Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-02-01

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  Annual Show
plus special appearance by «mr. plow
@LANGLEY CIVIC CENTRE, 20699 42nd ave, langley, bc No Luck Club/Freshbread by tesla van halen pg. 10
The Building Press by melanie covey pg. 11
The Gossip by cassandra santana pg. 12
The Sea and Cake by dare bowditch pg. 13
Folk Music: Should We Give a Fuck? by val cormier pg.
Silkworm by christa min pg. 16
Simon Fisher Turner by bleek pg. 18
Kid 606/Cex/Lesser by julie c. pg. 19
At the Drive-In by sean snorr pg. 20
Dear Airhead pg. 4
Culture Shock pg. 4
7" pg. 6
Kill Your Boyfriend pg   7
Vancouver Special pg. 8
Strut, Fret, and Flicker pg, 9
Under Review pg. 21
Real Live Action pg. 24
Radio Free Press pg. 25
Kick Around (comic) pg. 26
Charts pg. 27
On the Dial pg. 28
Datebook pg. 30
jack duckworth likes working in black
and red. he is a graphic designer and
musician from Vancouver, his cover is
so punk it makes us feel, like, punk or
something, check out his design work
at www.thewaxmuseum.bc.ca.
Barbara Andersen
ad succubus:
Maren Hancock
art director, maybe:
Lori Kiessling
production manager:
Christa Min
photo editor:
1 Ann Goncalves
real live action editor:
Steve DiPasquale
Barbara, Christa, Nick Bradley,
Myia Davar, Farah Dharshi,
Jack Duckworth, Lori Kiessling,
Duncan McHugh, Irene
Naidu, Matt Searcy, Dan
Siney, Tara Westover,
Tristan Winch
photography and
Aaron Carpenter, Ann
Goncalves, Mike Hoffman Jr.,
Scott Malin
Nick Bradley, Myia Davar,
Farah Dharshi, Rana El-
Sabawwi, Luke Meat, Irene
Naidu, Tom Peacock Lucas
TdS, Jason Trigg, The Winch,
Graeme Worthy
on the dial:
Bryce Dunn
Julie Colero
Matt Steffich
us distro:
Lindsay Marsak
Linda Scholten
© "DiSCORDER" 2000 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
3 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 deddline for the Morch Womyn's issue is February 14th (yeah!). Ad spdce is
available until February 21 st 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 drtwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or
n type. As always, English is preferred. Send e-mail to DiSCORDER at discorder@club.ams.ubc.ca.
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 ot 822.3017
2. Fax us at 822.9364, e-mail us at: citrmgr@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, V6T1Z1, CANADA.
ILL-A-MENTAL underground hiphop a
with LIVING LEGENDS (L.A./Oakland) 1
SCARUB - BICASSO. EARLY SHOW 8pm/$12 B4 9:30, $15 after
(Om Records) w/ J.Swing & Sean-Ski, 9pm/$10
SAT FEB 17 ITmoderngroove'
i & Todd Omotani, w/ Dr J & D
>m.$20b411i    -
i DJ Q-BERT (li
inyl Richie & Cz
thu mar 1 guerilla
Open: 9pm-2a
Club: [604] 683.6695
printed in Canada
Hello there,
I am writing to you about the review of Sean
Macdonald's latest album Parasites and Kings in
the last issue of Discorder. This message is really
intended for "Spike," but I do wish that anyone
who read the review could see this as well.
Spike has made a few false assumptions
about the inspiration for the songs on Parasites and
Kings. I have not read the liner notes for the
album, but it seems like they can be blamed for
why people jump to these conclusions.
Although I am sure that the suicide of Adrian
Rout had a profound effect on him, this can not
be claimed as one of Sean's main inspirations for
the songs or "the mood" on the album. Most of
the songs were written and recorded well before
Adrian committed suicide, including "Toronto
Song" and "Butterfly Wings."
It is not "out of respect for Adrian" that Sean
did "not recruit a new drummer." Sean had disbanded the Ids a year before Adrian killed himself and has used many drummers since. This was
due to personal problems and pressure from his
label, Nettwerk Records, who are under the misconception that they have to mold their artists to
fit a certain popular image (in this case, Sean is
supposed to be a solo-folk-noir-artiste) rather than
just letting them be themselves.
I recorded the Ids album and had a great deal
to do with getting Sean signed to Nettwerk (that
last fact is unfortunate). Adrian was a dear friend
of mine, and although I am pleased to finally see
him receive some form of recognition, I am upset
that the story has been warped so far from the
Thanks very much for listening,
Colin Stewart
Hive Recording Studios
Dear Airhead
[Re: What We Listened To, Jancember 2000] Pretty
sure "jesus and mary chain" is the only real band
on your list, but they suck now, or didn't they
even break up to form "don't worry, be happy,"
the bobby mcferrin tribute band?
(holy shit, you stayed up til 11:26 pm? on a weekday?)
11:26 pm seems a lot later than it actually is when
you've been working since 8:30 am—for three days in
a raw.—Ed
Valentine's Sale Feb. 16 - 18
Urban, Dance & Electronic Specialty Shop
All the latest vinyl & Cds
Import & Domestic
House Techno
Hip Hop
event info & tickets
turntable accessories
record bags & flight cases
mens & womens urban wear
in Vancouver: 102 1252 Burrard St. (at Davie) 604.893.8696
in Victoria: 105 561 Johnson St. (Paperbox Arcade) 250.380.5090
anthony monday:kuwaiti correspondent
I ran away. I hijacked
a plane.
I said: "Take me to
Scotland. 1 need sex."
And lo! I did go to that vast,
cold place, and there were
Scottish sheep and lo, there was
snow. And yea, I did have sex.
And yea, I had it in a Buddhist
monastery 15 miles north-east
of Lockerbie. And lo! Christmas
passed and all my repressed
Christian guilt about illicit
homosexual activities subsided
for another year. There was
much rejoicing and more illicit
is good.
y lots
of "real" alcohol—let's not be
eurocentric here—and copious
visitations to a small used/
independent CD store in
Dundee called Groucho's (think
Zulu, but Scottish), where I
spent S300 on fun, pretty,
round, music thingies, I was
sent back.
To Kuwait.
At first, I was hesitant to go.
