Although tens of thousands of
miles away, Glasgow and its
musical ambassadors have
developed a very large (albeit
self-consciously composed)
Vancouver following. Belle
and Sebastian, Looper,
and bis are just some of the
celebrated Scottish acts to have
filled the Starfish Room within
the last year. And following in
the musical foot-steps of such
other bands as Slint and
Eleventh Dream Day are
now Mogwai and Ganger.
These two bands are lending
new credence to a very old
Saturday Night Live quote ("If
it's not Scottish ..."), and a full
house on a Wednesday night
testified to that fact. Only once
"Ganger? I
Cudahy, who
hawked CDs and
"Blur are shite" t-
shirts between drum
sessions, and presumably drove the
tour bus to and from
the gig.
After a short change of
sets, Mogwai appeared
onstage and eased into "BMX."
Looking much like the first portly cuts of a church league
rugby squad, Dominic, John,
Stuart and Martin were content
to lounge unemotionally about
the stage. Martin banged the
skins in the shadow of an amp
stack, and John played much of
the show seated with his back
to the crowd. But Mogwai's
music betrayed their apparent
detachment; songs like "Stanley
Kubrick," "Ex-cowboy,"
"Cody," and "Helicon 2"
soared in spite of it all, and "X-
mas Steps" gave new meaning
to crescendo rock. Sadly, much
of the audience seemed bored
by Mogwai's slower bits, and
the floor was more conversation area than viewing area —
which made me wonder, "Why
pay good money to see
Mogwai if all you're gonna do
is blab?" Sure, Mogwai may
not have the stage theatrics of
Van Halen or the Jesus
Lizard, but they do play some
pretty rod tunes worthy of
everyone's attention. At least
nobody was sitting in front like
preschoolers at a puppet show
(how lame is that indie trend?).
Mogwai finished the show with
"Mogwai Fear Satan" and a
final, ear-popping assault of
guitars that damn near tore the
heads off of the first few rows
of audience members There
was no encore and virtually no
demand for one The second
star of the night was guitarist
John Cummings who had
injured his hand in Seattle on
Tuesday (twelve stitches!), and
yet played on.
Jamie Maclaren
CIBO MATTO
RADIO
Saturday, September 4
Starfish Room
Radio .    one  word:   agony.
You're not cute or funny. People
already   wrote   "Fishheads,"
"Da    Da    Da"    and    "Planet
Claire," so give it the fuck up.
By   the   way,   stop   singing ..
please.
At this point in the rather
long day I wanted stupid fun or
a nap, and besides a few good
basslines or keyboard bits I
was getting neither. The ability
to disguise your intelligence as
a rump-shaking good time is far
more difficult than it is to show
artistic maturation, or so it
seems. However, a fit of inspiration struck Cibo Matto in
the fifteen or so minutes prior to
exiting the stage and all was
right with the world. Even the
misguided good heartedness
which brought the openers
back on stage to provide
vocals didn't wipe away my
smile. Encores are ludicrous as
a rule and it was time for that
nap, so maybe you can ask
one of the less discerning members of the packed house how
that went. . surely not as well
as the real end of the set.
Sean Elliot
VANCOUVER NEW MUSIC
Countdown: The Odd and
Even Decades
February 13, 1998 and
September 18, 1999
Hotel Vancouver Pacific
Ballroom
Ther
culture
s that
we remember not because they
were perfect, but because they
were presented with perfect
integrity. The nature of
Vancouver New Music's
Countdown concerts, with their radical relationship to the mu
cal material, worked. Mus
representing every decade
the twentieth century w*
explored in two 6-ho
evenings. Owen Underhill
conducting was magnificent, i
Canadian contemporary mus
The players were also at th
compilation: Greatest Hits of
the Twentieth Century. Instead,
they attended something more
bition; good, great and novel
pieces were each heard as
genres unfolding over the last
hundred years. Listeners disagreed about what strain of
music was legitimate, which in
turn meant a cultural dialogue
was in progress on and off
stage. Such banter is not abundant in Vancouver; we find it
easier to admire our flora and
landscapes. If any recent project equaled these concerts'
healthy and constructive influence, it needed a better press
agent. Music lovers in the
Lower Mainland must familiarize themselves with Vancouver
New Music and their mandate.
With such an organization in
this city, there is no risk of
being cut off from the world of
contemporary music.
John Keillor
KELLY JOE PHELPS
Friday, September 1 7
St. James Community Hall
One chair, one mic, no opener,
no backup: apply any stripped-
down-straight-no-chaser cliche
here. Before the music, we all
packed into the pews of this former church like eager sardines
(enjoying more than a little
heretical freedom by drinking
beer in the kidney-bruising seating] Kelly Joe Phelps wan
dered out on stage in his
characteristic longshoreman
wear, and from the first tuning
e transported to
e place where feeling
without
:r felt so good.
f the
badn
Most ot the songs
from his latest disc, Shine Eyed
Mister Zen, but he played some
old standards (like an intense
and slow "Limn* Track") and a
few unreleased new tunes.