I really felt that I belonged with
the Scots. We bonded. I mean,
we really had something beautiful and Scottish going on. But,
I know, it was for you that I
must return. Yes, you, my dear
readers, who want to know
more about Kuwait. So I did
what all self-respecting journalists do: I crippled, doubled over
in the airport, and sobbed
pathetically, screaming at my
lover through snot and new
mittens, "Don't send me back,
please, I can't do it, not another
five months of Britney Spears
and Eminem, of cell phones and
more money than consumers
can use... please don't make
But he duly picked me up
and patted me on my perky
buttocks and said, in his lovely
Scottish accent, "Go on, off you
go, now." A Richard Gere and
Winona Ryder film comforted
me all the way back. I watched
without my headphones, weeping dramatically. I thought it
best to make a scene.
Arriving and going
through customs, I was singled
out. I saw them hone in on me
like jackals to a fallen corpse. I
am guessing it was the orange
pants, and the earrings—only
two, but still, I should have
thought, we're in Kuwait, people   don't   wear   "different"
I got to keep my underwear
on, thankfully, 'cause if anyone
had reached for the latex
gloves, I would have ran. While
I appreciate safety in all probing
activities, I was not ready for
the vaguely Gestapo-looking
customs officer to become intimate with my prostate. Or any
other internal organ.
They found my beer kit: a
large tin which I had "disguised" as "Auntie Rose's
Dark Honey." And while the
consistency of the concentrate
(mmmmm, beer concentrate)
things here. Earrings and
orange trousers are apparently
the internationally-recognized
symbol for "drug trafficker,"
and I was subsequently strip-
would have passed for a treacle-like substance, I guess a tin
can with a torn off label and
black felt-tip marker designating  it  "Auntie  Rose's   Dark
Honey" would look kinda suspicious. I got a stern warning
and was told to move on.
Gestapo officer Bob smiled a
thin-lipped smile as he put the
beer kit into his cupboard and I
was let back into the country.
To hold the loneliness at
bay—for I knew it would come
pouring into my heart as soon
as the hangover and the jetlag
was gone—I promptly went out
and bought a budgie. Why not?
It makes sense: "Lonely? Found
nothing redeemable to keep
you going? Starved for an alternative culture? Get a small
colourful bird!"
So a bright colourful bird I
got. He is small and bright yellow. He keeps me company.
Well, he used to keep me company until I realized that company usually responds to your
presence. Killer, as he is affectionately called, merely sits and
watches me nervously from his
yellow cage. I have been trying
to coax him out, allow him to
fly freely around my apartment
and shit on everything, but he
his cage. There's really not
much to him.
I have discovered, however,
that he really gets down to Add
N to (X), so at least he's like a
nouveau bird. My electronic
pet.  Killer,   the  avant garde
He doesn't so much get
funky with Cat Power, sadly,
and I am not too sure how he
will react to a good dose of
Laurie Anderson, but I am hoping it will be positive. I am
training him to be my "alternative friend." We're going to sit
in-doors on the weekends and
listen to all my new CDs. When
we've listened to them all, he
will have memorized them, and
it'll be like a CD randomizer—
you'll never know what he's
going to sing next!
I guess company is what
you make it. So, too, is the place
where you hang your hat. I can
make it good. Dance little
budgie! Dance to that fucked up
shit! That's right, baby, dance
me to the end of Kuwait, with
your twirling yellow tail and
nervous looking eyes. I'll make
sure your heart won't miss the
chills of Scotland, or all the boys
you left behind... Vancouver
will never be the same for me.
Next month: Will Anthony
Monday last in Kuwait? A public vote answers the questions
of his confused heart. Please
chose one of the following:
"Yes, Anthony Monday should
come home and stop whining,"
or "No, Anthony Monday
should not come home, he
should stop being a sissy and
just do his job." All responses
should be sent to DiSCORDER:
A budgie's life is on the line! •
4 DiAcorder ^TYOU
16.99  c
Sing Loud, Sing Proud!
The songs on the SING LOUD, SING PROUD! range from
beer-mug-thrust-skyward anthems such as "A Few Good Men" to
the more introspective (though no less raging) "Which Side Are
You On?" Most likely there is no other band that can do as high-
energy a jig as the Murphys do on "Rocky Road To Dublin" a song
that best captures the unique and powerful vocal exchange of
Al Barr and Ken Casey. Joining in on "Good Rats" a song about
the secret ingredient that spices up the band's favourite stout,
is kindred spirit and former Pogues leader Shane MacGowan.
Buy the new Dropkick Murphys SING LOUD, SING PROUD!
and get a FREE patch
Free patch with
Check m $ese ]<ICIvA3S releases!
Punk-O-Rama 4
The Singles Collection
Straight Ahead Smash
1160 Robson Street
Park Royal Shopping Centre (North Mall)
Guildford Town Centre •Willowbrook Shopping Centre
Richmond Centre • Coquitlam Centre
Prices in effect at participating HMV locations until Mi
rch 3/01 or while quantit,
Metropolis at Metrotown • Mayfair Shopping Centre / Victoria
Hillside Shopping Centre /Victoria
Sevenoaks Shopping Centre / Abbotsford
Woodgrove Centre / Nanaimo Damned if I haven't got a
barrel-full of dirty undie-
smelling music for you
all this month. I wish I had lots
of hot rock and tasty tunes for
you, but I'm pretty sure that I
lost all the good stuff a few levels down in the Desk of Julie
stratosphere (I'm taking science
at school! It's like I'm in grade 10
all over again!). The stuff left to
sort through has brought me little joy, so I'm suggesting to all
that you go into your bedrooms
and drag out all the good old
records that do you right. Never
mind buying stuff this month.
Relive the good old days of the
early '90s. That's what it's all
about. Unless, of course, you
Outside music sends me UK
singles for albums on Beggars
Banquet, Mantra, Too Pure, and
4AD. Woo. The new IAN
ASTBURY (that Cult guy)
sounds like it's trying to be the
last Primal Scream, which was,
um, avant something. Ian's
chilled out on the cool screaming
and instead pulls this silly
smooth-talker routine on
"Tyger," the b-side. The a-side
should be the hit, the one that
takes the radio world by storm...
but it sucks too. I don't want no
cheesy rock music.
Which makes me wonder
why SIX. BY SEVEN keeps
putting out records. If nobody
cared about the band's two or
three bland full-lengths, who's
about to get hyped by a new single? I'm sorry, but there's no
room in my heart for these
nobodies. So what if they've got
a record deal? Apparently the
pen slipped and gave them
more records than any label
bozo in his right mind could've
possibly thought necessary.
The one UK single I was
actually interested in, one for the
newest HEFNER album, is lost.
It was a Wisdom of Harry
remix, though, so it probably
isn't all that great. Hefner is
Wisdom of Harry is a waste of
Matador's money. All these
should be able to be found in
stores or on-line. Don't bother
sending a money order for three
pounds sterling to Beggars
Banquet—they'd just laugh at
you around the water cooler.
THE BLOW UP is the latest
band to get hooked up with
good ol' Empty Records. Now
that we've all had enough time
to put the poor spelling of that
Reatards record behind us (well,
I'm ready to give up the
grudge), Empty singles can be
listened to with open, unbiased
ears. The Blow Up has got a
good dynamic thing going, but I
can't help but turn to local acts
who do this already, and better.
In a fight to the death, The
Nasty On could kick The Blow
Up's collective asses. I'm sure
the band rocks out live, and they
probably drink lots and dress
well and have sexy ladies in the
front row who know all the
words. Doesn't stop their b-side
from sounding like Pavement's
"Conduit for Sale!" Dearest
Blow Up: let's talk "seminal"
and how you're just not there
yet. (Empty Records, PO Box
12034 Seattle, WA 98102)
So I've got no clue where
THE SPEDS single came from,
but that's okay. I've got the internet to help me out. Hang on just
a sec... done. Did you know that
SPED is short form for Special
Education? Fantastic! These
punk rockers from Oregon (note
the reference to information
found in the e-bio—see fellas, I
do care!) obviously think they're
funny like that, and I'd have to
agree, in a way. It's funny that
you hand-numbered your singles! It's funny that you're so
DIY that you've got no label! It's
funny that your songs are full of
backup Oi chants like "DIE! DIE!
DIE!" You guys are great. Well,
3296 Main St. @ 17,h
LPs • 45s • CDs
New & Used
not great, but okay. Okay.
Simple. Mildly entertaining. Can
I hope for much else from plain
old punk these days? I understand that I'm supposed to be
fighting for my rights, and that
the world's trying to get me
down. I just ain't got it in me to
punch the State's face in!
You do it for me, and
I'll play your damn record.
Italy. I can't figure out what the
singer's shouting about. I can
figure out, however, without the
cute WARNING!!! insert, that
the band stole its name and logo
from Peter Bagge's HATE
comics. Good going. I surmised
by the near-naked '50s lady on
the cover that this was going to
be right about my cup of tea,
and boy, was I right. The songs
about girls and cars really
turned my crank! I enjoyed the
poignancy of the lyrics "one,
two, three, four, five, six!" I also
feel the same way as Buddy
about Jenny McCarthy. Had the
band included but one more
naked lady somewhere in the
liner notes, this may have graced
my Top 10 year-end list. You
blew it, boys. (Chukie's Tales,
Bedendo Davide / via
Adamello, 12/37036 S. Martino
B.A./Verona, Italy)
I think my BRIEFS single is
old, but newish to this city.
"Poor & Weird" has that kick
that almost does it for me, that
stylish old-school full-of chants
shenaniganism that makes all
your punk-rock dreams come
true. Never mind the b-side, it's
a  bit  dreary.  (Cut  and  Run
Next up on the rock 'n' roll
rollercoaster is a FIREBALLS
which showcases the Fireballs'
capacity to rock it like they talk it
and Lopez' limp-wristed skills.
Well, maybe not limp-wristed.
Insert your own diss or gushy
praise here, based o
mation: the band r
grumpy, sludgy mus
Now you're a musii
Just don't expect to e
bills that those of us on the
DiSCORDER staff make. (Note
n this infor-
lakes fast,
c. Uh huh.
critic too!
irn the fine
to my mother: I will be home for
dinner tonight. Please save me
something. I haven't eaten all
day.) (Dirtnap Records, PO Box
21249 Seattle, WA 98111)
That should about cover the
new 7"s sent to CiTR this month.
Thankfully, these last months
have afforded me a few key
finds in real life and virtual
record bins. MILKY
WIMPSHAKE always makes
me happy, with Pete from Red
Monkey laying down the political cross he must bear to sing
sappy love songs. He is British,
so he rhymes funny things. He
does a garbled cover of a Daniel
Johnston cover with a Modern
Lovers song thrown right in the
middle. It's great. (Ferric
Mordant, PO Box 54 Heaton,
Newcastle upon Tyne, NE6 5YW
Also, like I said, get back
into those olden tunes. The '90s
were good to us in a way that I
just don't think the '00s can offer
up. K's International Pop
Underground series alone has a
zillion gems you've probably
gone and forgotten about in
your quests for new and zesty
songs. Get on their website and
order yourself up some Blood
Sausage, or maybe some
Kreviss, or some other sweet,
wussy, dissonant stuff. Oh, and
listen to a Nation of Ulysses
record. It'll do good things for
your brain, says Dr. Julie. Until
next month, save your pennies
and enjoy the music you've
already got. •
101.9 fM
peter "braun" and james "brown"
breakfast with the browns
mondays, 8-11 am
f. .,
Record most often played on your
Peter: Eno/Byrne My Life in the Bush of
Ghosts; Michael Brook Hybrid; Francolz
James: Sterolab, Ennio Morricone, and
his arch nemesis Hugh Montenegro.
Record you would save in a fire:
Peter: Francolz Breut.
maybe my old Villains EP, or Peter's Morricone box set.
James: Tough c
Worst band you like:
Peter: James Last... but he's a living god.
James: Would have to be the Jolly Tambourine Man. S.P.O.C.K.'s unplugged version
of "Mr Spock's Brain" always brings a tear to my eye... for many reasons.
Last record you bought:
Peter: Laurent Gamier Unreasonable Behaviour.
James: Senor Coconut El Baile Alemain.
First record you bought:
Peter: ABBA's Greatest Hits and Bob Marley's Natty Dread.
James: The first [thing] I ever bought was... gulp... probably a Doobie Brothers
Musician you would most like to marry:
Peter: Far too late for that.
James: Agreed.
Favourite show on CiTR:
Peter: How can you pick your favourite child from the many?
James: Any show whose DJ will tolerate us —Coreen (Blue Monday), Hans Kloss
(Hans Kloss' Misery Hour), or Ska-T (Ska-T's Scenic Drive). June is disqualified as she
doesn't have a show now.
Strangest phone call received while on air:
Peter: The woman that told me, "I like using men's ties as garter belts."