Kelly Joe quipped after the first
song, "If you get to the end
standing, it's a happy song,"
and it's true that he is the master of the murder ballad, the
train-leaving-the-station blues
and old weepers like a hypnotic version of "Good Night
Irene". What sets him apart
from other country blues guitarists is his dense, freeform
guitar style coupled with a blurry voice like a perfectly pitched
groan. His tunings are dark
and moody; occasionally he
ng a beat This
I the first time I've
er a year, and he
even indulging in some Glenn
Gould esque humming along
with the lap steel riffs. Those of
us lucky enough to get in were
deeply moved. As for the rest
people didn't seem to know
what to make of Meme
America. I think I'm in love
The Automaticons, a
very "rock" band from LA featuring Tamala Poljak (of
Longstocking) on guitar and
vocals, were a little too heavy
lal for my tastes
Their   double
uitar   i
lault
while he's
II playing
THE NEED
THE AUTOMATICONS
MEME AMERICA
HOTEL 6
Saturday, September 25
Trout   Lake   Community
Centre
made the community centre's
reinforced windows shake but I
was too keyed up, breathlessly
anticipating the Need, to care.
I find it very difficult to
overemphasise how good the
Need is. Hyperbole tends to be
met with disbelief. Despite the
fact that this was my third time
seeing the Need play live, I felt
like a wide-eyed innocent,
newly seduced and transported
Everyone at this show looked
so young and unwashed; it was
great. Hotel 6 was a trio of
young-looking ladies playing
Bratmobile style guitar pop.
pletely dead for all but the very
last song. Nonetheless, they
seemed cheerful and confident
and impressed me a little.
I'd heard a few' things
about Meme America:
vague whisperings and such. I
know they played this year's
Olympia Women's
Mudwrestling (which, sadly, I
had to miss due to previous
commitments). I was very surprised and delighted by their
short and   innovative  perfor-
playing keyboards and
singing, the other on guitar —
played chilling, often brilliant
prog freakiness in near-total
darkness while a small television set showed their film. The
movie, they said, was about
"the first baby born to two
women." Slide guitar and slow
synthesized beats lent the music
a scary, hypnotic quality. Most
by their magnificence. Rachel
and Radio, looking very cute
and dirty with their matching
tattoos, sliced unstoppably
through a mess of new songs.
Even "Girl Flavoured Gum," the
only Need tune I've ever considered sub-standard, sounded
perfect. Expertly executed
death metal riffage, lots of
starts and stops, flying cymbals,
all  the
e best
ind   adorable   bai
i  them
have their babies.
r \.
we're so
dumb.
apparently, the photograph of
pavement @ the vogue in last
month's real live action did not
depict pavement at all! it was
a picture of us. maple, you
see what happens when you
put flakes in charge of a mago-
zine?
s y
^TlNEUPS ^
OctpBer\i9
Unqeraj_i|-*_5	
watcliprheCh^^nets
Rou*^d^Vr^*4j
Oqt^b^r 26
The^yrf*ftonaS
the CiTR   Automat,c^«m
bands wifh
PRESENTED BY:
Thunderbird Radio Hell
Your name... Your -band... Our shirts
iruana... wur siuns V      *- fl    J
f_ffie.W
CRRFTSmN
•nmaosf -°
26 smsmmmi CiTR
Charts
WHAT'S BEING f
oct&kesi Ixmcj, auuji
1 clover honey
2 jerk with a bomb
3 tricky woo
4jp5
5 flashlight
6 bis
7 stereolab
8 various artists
9iqu w/miranda July
lOu-ziq
12 various artists
1 3 brokeback
14ocosi
15 wooden stars
16 the folk implosion
17 the neanderthals
18 quasi
19 the pietaslers
20koolkeith
21 the chesterfield kings
22 isotope 217
23 marine research
24 julie doiron
25 guitar wolf
26 superchunk
27livehuman
28 saddlesores
29 demolition doll rods
30 v/a
31 the hate bombs
32 John southworth
33 sarah dougher
34 sackville
35 ursula 1000
death to false metal
social dancing
cobra and phases group.
all points in
girls on dates
ndependent
■ven segment
sonic unyon
udden death
double a
grand royal
elektra
royal astronomy
dominie radio        transsiberian kitchen
field recordings... thrill jockey
[in) negative air research
the moon mallock
one part lullaby inlerscope
modern stone age family        sundazed
field studies up
x tape #6 hellcat
ruffhouse
lost in space
where the action is!
utonian automatic
sounds from the gulf stream
julie doiron & wooden stars
jet generation
monostereosis
lovecursed
tla
hate people Ii
hunt you dowi
sedona arizor
day one
the principles
sundazed
thrill jockey
k
sappy
matador
fat cat
empyre
matador
dionysus
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "October" charts reflect airplay over September). Weekly charts can be received via e-mail. Send mail to
ajordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"*
aci&kesi dttant ainul oxdabesi indie kcum jam-
..«. ^k-.—.. ..,:U   »...L„., ~r;rn\ * ___£___ 1   Ar*\i\A   L()_.r fk__  linki rUr%nn**A   k*»fr*.r__   !   ^/miI/***!   k
2 the wontons
3 reflector
4 the disgusteens
5 holly golightly
6 the kamikazes
7 lullaby for the ...