James: The Fast Talker. •
6 Disorder kill your
comic reviews: robin
I was supposed to use this
space to tell you about how
wonderful Dave Cooper is,
but you get the idea, right? Just
go buy Weasel at your friendly
comic book dealer. Instead, I'm
going to tell you about good
anime, or rather, good anime
I've encountered. There is a lot
of stuff to sift through, so here's
Robin's Cole's Notes to anime.
The first anime I ever saw
was Battle Angel Alita. It's
mostly about this robot girl who
becomes a bounty hunter and
learns how to be human.
There's a fair amount of depth
to this cute-looking but grim
cartoon. There is also tons of
action, and she kicks ass all over
the place. If you can get by the
off-putting dubbing job you'll
find yourself caring about what
happens to the characters. It's a
sharp, stylish, and well-drawn
package that is not full of your
A similar movie with a di
ferent style and a more compk
story line is Kite. More psychi
logical than most anime, Kite's
title character is a teenage hired
assassin. The art style is almost
disturbing, but it's a great
One for boys and girls is
Ninja Scroll. The art style is
Aeon Flux-\sh, all sick and gangly. The colour scheme features
faded greens, greys, and beiges,
with the odd flash of bright
blue and ravishing red. The plot
is interesting and has many a
sub-plot. The best thing? The
villains. They are sneaky, vile,
sinister, and original: a woman
whose tattoos come to life and
a man who can disappear and
reappear in any available shadow, to name but a few. It's
action-packed with heroes and
One of my favourites is
Fushigi Yugi. It's not a movie,
but rather a really long TV
series. It's about a girl from our
time who opens a book and is
transported into the story
where she's a priestess who has
to find the seven celestial war-
) help her defend the city
in feudal China. Because Fushigi
Yugi is a TV series, the plot goes
all over the place and you're
introduced to a million different
characters. I know what you're
thinking, but it's not hard to follow at all. There's action,
romance, adventure, transgen-
derism, murder, mayhem,
treachery, and shenanigans. It's
a fun series that I have yet to
finish as I want it to last as long
as possible. It's also full of
goofy anime moments. Big
head, little body syndrome runs
rampant, but it fits perfectly.
Like a lot of anime, Fushigi Yugi
started out as a comic book, and
the creator, Yu Watase, is a
beautiful artist. It translates to
screen well. The style is simple
and refined as well as vibrant
and colourful. A great fantasy
tale that's fun for the whole
Visions of Escaflowne is
along a similar fantastical scale,
only with big robots. They were
showing a severely abridged
version on TV this summer-
Grand in its scope, Escaflowne is
about a girl who gets transported to a distant land and
becomes embroiled in their civil
war. It's also about a boy who
has become king, with an evil
older brother against him, and
a vague past he is trying to
understand. It's got a lot of
great characters and is chock
full of action and adventure
with an old-world twist. It's not
as funny as Fushigi Yugi, but the
characters are so solid that you
really get into the series. Not to
mention the robots are very
cool, and they fight a lot. The
art for the series is well-suited.
It's clean and distinctive and at
times beautiful and exciting.
The plot is intricate and long,
but it's easy to get into and I
promise you will be hooked.
One guy you can always
count on for a good anime
movie is Hayao Miyazaki or his
Studio Ghibli. With more than
15 animated movies under his
belt, he's like the Japanese
Disney, but so much more. Two
of my favourite movies are
Princess Mononoke and My
Neighbour Totoro.
My Neighbour Totoro is
good for all ages and has strong
female leads. It's about two little girls whose mother is in the
hospital, and they've moved to
a new house to be closer to her.
They discover a whole new
world in their backyard as they
encounter dust-mites, cat-buses,
and Totoro. It's a really bizarre
movie but a lot of fun. As soon
as you watch it you'll understand why, in a poll administered to Japanese girls on who
was the cutest guy in anime,
Totoro won. Once again, the art
is remarkable. It's incredibly
cute and oh, how I coveted the
expansive and uncharted forest
land of their backyard. Big trees
to climb, mossy mounds to
sleep on, cat-buses to ride
around in. Such a great movie
full of imagination.
The latest show I've gotten
addicted to is Serial
Experiments: Lain. It's a story
about a girl who gets email
from a dead girl and then subsequently gets involved in the
internet in more ways than one.
I haven't finished it yet, but I
gotta tell you about it. The plot
is dark and very modern. There
are weird drugs, mistaken identities, and the magical world of
the internet. My favourite thing
about it, though, is the animation. It looks like anime, but the
eyes are rounder and softer.
Everything is muted and
washed. The colours are water-
colour purple, grey, navy blue,
light yellow. There's little things
about it that really fascinate me.
Her computer is oddly
designed and she wears this
really cute teddy bear pajama
suit with ears and everything.
When she walks by shadows it
seems like there are flecks of
blood in it! I
and foggy. I c;
Another freaky psychodra-
ma was the recently released
Perfect Blue, the story of an
actress and her stalker. This
movie was creepy as all get out.
Everyone was either really
beautiful or appallingly ugly. It
was a strange art style, but it
was train-wreck riveting. It
wasn't too hard to figure out
what was going on and boy,
was it intense. Nothing more to
say, you know when you're in
the mood for a thriller.
Lastly, another recent discovery, Cowboy Bebop. Also part
of the long and gangly trend in
anime, it's the oddest combination of genres ever. Let's see,
he's a space cowboy/bounty
hunter. He usually wears a suit.
He's a lover, not a fighter, and is
kind of a klutz, too. He's poor
and has always found a way
out of it. It's classy and smooth.
The stories are engaging, funny,
and surprising. He's a goofy
James Bond.
Hopefully you've read
something you'd like to check
out. I mostly get all my anime
from Tom's Video. Look it up;
they have great deals and tons
of anime. I should warn you,
though, that Tom's big business
is pornography. But if you can
get past that, then you are in for
It §§i m
february maret april 2001
schedule out now.
2001 February 7 SWANK
Papvy's Corn Sijiieezin's
This Swank is not a naked lady
men's jewelry, but a stylish country-punk outfit. Sort of. You will
hear an old, rollicking, country
swing guitar style, to be sure, but
it's cranked up to 11, and sometimes catchy garage-pop hooks
slip in, too. Then there's the big
McKinnon, closer to Jim
Morrison or Neil Diamond (in a
Hank Williams or Bob Wills.
(There is a yodel at the end of
jf Fallen Stars," but in yet
lother ti
the Swiss rather than the cowboy
variety.) The songs are about life
on   the   downtown   East   Side,
country fair rituals, and relationships gone bad—some songs
wink at a kind of ironically-ideal-
verse, others are swamp-inflected
odes to both the bright and dark
sides of love. Clever, cool, hard-
.■ing, and fun
Imagine the young Sean Connery
as James Bond walking into a
Monte Carlo nightclub where millionaire sophisticates are doing
the samba and grown-up variants
of the Twist and Swim. What's
that '60s French pop-meets-Herb
Alpert-and-Jobim stylish soundtrack? Why, it's Mimosa, of
course! Mimosa uses plenty of
lush and luxurious horn and
organ arrangements, which sometimes combine for the aforementioned Bond effect (as in "Blue
Marlin Crawl," among others),
sometimes go for a subtle
Blaxploitation soundtrack feel
("Zilch," perhaps?), and some-
atmospheric (as in "Idylle"). In
fact, every song will make you
think of extremely well-dressed
and beautiful people in some
brightly-coloured movie or other.
It's all about style, and at its best
when Lily Frost is using her most
corn-syrup-sweet breathy voice,
as in the opening track, "Is It
Spring," and when the lyrics are
in a language you don't understand, so you can't be distracted
from the waves of pure musical
Voodoo Bar-B-Q
Just looking at the CD cover will
give you a pretty good idea of
what you're in for. There is the
intense-looking Big John Bates
himself, glowering with a gor-
8 DiAcorder
geous hollow-body guitar. There's
a note explaining the recording
process ("using the earliest in
primitive methods and analog
gear") and even the sound ("This
is hardtail B-movie rock 'n' roll!").
There's the track listing, with
songs like "Devil Tail Sauce,"
"Tombstone Twist," "I Got the
Creeps," "Trailer Hitch," and
"Surfin' with Spidey." Yes, you
could just put this with your
Forbidden Dimension and
Hallowe'en compilation CDs, if
you've got that kind of filing system. But have a listen and enjoy
the fine old-fashioned reverb on
the single guitar, muse on the
well-established link between
punk and rockabilly, and thump
your foot to some of these very
danceable stripped-down
arrangements with their howling,
growling vocals. The best tracks
here are the ones that rock the
hardest, including Bates' cover of
the Dead Kennedys' classic "Too
Drunk to Fuck," coyly named (on
the cover, anyway), "Too Drunk to
It's now about halfway through
January, and I just noticed the
tulips in front of my apartment
building pushing through the
earth. Does this trouble anyone
other than me? I'm just as into letting the good times roll as the next
guy, but I believe there's something to be said for the natural
order, and not having to deal with
the repercussions of fucking with
Speaking of earth-worshipping freaks, did you know
Nelson's got a record label? No,
me neither. They call themselves
Barefeat Records, and their leader
appears to be one Nik T. When
not exporting his enviable skills as
a bike courier to Toronto, Nik
mans all things electronic and
teams up with some bongo-beating hippie to form UNKLE NIK,
purveyors of fine fake funk. The
brothers Unkle have a really good
sound going with lots of fat organ
and dreamy soundscape shit. The
only drawback is when they bring
in that really inorganic drum
machine that all the soother-suckers seem rather fond of; not
around here you don't.
It's also kind of weird when
11 of 13 tracks on a supposed
compilation have either been performed or remixed by one person;
"control freak" comes to mind. So
does "Hey Stupid" by BARTOK,
which did nothing for me. When
left in a pre-remixed state, as on
"Guitar Star," the band is even
worse. None for me, thanks.
themselves "artists." I know how
you just love an artist. I'm going
to have to give this over to some-
for though I can identify artistic
position to evaluate it. <carl-
FROSTY, our next batch of
still warm Nelson goodies, are a
bit of a weird case. In their bio,
they try to claim the authority of
coming from "Vancity then moving to NYC, now hangin' up in
the mountains." I don't know if
I've ever borne witness to such
extreme stretching for credibility.
It comes as no surprise, then, that
their music finds foundation in
the cheesier elements of
"soul/funk sound science," but
when it comes time in each song
to take a break, throw in a bridge
or something, the results are really quite nice, and then it's straight
back to the trough. What gives?
(no contact)
Thank the lord, we're out of
Nelson. BIFFY PERDU's got local
music roots, being one of the producers of The Radio's last album.
Whoopie. This disc is good,
though. A whole lot of catchy
power-folk with a half-singing,
half-spoken word delivery reminiscent of Panty Christ, if that
counts as a pop culture reference.
Track three is made by the samples (such a fine line), while track
four has this warped calypso feel
to it. Keep eyes and ears on alert.
has put together a nice mellow
album for sitting in the bedroom,
stupid on weed and red wine, trying to be smart. Instrumental is
the  flavour,  one  guitar  tuned
fucked-up kick that hums for
some reason, presumably humidity-related. Individual temperaments are going to play a role
here. (416.654.3641)
What's this then? Sugary Tea
Records. Perfect. A smattering of
the    best    and    brightest    of
were. And what fabulous names
they all have; you wouldn't find
this in Canada, let me tell you.
THE BETTY SPACKLE are definitely the standouts on this one.
"Skateboard Girl" lays hilarious
lyrics over slow, driving rock and
roll, while "Theme Song For
Underdogs" is a casio-driven Lou
Reed tribute. THE LIKELY
LADS, meanwhile, have somehow managed to combine the
almost-pop of The Salteens with
Murder City Spencer singing
another Lou Reeder on their b-
side, "Feel So Good." It sounds
weird, because it is. Is Lou Reed
from Baltimore or something?
Anyway, check this label out, they
seem to have some interesting
things going on, and what else are
you going to do with your
pointless, directionless, and thoroughly uninspiring existence?
<sugarytearecords@yahoo.com> •
Jamaal penelope mulligan
Friday, December 15
The Blinding Light!!
The     debut     feature     from
Vancouver   director   Marcus
Rogers is one dark and twisted
love story. It's also very funny
and manages to breathe the
same air as cult luminaries John
Waters, David Lynch, and John
Pozer without being derivative
of any of them. In fact, I came
away astounded at what an
original piece of work it was.
The protagonist of the title
is a mild-mannered gent named
Milton Smythe, who's in a
rather unusual sort of denial
over the recent death of his
beloved wife (played to ghoulish perfection by Ramona Orr).
Let's just say that he hasn't disposed of her remains, and in a
plot twist highly reminiscent of
Martin Donovan's Apartment
Zero, still cooks dinner for both
of them and chats to her when
he comes home from work.