8 the catheters
9 north of america
10 smash up derby
1 1 the angels of light
1 2 solex
13 readymade
14 subway thugs
15 piggy
16 fatal flyin' guilloteens
17 jackson phibes
18 mates of state/fighter d
19 the tentacles
20 quixotic
nothing personal
all-night cram session
ebb&flow
the kids know how
bayonet point
blow all the hell!
praise your name
randy costanza
the block alone
s/t
calypsos to please.
danger west!
old devil moon
split
the touch
s/t
nint
peek-a-boo
paper brigade
longshot
kill rock stars
zaxxon virile action
saddle creek
to rock empty
montesano
zaxxon virile action
young god
matador
endearing
oink!
peek-o-boo
reanimator
black
noise top ten
1 public enemy
there's    a    poison    going    on
2 diggable planets
reachin'
3 black eyed peas
behind      the      front
4 various artists
lyricists'    lounge
5 roots manuva
brand      new      second      hand
6 lou donaldson
cosmos
7 herbie hancock
headhunters
8 charles mingus
blues  and   politics
9 public enemy
it takes a nation of millions...
10 the roots
things fall apart
1 david lester
2 hot hot heat
3 full sketch
4 the radio
7 John ford
8 pepper sands
9 the reverberators
10 (the) polo convoy
11 s*
o'hara
12 les saints
13mr  underhill
14 belle bete
15 saturnhead
16 Victorian pork
17 slough of despond
18 team strike force
19 the yachtsmen
20 money hungry newly
e light changed before i could blink
tourist in your own town
soundtrack
kinder surprise
don't make me sorry
distance
shitkicker
el perro loco
Vincent's victory
no one has a clue but you
ta mere
after the rains
love stains
the red king is gone
uhoh
days marched across november
bomb at the party
catch that summer breeze
barbara's top ton undiagnosed symptoms
1 hurts to focus eyes
2 right foot hurts in a.m.
3 breathing painful
4 mosaic of non-migraineous lights after standing up/sitting down
5 memory loss
6 mortally agonising pain in jaw
7 chronic but unproductive cough
8 locked muscles in upper back
9 left wrist ceasing to function
10 memory loss  On The Dia
YOUR ON-AIR GUIDE TO CiTR 101.9 FM
SUNDAYS
AR£YOUS£WOUS?MUSK 8:30 AM-
12:00PM Allolnmeismeosuredby
its art. This show presents the most
recent new music from around the
world. Ears open.
1HEROCKRSSHOW12KJ0-3.O0PM
Reggae ir.no all styles and fashion
BLOOD ON THE SADDLE    3:00-
5:00PM   Reokowshikaughl-in-yer-
boots country
UPGlOSS&CIGARETTESolt.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 ond lounge. Book your
jet sel holiday now!
QUEER FM 6-00-8-OOPM Dedicated
)  the
gay
lesbia
bxuoI,
and transsexual communities ol
Vancouver and listened to by eve
one Lots ol human inteiest featun
all I
1 and gender
HEUO INDIA 8*O0-9:00PM
GEETANJAU     9:00 10:00PM
Geetanjali features a wide range ol
music from India, including classical
music, both Hindustani and Carnatic,
popular music from Indian movies
from the 1930s to the 1990s, semi-
classical music such as Ghazals and
Bhojans, and also Quawwalis, etc.
THE SHOW 10:00PM-1:00AM
Strictly HipHop - Strictly Underground — Strictly Vinyl With your
■V
hosts Checkmate, Flip Out & J Swing
on the 1 & 2's.
THE CHILL-OUT ROOM 1:00-
4:00AM H.p-hop ond R&B with DJ
Klutch, techno and house with DJ
Decter lotsa great tracks-come smell
what we're cookm'! Stay up late and
listen.
MONDAYS
BLUEGRASS FOR BREAKFAST
6:30-8:OOAM Join your hosts Master T Rudolph and Joe McLeod ol the
clan McLeod for a skillet-lickin' good
olde tyme. The best in bluegross and
down-home groove.
BREAKFAST WITH THE BROWNS
8:15-11:00AM Your favourite browrv
sters, James and Peter, offer a savoury
blend of ihe familiar and exotic in a blend
of aural delights! Tune in and en|oy each
weekly brown plate special. Instrumental, trance, lounge and ambience.
BLUE MONDAY alt. 11:00AM-
1:00PM Vancouver's only industrial electronic-retTO-gorh program.
Music to schtomp lo, hosted by
Coreen.
POP SCENE alt. 11:00- 1:00PM
SOUPEDUJOUR 1:00-3:00PM
Feeling a little French-impaired?
Francophone music from around the
globe, sans Celine Dion.
A WALKABOUT THE WORLD
3:00-4:00PM
EV1LVS.GOOD4:00-5:OOPM Who
will triumph? Hardcore/punk from beyond the grave.
BIRDWATCHERS5: 00-6*OOPM Jon
the sports department for their eye
on the T-Birds.
POLYFILLER alt. 6:00-7:30PM
AUDIO VISUAL alt. 6:00-
7:30PM Critical theory, debate
and dialogue on art and culture, set
to a soundtrack of breakbeat,
worldbeot and other eclectic sounds.
PIRATE RADIO 7:30-fcOOPM For
merly "Love Sucks," now at a new
1HEJAZZSHOW9O0 PM-1240AM
Vancouver's longest running prime time
■azz program. Hosted by the ever-suave
Gavin Walker Features at 11.
Oct.  4:   Such Sweet Thunder  Duke
Ellington's    tribute    lo    William
Shakespeare
Oct.  11:   An 80th birthday tribute lo
master drummer Art Blakey wilh Free
for AIL
Oct. 18: Block Codes From the Under-
ground by Wynton Marsalis and today
he is 38
Oct.  25:   Lionel Hampton, Oscar
Peterson, Ray Brown and Buddy
Rich-say no morel
VENGEANCE IS MINE    12:00-
4:00AM   Hosted by Trevor. It's punk
rock, baby! Gone from the charts but not
from our hearts-thank fucking Christ.
TUESDAYS
X-l 6:00-8:00AM
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM 9:30-
11:30AM   Torrid trash-rock, sleazy
surf and pulsatin' punk provide the perfect scissor kick to your head every
Tuesday mom. There's no second chance
when Kungfu is used for evil with drunken
fist Bryce. Kilfyoal!
TRAGIC ANIMAL STORIES
11:30AM-1:00PM Talesofpuppy
love gone awry, and of baby ducks
crossing the slreet, all backed up by a
sad soundtrack of various indie-rock
bands for your own en|oyment and
education. Cry in your beer please
THE SELFISH SHOW l*O0-2:00PM
BELT OUT THE BLUES 2:00-
3:30PM Music for families and little
HIPS TITS UPS POWER 3:30-
5:00PM Feminist radio the way we
like it.
BBC WORLDNEWS SERVICE 5:00-
5:30PM
RADIOACTIVE5:3O-6:0OPM Activism, issues and fucking up the corporate powers 'hat be.
Fl£X YOUR HEAD 6:00-8:00PM
Hardcore and punk rock since 1989.
http://flexyourheod.vonc ouverhardcore.com/
RADIO ELUNIKATHIKO 8:00-
9:00PM Greek radio.
LA BOMBA 9:00-10:00PM
WITCHDOCTOR HIGHBAU alt.
10:00PM-12:00AM Noise, ambient, electronic, hip hop, free jazz,
Christian better living LPs, the occasional amateur rodio play, whatever.
SUN
MON
TUE
WED
THU
FRI
SAT
reggae linkup
are you
serious?
ROCKERS
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BUM ©U 733
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flips tits lips
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suburban
jungle
Spike's tAusicai Pint
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the shake
DJ in a Co Ma
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Reel Music
fTAHD AMD BK
CUM TED
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Steve and Mike
onomatopoeia show
rfryenes and
reasons
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earwax VENUS FLYTRAP'S LOVE DEN olt
10:00PM-12:00AM Join Greg
in the love den for a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here... and
bring some ice.
AURAL TENTACLES 12:00AM-
3:00AM Warning: This show is
moody and unpredictable. It encour-
oges insomnia and may prove to be
hazardous to your health. Ambient,
ethnic, funk, pop, dance, punk, electronic, synth, blues, ond unusual rock.
WEST COAST POPPIN' 3:00-
6:00AM 100% west coast rap.
Huge giveaways, with your host like
no other Shawn Powers.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-940AM
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
FILIBUSTER 9:00- 10:00AM   what
ever it is, leave the radio on and go
back to sleep.
SPIKE'S MUSICAL PINS AND
NEEDLES  10:00-12:00AM
Spike spins Canadian tunes accompanied by spotlights on local artists.
Weekly "Vintage Vancouver" segment takes a look back at this city's
musical past.
THE ETHER TABLE   12:00PM-
1:00PM If a collective of Belgian
satanists ever put reverb on a flock of
geese, I'll find it and play all 28
minutes! Dark ambient and experimental and noisy stuff. Barbara listens to too much old vinyl.
THE SHAKE 1:00-2:00PM
DJ IN A COMA 2:00-3:OOPM
MOTORDADDY3:00-5:00PM  "eat,
sleep, ride, listen to Motordaddy,
RACHELS SONG 5: 10-7:30PM Info
on health and ihe environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainabilily in the urban context.
AND SOMETIMES WH Y all.
7:30-9:00PM sleater-kinney, low,
sushi... these area fewofourfaveoh-writ
BY THE WAY all. 7:30-9:00PM
Let's give alternative media a
chance-VIVA VINYL! 7"s new and
old, local cassettes and demos.
FOLKOASIS 9*10-10:30PM Fealur
ing the latest local and international
releases in folk/roots/world music,
phone interviews, in-studioguestsand
more. Requests always welcomed!
STRAIGHT OUTTA JALLUNDHAR
10:30PM-12*00AM LetDJsJindwa
and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay."
Listen to all our favourite Punjabi
tunes—remixes and originals.
HANSKLOSS'MISERYHOUR 12:00-
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
THURSDAYS
FIRST FLOOR 3:00-6:OOAM
AGAINST ALL ODDS 6:30-
8:30AM
REEL MUSIC   8:30-10:00AM
Soundtracks ond classical.
STAND AND BE CUNTED  10:00-
11:30AM DJ Hancunt urges women
to get down with their cunts while
listening to women in jazz, funk,
rap, soul, worldbeat, disco and beyond.