She's pretty quiet, but Milton
doesn't seem to notice. As with
any star-crossed lovers, the rest
of the world gets on the case
and in the way, allowing Rogers
and writer Ed Kedzierski to
unleash a whole carnival of
wackos onto the screen.
Irene Miscisco is a bustling
hoot as the nosy neighbour,
Mrs. Wutzernaim. In turquoise
stretch pants and secretary-
from-Idaho glasses, she's the
cuddliest harpy this side of
Baltimore. A thundering diesel
of a landlady (played by Jeanie
Dunston, aka Watermelon to
local fans of pot-humour) sniffs
the rapidly festering situation
as wifey's corpse starts to slide
past its pull-date. And Tim
Trylinski does an impeccable
turn as the meticulously lazy,
doughnut-nibbling homicide
detective, Rind. You can also
play "spot that cameo" with Joe
Keithley as a bartender,
Nardwuar as a semi-comatose
doughnut cashier, and Jello
Biafra as the kinky funeral parlour director and devil in
Milton's dreams.
The real beauty though, is
Shawn Milstead's performance
as Milton. It would have been
tempting (and so easy) for an
actor to play the weirdness of a
character like this. Instead,
Milstead quietly and totally
inhabits him, causing something like a split screen effect on
our reactions. We feel his heartrending anxiety and distress at
the same time as we're grossing
out. His Milton is hilarious and
touching, sick and sad—a
strange man earnestly blinking
his way through the yapping
mayhem of a hostile world.
Milstead is dead funny because
making us laugh seems to be
the last thing on his mind.
The film looks great.
Locations and set design are
beautifully true to atmosphere
and period without ever overwhelming the story or the
action. And Milton's hallucinatory dream sequences are red-
soaked trips to hell—yet feel
almost Pythonesque.
On the soundtrack are
many goodies: Coal (of which
Marcus Rogers is a member)
does double duty as the '50s
lounge combo in flashback
sequences to the club where the
couple first met, and as the
house band in the hoser bar that
the joint has since become. Also
featured are the sounds of
Huevos Rancheros, Neko Case,
DOA, The Evaporators, The
Problematics, Sarcastic
Mannequins, The Smugglers,
The Colorifics, Mach Ill's, and
The Widower screened at last
year's Underground Film
Festival and had a two-day run
at The Blinding Light!! in
December. There's talk of
another, one-off screening in a
few months, but I sense that
there's a lot more exposure
lurking in its future.
Friday, January 12
You know where if you were
It was just over a year ago that
one of the biggest mass-marketed events in history was about
to take place, but this production nailed the sense of impending something in the final hours
of 1999 so well that it felt almost
The title refers to a ritual,
long practiced in other cultures,
of getting your worst fears or
negative thoughts down on
paper (or in effigy) and literally
torching them. In terms of
story-line, the play is for those
who felt driven to mark the millennium just by being somewhere else.
Playwright Elaine Avila
had recruited 14 artists to report
back with their experiences
from as many different places
on the planet, and with director
Kathleen Weiss, tinkered with
their stories and distilled them
into four main threads. I had to
wonder how we could end up
with a New York cop, a wealthy
Canadian business man, and a
gung-ho Coca-Cola executive as
protagonists when we'd started
of a choreographer who ended
up Geisha dancing in an illegal
Singapore lesbian bar.
In a format much like the
flipped among several locations, installments of the various stories would fade in and
out. The strongest of these theatrically was like recurring segments of a sophisticated soap
opera in which a wealthy couple, John and Gillian, were
holed up in a rented villa during a storm on Belle-IIe, with no
one but his ex-wife and an 18-
pound turkey. The writing was
things been a touch more subtle.
Four performers—Avila,
Suzie Payne, Shaun Phillips and
Maiko Bae Yamamoto—were
cross-cast in about 20 roles and
the transformations in body
language as they morphed
among their characters were
In one of the truest collaborations between musicians and
performers that I've ever seen,
The Talking Pictures Music
Ensemble wove itself into the
piece—as soundtrack and
soundscape. It was the jazzy
clamour and chatter of Times
Square, night birds in Africa, an
Atlantic storm, and a straight-
ahead nightclub band. I've seen
this outfit before (Bill Clark on
trumpet, Peggy Lee on cello,
guitarist Ron Samworth, and
drummer Dylan van der Schyff)
and they're way good, but I've
shawn milstead and ramona orr in marcus rogers' the widower
delicious, the tension crackled,
and you could smell the storm
outside. Some of the stories
staggered under the weight of
the characters who were too
broadly drawn to be much
more than caricatures: the Coke
exec, for instance, or the tourists
in Times Square. While I appreciated the political and social
comment, the send-up would
have been a lot funnier and the
message   more   potent,   had
never been so walloped by their
fabulousness as on this night.
The set design (by Yvan
Morissette) made marvelous
use of the physically quirky
space—a large room with
potentially dodgy sightlines
due to pillars and alcoves. (Fans
of after hours jazz will be familiar with this back alley venue.)
Clustered on a riser against the
back wall, the musicians were
surrounded by wondrous bits
of flotsam, some of which related to the locales. One of the pillars was hung with masks and
mannequins which became
patrons in the Singapore club.
And Jonathan Ryder's lighting
was magical. It helped turn the
whole room into a New York
night, an African village, a
beach house in a power outage
and whatever else it needed to
It all came to a close on
Belle-ile with John and Gillian
burning their gloom in an unexpectedly redemptive way: helping to rescue hundreds of
slicked birds washed up in a
New Year's Day oil spill. The
meaning of Y2K had become
telescoped into a cardboard box
containing a creature damaged
by human greed and excess. To
the spare and wild sound of
trumpet and cello, the playing
space became filled with boxes
of varying sizes as John
described the methodical rescue
process like the ritual that it
was. What a perfect place to
The Holy Body Tattoo is back
in town for a pit-stop at the
Vancouver East Cultural Centre
where they'll remount Circ
from February 6-10.
About this time last year,
they packed the place with this
stunning piece of dance theatre
which includes film by William
Morrison and music by The
Tiger Lillies, Warren Ellis,
and Steven Severin. Now
there's even more reason to be
screaming for a ticket because
the beloved Tiger Lillies will be
performing their music live on
stage with the dancers! And as
if this wasn't enough euphoria
for one week in February, the
'Lillies will be doing two late-
night cabaret performances of
their own on February 9 and 10.