ELECTRIC   AVENUES   10:00-
11:00AM Once a monlh, the folks
from Avenues spin their favourite
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander,
Baffin Island to Portage La Prairie. The all-
Canadian soundtrack for your midday snack!
STWE&MKElKW-l-OOPM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
(hardcore).
ONOMATOPOEIA 2:00-3:00PM
Comix comix comix oh yeah and
some music. With Robin and Jules.
RHYMES AND REASONS 3:00-
5:00PM
CULTURE CAVITY SEARCH 5:00-
5:30PM
REELS TO REEL alt. 5:30-6:OOPM
Movie reviews and criticism.
OUT FOR KICKS 6.O0-7:30PM No
Bidcenstocks, nothing politically correct. We don't get paid so you're
damn right we have fun with it. Hosted
by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO
HEU. 9:00-11:00PM Local muzok
from 9. Live bandz from 10-11.
COCKED AND READY alt. 11:00PM-
1:00AM
NOCTURNAL TRANSMISSIONS alt.
11:00PM-1:00AM You adjust the
lighting, DJ Satyricon mixes the
sounds. Radio that could only happen after the sun's gone down. Songs
and soundscapes for the naked cily.
PLUTONIAN NIGHTS 1:00-
4:00AM Late night vinyl. Occasional skips. Cheers.
FRIDAYS
SHADOW  AT  DAWN   6:00-
8:00AM with DJ Goulash
CAUGHTINTHERED8: 00-10:00AM
Trawling the trash heap of over 50
years worth of real rock 'n' roll debris. Stick outyo' con.
SKA-TSSCENEHKDRIVEI 1<WX)AM-
12:00PM    E-mail your requests to
Djska T@hotmail.com
THESE ARE THE BREAKS 12:00-
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything wilh breakbeats.
Versatile at any style.
UTTli TWIN STARS 2K)0-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM
BUCK NOIZ 4:00-5:00PM Filling
in for Clinton. Essays, poetry, social
commentary, and conscious music
from a Black radical perspective. If
you can't take the heat listen to Z95.
NOOZE & ARTS 5:00-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-
900PM
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS 9:00PM-12:00AM
Hosted by DJ Noah: techno, but also
some trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives, give
aways, and more.
SHITMIX alt 12:00-3:OOAM   No
beatmatching. No crossfading. No
indiefascism. No progassblasting.
NoPhish. Just a mix.
SATURDAYS
THE MORNING AFTER 3:00-
8:00AM
THE SATURDAY EDGE 8:00AM-
12:00PM Studio guests, new releases, British comedy sketches, folk
music calendar, and ticket giveaways.
8-9AM: African/World roots. 9AM-
12PM: Celtic music and performances.
SAREGAMA 12:00-1:00PM
POWERCHORD 1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and
Metal Ron do the damage.
LUCKY SCRATCH 3:00-5:OOPM
From backwoods delta low-down
slide to urban harp honks, blues
unesters and crooners in the blue
egree. Blues and blues roots with
our hosts Anna and Barry.
RADIO FREE AMERICA 6:00-
8:00PM Extraordinary political research guaranteed to make you think.
Originally broadcast on KFJC (Los Altos, CA)
GROOVE JUMPING alt. 10:00-
1:00AM
PIPEDREAMSalt. 10:00-1:00AM
SOULTREEalt. 1:00 -4:30AM 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.
EARWAX alt. 1:00- 4:30AM
..."noiz terror mindfuck hardcore like
punk/beatz drop dem headz rock
inna junglistmashup/distortda source
full force with needlz on wax/my
chaos runs rampant when I free da
jazz..." Out. —Guy Smiley
REGGAE LINKUP 4:30-8:30AM
Hardcore dancehall reggae that will
make your mitochondria quake.
Hosted by Sister B.
CiTR
101.9 fM
WHOM
HOW
Production        ShaneVc
Promotions >
| Record _brarian Julia
jSecrelary <
Sports A
: Station Manager Aaro
Traffic Dredor Janni
President Arihc
Rachel's
SONG:
Community events
Social justice
issues
Spirituality
Health and food
Environment
Philosophy
Direct action
Cultural studies
Counterculture
Pro-democracy
Interviews
Music
Literature
Reviews
Prizes
Political issues
Spoken Word
Entertainment
Internet radio
Contextual
Infinite mind
RACHEL'S SONG WED 5-7:30 pm
www.instantdemocracy.com
DON'TLET'EMPUSHYOUAROUND!
DISCORDER
WANTS TO
GIVE YOU THE
OPPORTUNITY
TO SHOW
THE COLD
UNFEELING
WORLD YOUR
TALENTS!
SEND'YOUR
WRITING
AND/OR ART
TO:
6138 SUB
BLVD,
VANCOUVER,
B.C.
V6T1Z1
AND MAYBE
WELL GIVE
YOU A SHOT
AT THE BIG
TIME.
29nm&^^m Datebook
SUBMISSIONS TO DATEBOOK ARE FREE)
TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT
INFO (WHO, WHERE, WHEN) TO 822.9364,
ATTENTION   "DATEBOOK."   DEADLINE   FOR   THE
WHAT'S HAPPENING IN OCTOBER     November issue is October 1 3th!