I'm so excited that I almost forgot to tell you to call 251.1363
685   -   3922
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2001 Fcbrwartf 9 MO
Luck Club. They
Ihe brothers that make
DiSCORDER: Maybe we
should tell the story of how we
met. I remember it 'cause I was
embarrassed for weeks.
No Luck: So you and Erin come
into the station [CJSF], and you
guys are getting ready to do
your show, and you go to us,
"Hey, have you heard of the No
Luck Club?" We were all surprised and you were like,
"They're local," and we're
thinking this is a joke or something. I was wondering who
put you up to this? Ed, our
music director, is sitting in the
music library laughing, so we
think he's pulling something on
us by making you say this.
I had just heard your CD the
week before at CiTR, and I
thought it was so good. I was
happy it was local, so I had
taken it upon myself to spread
the word.
Yeah, so that was how we met.
'Cause we're like, "That's us!
That's us!" We didn't even promote the CD. We had just given
it away to a couple of people we
know. Do you wanna know
what we did with this CD
I wanna know how you even
got to that point.
Okay, this is the history of the
No Luck Club. Around
December of 1999 is when the
first stuff actually started forming. We finished this demo
thing in May 2000. [It was the]
first stuff we ever made so we
thought let's send it to some
labels. We sent it to labels we
had hoped would actually
wanna release it. So we sent it to
Ninja Tune, Mo' Wax. We didn't
receive any responses from any
of the European labels.
Who else did you go to?
The Bomb, Ubiquity records,
Stone's Throw, Asphodel.
Why didn't you try something
closer to home first? Like
Macenroe's label?
We thought we might as well
shoot for the stars, see what
happens. What we were gonna
try to do was get some local
press and try to push it that
way, maybe try to get a club
gig—but then we finished the
CD and only made a few
copies, burned them at home,
so we thought we'd send it out
and see what happened. A
week later we received three
responses. First response was
from a label in Boston called
Land Speed. They put out a lot
of independent hip hop. He listened to it, and he wanted to
know what we planned to do
with it. We thought, all right,
we'll go with him, but then the
next day we get an email from
75 Ark. Toni wrote us saying
they had listened to the CD,
that Dan (The Automator) had
listened, and we should give
them a call.
Did you freak out?
Fuck yeah! This was all so crazy.
I was working at this internet
job and was in New York when
we got the email. Matt called
me up and was like, "Hey man,
guess what happened!" The
next day I'm on the phone to
San Francisco.
I just read a great interview
with Dan the Automator in
Select magazine. He seems so
cool, down to earth, and sincere. I don't think there's anyone better to call you up and
say he likes your CD.
Exactly, and even from a producer point of view he's the
mid v
3 learn
from. When we heard this we
were flipping.
This is a pretty good story.
And it's funny about the demo.
They managed to pick it up
from the pile. When we did
mailouts we emailed everyone
to make sure they even wanted
demos. That way it wasn't just
a blind mailout—except Ninja
Tune, they were a blind
mailout. When we were at 75
Ark there were piles of
unopened demos. We totally
lucked out. Toni said they saw
it and were like, "They're
Chinese and from Canada!" Me
being the suave guy that I am, I
wrote her a very nice email in
hopes of piquing her interests,
and I guess we did. We totally
fluked out. •
A couple of local hip hop
by Testa Van W-^ilen
c\ntk lodd To^^orrow
Freshbread is called
Freshbread 'cause he's baked
daily. He's from Vancouver,
and with the help of Steb Sly and
Josh, he creates beats and rhymes.
Not bad for a punk kid who used
to play with SNFU. Track his
stuff down on MP3.com 'cause
it's well worth it.
DiSCORDER: You were
telling me that Freshbread
has been an idea for 15 years.
Freshbread: Basically I was
waiting around until I found
the right people. I had to wait
for Josh to grow up and for
Steb Sly to finish up in the
video game business. Then I
turned a concept into a reality.
What was the path you took
to get there? Something must
have happened in the last 15
years. You said you made a
track back then?
I've made a couple of tracks
over the years, but I didn't
really have the inspiration
until I bumped into Josh and
Steb Sly at Studio X. I had
made a song called "Fuck the
Firemen," which is the
Canadian West Coast answer
to "Fuck the Police," of course.
Took talking about hoes [hose]
to a whole new level. Basically
it was just finding two people
as high on drugs as myself to
work with.
What's Studio X all about?
It's the facility that the
Freshbread project is created
This is the studio Steb owns?
It's the studio that I work at.
It's a post-Audio facility. It's
actually a place where film,
TV, and video game music is
Do you sneak in the
Freshbread stuff when everyone goes home for the day?
I've got my little corner where
I set up and make beats.
Now you're working on the
Freshbread album?
Yup. Now it's album time. It's
dark and disturbing [laughter].
Atari Teenage Riot mixed with
Harry Belafonte. Some very
"Banana Boaf'-style songs
mixed with aggressive political songs. Gotta mix the
banana boats and the politics
[more laughter}.
And that's coming out in
Just in time for the next Body
Yeah, the last Body Rock was
cool. What made you decide
to dress up like stormtroop-
It was actually Josh's idea—
not to mention that I always
wanted to be a stormtrooper.
We rented these stormtrooper
outfits which were quite tight.
We were actually Luke and
Han dressed up like
storm troopers.
What inspires you to write
the rhymes that you do?
Well, I like to find humour in
everyday life. I particularly
find humour in the concept of
Freshbread itself.
So you're all baked daily
Ah, we're all fairly reformed.
I'm baked bi-weekly these
days. Josh keeps it going daily
though. Now I can actually
finish the music I start.
You come from more of a
punk background...
Yeah, I do. But there are many
similarities between punk rock
and hip-hop—same sensibilities but different sides of the
planet. It all started in people's
basements and garages. It's all
urban music. There were kids
in the inner city that came up
with this music. Now, obviously, with the internet kids in
the suburbs get it as well. It's
no longer urban music alone. •
10 DiAcorder The Building Press
"People are really open to
experimentation now, and being pretty
innovative with their tools, and i
think that is a good, evolutionary
sort of thing,"
says Aaron P. Schroder, guitarist for Seattle band The Building Press,
when I ask about his perception of rock these days. "There's always
the classic question, 'What kind of music does your/that band
play?' and you kind of stand there stunted and say, 'I don't know,'
with an arched brow. I like the idea of music that has no title to it."