TUE 26 CiTR PRESENTS SHiNDiG@Railway Club
WED 17 Diana Krall@Orpheum; Tongue, Hancunf@Sugar Refinery;
Closed Caption Radio,Distortion Felix@Brickyard
THU 28 Blonde Redhead, The Black Heart Procession, Two Ton
Boa@Starfish, Indigo Swing@Russian Centre; James Brown@QE
Theatre,      Diana      Krall@Orpheum,      Ron      Sexsmith,      Emm
Gryner@Richard's
FRI 29 John Popper@Starfish, Gordon Lightfool@Orpheum
FRI 1 Substance, Charlie Drown, Hardware Speed Religion@Starfish,
Groundswell   UK@Brickyard,   Life   at   the   End   of   the  Century
Performance   Art   Cabaret@Vogue,   Martin   Hayes   &   Dennis
Cahill@VECC, DJ Touche@Sonar
SAT 2 Toasters, Easy Big Fella@Slarfish, Big Band Trio@Auditorium,
Spacious Couch@Chameleon, July Fourth Toilet, Capozzi Park, Young
and SexyOMs. T's Cabaret, Burt Neilson Band@Brickyard; Mother
Trucker, Hi TestOPic
SUN   3   Speedealer,  JP5,   Felchers@Starfish;   Fantastic   Plastic
Machine@Chameleon,        Mr T        Experience,        Gadjits,
Nobodys@Brickyard
MON 4 Nights of le Roi@Sugar Refinery
TUE 5 Blinker the Star, Leetchdrive, Dirtmitts@Starfish, lamb@Sonar;
Travis Baker@Sugar Refinery; CiTR PRESENTS SHiNDiG@Railway
Club
WED 6 Chemical Brothers, DJ Shadow, Velvet, James Holroyd@PNE
Forum, Bossanova, Early Mart, The Radio@Brickyard
THU 7 Aberration, Modus Operandi, Freaks of Nature@Starfish;
New   Electric   Riot,   Nasty   On@Pic;   Bliss   Magazine   Release
Party@Performance Works, Moxy Fruvous, Tory Cassis@Richard's;
Link 80, Superchief, Ring@Brickyard
FRI    8    The   Get-Up   Kids,   Closed   Caption   Radio,   All-State
Champion@Starfish; Insane Clown Posse, Twiztid@Croatian Cultural
Centre, Colorifics@Sugar Refinery, Mount Pleasant, Silver Tongue,
Engine of the Future, Following Horus@Brickyard
SAT 9 God Awakens Petrified, G R A V E L.,Tractor@Starfish; Soul
Crib  CD   Release   Party@Chameleon;   Miles   Holloway@Sonar,
Borderline Disorderly with Kiss & Tell Shorts@Video In; Hell Caminos,
New Wave Hookers, New Town Animals@Pic, Heavy Metal Parking
Lot and beyond: the Films of Jeff Krulik and Friends@Blinding Light,
Technicians of the Sacred, Wow, Mary Ann Turbo@Brickyard
SUN 10 CiTR PRESENTS 31 l@Rage; Heavy Metal Parking Lot
ond beyond@B!inding Light
MON 11 Nights of Le Roi@Sugar Refinery
TUE 12 CiTR PRESENTS MXPX, TOO BAD EUGENE, NO
MOTIVE@Croatian Cultural Centre, Ben Harper@Orpheum; Jack
Smith's   Flaming   Creatures   w/Bruce   Baillie's   P-32   Pilot  and
Sa/ute@Blinding Light; CiTR PRESENTS SHiNDiGORailway Club
Amsterdam Cafe 302 West Cordova  (Gastown) 683 7200
Anza Club 3 W 8th  (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Astoria Hotel 769 East Hastings 254 3636
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1354
Black Dog Video 3451 Cambie 873 6958
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
Blinding Light 36 Powell St. 878 3366
Boomtown  #102-1252 Burrard (at Davie) 893 8696
The Brickyard  315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial  (the Drive) 254 1 195
Cambie 515 Seymour 684 7757
Caprice Theatre 965 Granville  (Granville Mall) 683 6099
Celebrities   1022 Davie  (at Burrard) 689 3180
Cellar Jazz Cafe 361 1 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR 101 9fM 233-61 38 SUB Blvd 822-3017
Club Vesuvius 1 176 Granville (downtown) 688 8701
CN Imax Theatre  999 Canada Place 682 4629
Columbia Hotel 303 Columbia  (at Cordova) 683 3757
Commodore Lanes  838 Granville  (Granville Mall) 681  1531
CNB Skate and Snow  371 2 Robson 682 5345
Cordova Cafe  307 Cordova  (Gastown) 683 5637
Croatian Cultural Centre  3250 Commercial   (at 17th) 879 0154
Crosstown Music 51 8 W Pender 683 8774
Denman Place Cinema   1030 Denman   (West End) 683 2201
Dr Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8  51 5 Davie  (downtown) 682 4388
Fifth Avenue Cinemas  2110 Burrard (at 5th) 734 7469
Firehall Arts Centre  80 E. Cordova   (at Main) 689 0926
F.W.U.H.   Beatty 552 Beatly 687 7464
30
WED 13 Don Caballero, Karen Foster, Saul Duck@Starfish; George
Winston@Vogue; Jack Smith's Flaming Creatures etc.©Blinding Light;
Honeysuckle Serontina, Siobhan Duvall, John Bates@Brickyard
THU   14 Square the Circle, Sam, Version@Starfish; Weird Al
Yankovic@GM Place, Afro Celt Sound System@Vogue; Dziga Vertov's
Man With A Movie Camera w/Eye of Newt Collective@Blinding
Light,      SMAQu-2@Sugar      Refinery;      Liplickers,      Spy     66,
Vertical@Brickyard
FRI   15 Veal,  Oh  Susanna, Zubot & DawsonOStarfish;  Flat Is
Beaut/ru/OBIinding  Light;  The  Excessives,   Hell Caminos,   Fuzz
58@Brickyard
SAT 16 Willem Breuker Kolleklief@Starfish; Mo'Funk Fest '99 (feat.
Millennium Project, Crash, Mo'Funk Collective)@Pit Pub;  Funk
Da'Licious@Chameleon, Live, Cyclefly@Vogue; BOAC Magazine
release party (feat   Tranvestimentals, July Fourth Toilet, Roswells,
Wrong Numbers)@Blinding Light, Flat Is Beauf/7u/@Blinding Light;
Diesel Boy, Another Joe, Babblefish@Brickyard; October Crisis,
Francois Houle@Sugar Refinery
SUN 17 Tom Waits@Orpheum; Flat Is 8eauf/fu/@Blinding Light
MON 18 Jailbreak V with DJs Slim, Yann Solo, Jason Hope@Starfish;
Echo & the Bunnymen@Richard's, Quartet Arthur Le Blanc@Stanley
Theatre, Henry Rollins@Vogue
TUE 19 Strangefolk@Starfish, CiTR PRESENTS SHiNDiG@Railway
Club
WED    20    Robert   Michaels@Vogue;    Saddlesores,    Emerald
City@Brickyard
THU 21 Templar@Starfish; Browning, Tiefisher@Railway
FRI 22 Bocephus King, Time Waits@Starfish; Mecca Normal@Cafe
Deux Soleils; Fugazi's /nstrumen/@Blinding Light, Strong Like Tractor,
Jesse's Girl, New Town Animals@Brickyard
SAT 23 Freakwater, Giant Sand, Sally Timms@Starfish; David Wills
and the Dynamics, Dynagroove Horns@Engineers Hall; Ivanna
Santilli@Chameleon; Fugazi's /nstrument@Blinding Light; Nefro, All
You Can Eal@Brickyard
SUN 24 Public Enemy@Rage; Beta Band@Richard's; Fugazi's
/nsfrumen/@Blinding Light
MON 25 Stereo Total@Starfish; Linton Kwesi Johnson, Dennis Bovell
Dub Band@Sonar
BORDERLINE   DISORDERLY
Lesbian art collective Kiss & Tell is bringing TWO PERFORMANCE WORKS TO   VlDEO IN
Studios on Saturday, October 9th at 8
pm. Tickets are $5-8 (sliding scale). For
info, call 872-8337.
LIVE AT THE END OF THE CENTURY
a "performance art cabaret" at the vogue
theatre featuring music, dance, poetry, and
visual art from tons of local folks.
October 1 st. Call the grunt gallery for
info: 875-9516.
BACK OF A CAR MAGAZINE
At the Blinding Light, October 16th.
the  release of the
beeman@istar.ca.
VENUES • BARS • THEATRES • RESTAURANT • RECORD STORES
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E  Hastings (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main  (Mt. Pleasant)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society  2120 Main  (Mt. Pleasant)
Hush Records 221 Abbott Street
Jericho Arts Centre   1600 Discovery  (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott (Gastown)
Luv-A-Fair   1 275 Seymour (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion  7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (Gastown)
Naam Restaurant 2724 W 4th   (Kitsilano)
Neptoon Records 5750 Fraser St
Orpheum Theatre  Smithe & Seymour  (downtown)
Pacific Cinematheque   1131 Howe   (downtown)
Palladium   1 250 Richards  (downtown)
Paradise  27 Church  (New Westminster)
Paradise Cinema 919 Granville (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre  881 Granville   (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave)
Puff #14-712 Robson (at Granville)
Purple Onion   1 5 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge   1 221 Granville  (downtown)
The Rage  750 Pacific Blvd. South  (Plaza of Nations)
Railway Club  579 Dunsmuir  (at Seymour)
822 2678
822 9364
872 5665
322 6057
738 3211
8734131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
7387151
324 1229
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
Richard's on Richards   1036 Richards (downtown)
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs)
Ridge Cinema  3131 Arbutus  (at 16th Ave.)
Scrape Records 17 W. Broadway (near Main)
Scratch Records 726 Richards St.
Seylynn Hall 605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Singles Going Steady 3296 Main (at 17th)
Sonar 66 Water  (Gastown)
Starfish Room   1055 Homer  (downtown)
Starlight Cinema 935 Denman  (West End)
Station Street Arts Centre 930 Station  (off Main)
Sugar Refinery   1115 Granville (downtown)
Theatre E  254 E. Hastings  (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Tribeca  536 Seymour
Tru Valu Vintage Robson (downstairs)
Vancouver E. Cultural Centre  1895Venables (at Victoria)
Vancouver Little Theatre 3102 Main   (Mt. Pleasant)
Vancouver Press Club 2215 Granville  (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Futuristic Flavours 1020 Granville  (downtown)
Video In Studios   1965 Main  (Mt. Pleasant)
Vinyl Rekkids 76 W. Cordova (Gastown)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre   1405 Anderson   (Granville Is.)
Western Front 303 E. 8th Ave (near Main)
Welt Bar 1320 Richards  (downtown)
Whip Gallery 209 E. 6th Ave  (at Main)
W.I.S.E. Hall   1882Adanac  (the Drive)
Women In Print 3566 W. 4th   (Kitsilano)
Yale Blues Pub   1300 Granville  (downtown)
Zulu Records 1 869 W. 4th   (Kitsilano)
687 6794
738-7734
738 6311
877 1676
687 0499
291 6864
876 9233
683 6695
682 4171
689 0096
688 3312
683 2004
681 8915
988 2473
688 8385
685 5403
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
689 3326
331 7909
685 6217
876 9343
230 6278
874 4687
254 5858
732 4128
681 9253
738 3232 qodoqbDbdqo
PRESENT
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mnrmini
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with special guest
EMMGRYNER
[RICHARD S ON RICHARDS I
[LIVE AT GENERAL MOTORS PLACE
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MACHINE HEAD
oeanee smm
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www.rapstatlon.com presents;
rome
ENEMY
TOUK #40 1987-1990
I LUSCIOUS
JACKSON
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TICKETS ALSO AT F.UH _ ZULU
3250 Commercial Drive
|4 Blocks trom the
Broadway Skytrain station)
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/CROATIAN CULTURAL CENTRE I
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Tickets available at -ncx^^tAsrEFt^ outlets, or charge 280-4444, or www.ticketmaster.ca
an Exprasa points tor tickata by calling: BREAK THE SOUND BARRIER
PROMISE RING
VERY EMERGENCY
CD/LP
1^^
^
rtomtortably in Ihe tradition ol
L/such post hardcore punk bands
as Burning Airlines and Jets to
C016.98    LP 14.98
GET UP KIDS
SOMETHING TO WRITE HOME
ABOUT CO/IP
CD 16.98    LP 14.98
GaMN FROOME I^K
MOBIUE VILLAGER CD If
let-setting to the dialled in beats    Mr
Tt^ome
music merchant GAVIN FROOME s      f ffqt
olo debut takes us places yet          [■* • T
■m
MICK TURNER
MARLAN ROSA CD/IP
FS
As one third ol everyones
"favourite night-time listen — The
Dirtv Three. MICK TURNER'S under-
mm
slated angular guitar craft has
CD 16.98    LP 14.98
BILL
LASWELL
IMAGINARY
CUBA CD
DiSPOOKY    I
Vs THE         L
FREIGHT
„ ELEVATOR      ta
P
l
*^
H
_*_
QUARTET
FILE UNDER FUTURISM CD
CD 16.98     Available October 5th
MONOUKE
GOBI THE
DESERT CD-EP
VARIOUS
EVERYTHING
SS NICE 3CO/2LP
^^^^Sj
frog™
■^i^yil^j^-^l                 PICKUP
MMMm*«maedl_H
-   -       3CD 16.98    2LP 22.98 sol
CD-EP 14.98 CD 16.98
MORE BIG BANG NEW RELEASES
ARAB STRAP Elephant ShOe CD -sparser than PHILOPHOBIA. the STRAP strike back...yes the lyrics are dark
GAY DAD LeiSUre NoiSe CD -finally the (ull length from these posh hairdos
ELVIS COSTELLO/BILL FRISELL Sweet Punch CD -a m departure on Ms *■ «*
CAPTAIN BEEFHEART Dust Blows Forward 2CD your starter»to naum, a,
MARK FARINA San Francisco Sessions CD -m 0i Mushroom jas
TARWATER SilW CD -the To Rococo Rot connection is e>"**'
TRAM Heavy Black Frame CD . must tor tans ot i
SEWERGROOVES Songs From the Sewer CD me _m side ot garage features m
PANACEA PhOeniX MetabOliSm CD on Position Chrome, this is the nice tech step sti
LEE HAZELWOOD Trouble is a Lonesome Town CD me beautitm baritone is
GANGER Canopy CD-EP -5 new songs from I
TRISTESA Spine & Sensory CD <
Various SIMULTANEOUS ICE CREAM CD a,
MATERIAL IntOnammOri CD yes the new mutant I
MALDORER Jsft CD -prick up your ears MIKE PATTON tan
COCTEAU TWINS BBC Sessions CD revisit their e
LEFTFIELD Rhythm and Stealth CD -features gentle ambience and ■»
PRICES
IN EFFECT UNTIL
OCTOBER 311999
¥*S  If you haven't heard already___ >dL
WERE MOVING ON UP!3
Zulu Records to move one block to 1972 West 4th Avenue, November '99.
After 18 years in the old house at 1869 West 4th Avenue, we've run out of space for our ever-expanding
selection of CDs and Vinyl. Watch for details on our new location at 1972 West 4th Avenue this November!
^iii—im
1869 VV 4th Ave.
Vancouver. BC
V6J1M4
tel 738.3232
STORE HOURS
Mon to Wed 10:30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00

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