He manages to answer that very same, albeit rephrased, question
when I ask him how he feels about The Building Press, and what
they are trying to achieve soundwise. "We have lately been composing more textured and structured songs," he says. "Sometimes
we have literally composed parts of just straight-up noise that
appear to go in no direction. Then it just kind of stops and restarts
itself. The Tablet [a Seattle 'zine] said we write complicated songs.
Some of the most positive feedback that I have gotten to date is that
we make a lot of sound for a three-piece. That makes me smile."
The three-piece is comprised of Schroder and his co-consipira-
tors, bassist Jeff Woodke and drummer Jim Acquavella. The band's
lineup was completed about a year ago when Acquavella joined
Schroder and Woodke, who had already been at work composing a
set. Schroder explains, "I met Jeff through a 'musicians wanted' ad,
and we hit it off pretty well. We had no specific genre that we wanted to go after, it was just agreed that we would write a set and whatever direction it took was the direction it took. It took some time,
obviously, to find the right third piece to complete the project. I think
I can speak for everyone when I say we are really happy with the
results so far. Jeff and Jim are the anchor to the equation. Solid. We
feed off each other."
While their first recording, a five-song self-titled EP, features
vocals, the band currently takes a predominantly instrumental
approach to music. "We just started writing instrumentais one day,
and never really looked back," Schroder says. "I was kind of nervous at first about the perception of the slightly new format, but it
really works better now. Some folks don't even really notice the difference—that is to say that the music itself, and not the vox, was and
is the focal point."
The Building Press' sound abstracts from Midwestern punk and
Chicago-inspired instrumentalism. This is likely owed in part to
Schroder's own wanderings and participation in bands around
those parts of the US before settling in Seattle just over four years
ago. "I have moved a lot, including to Chicago and Minneapolis and
other places that most decent folks have never heard of. I had no
intentions of staying [in Seattle), but here I am now. I moved to
escape shovelling snow, and high natural gas billing." With due
respect to his newfound homeland, a stone's throw from Twin Peaks
territory, he also notes his bandmates' fondness for film composer
Angelo Badalamenti.
Schroder sounds enthusiastic about the state of things in Seattle,
both for the music scene, and for The Building Press. "I think Seattle
has a great diversity of sound to offer an inquiring ear," he says.
"We have had the pleasure lately in meeting and doing multiple
shows with a few particularly good bands, including The City and
the Stars, Vermillion, and The Kindling Collection—a shameless
plug for some of my favourite Seattle bands. It seems that there is a
big rock 'n' roll scene. I mean like straight-up AC/DC kind of rock,
which really doesn't include us, but nonetheless, the kids just want
to rock. The reception we have gotten in past shows has been very
promising and positive. It's always interesting to hear any sort of
response, especially when it is to something that you have created.
We actually even received our very first piece of hate mail via our
website. I was personally amazed that we could evoke that sort of
emotion out of someone. All opinions are always welcome."
Schroder describes how The Building Press also tries to pursue live
efforts that allow them to collaborate with their friends in the art
community. "We do and have done a few live shows at friends' art
openings, and I think this is one of the best atmospheres for live
music. First, it is usually really loud because of the composure of
the typical art gallery. That is, wood floors, bright lights, and virtually nothing on the floor except us and the nice folks who are watching. It is a raw experience for all involved. Second, it is not a typical
show venue, which is really exciting for us. We also try and collaborate with visual artists and the like, by putting out flyers and
records with their work included. For example, our next release is
going to have some incredible images of sculpture done by our
friend H. Mistur. Wait and see."
The three-piece is just finishing production on a new record
which will eventually take its name from the final length of the
recording. Before that happens though, you will get a chance to check
them out live when they return to Vancouver on February 10 to play
an all-ages show at the famous Java Joint. Of past visits to our fair
city, Schroder savs, "Vancouver has alwavs treated us very well. A lot
of bands from Seattle don't get up to Vancouver, and that is a shame
because in my opinion the scene is good, and the city itself is just
really cool. As for the whole all-ages thing, we have only done a
handful of shows. The obvious reason being that there just aren't as
many all-ages clubs as there are bars. The all-ages shows are really
cool for us, because everyone is really into it—the music, that is.
People aren't blathering on about drunk topics or trying to get laid,
they are watching the show and really paying attention." •
For more information on The Building Press contact
<buildingpress@h0me.c0m> or check out their website at
http://members.home.com/buhdingpress/. See them February 10 at the
Java Joint, 10729 King George Highway (Gateway Skytrain Station),
with Trail vs. Russia, The Instrumen, and guests.
2001 febrviarvi 11 The
are ajj
The Gossip u
: I Heard, on hometown label Kill Rock Stars.
DiSCORDER: How did you guys figure out how to find a record
label and get your band together?
Beth: It was really accidental. We didn't really look for it, it kinda
found us. We just played shows here [Olympia], and they were like,
"Okay, do you want to put out a record?" And we were like, "Okay."
And that was it.
What motivates you? What inspires you to play music?
Beth: I really like to sing a lot. I really like to perform a lot. Being
able to get things across to kids.
What gets you up in the morning?
Nathan: Alarm clocks.
Beth: Music.
Nathan: I don't think we put any thought into anything we do at
[To Kathy] How long have you been drumming for?
Nathan: Two weeks.
Kathy: Three years. But only seriously for a year.
It sounds like you've been hitting the drums harder on this tour,
so far, than you did on your last one. Is that a conscious decision?
Kathy: Not really.
Did you teach yourself how to play? Or did you learn from someone?
Kathy: I just did it.
Beth: She knew what sounded good, what she liked.
Are there drummers you look up, or listen to for inspi-
Kathy: Janet from Sleater-Kinney and Ringo Starr.
Are you a big Ringo fan?
Kathy: Yeah, I am. He's awesome. He's fun to watch.
When did you guys form, and why?
Beth: We formed
'99. There wasn't
August of
ly real rea-
Everyone: ...bored.
Beth: They were playing music.
Nakhan: And we asked her if she wanted to sing,
and she did. And that's all.
Did you ever take voice lessons?
Beth: Never. I refuse to do it. Kathy and I have
talked about it a little bit, and I really don't want to
do it. Just for the sake of being able to keep my
breath, and saving my voice. I don't feel like the
singers I look up to ever did it. It's not like, "I am
such a good singer that I don't need voice lessons.
No way. No thank you." It's
The closest I e
e lessons
>ugh my
mid hold my nose i
through it.
What kind of gear do you use?
Kathy: I play my boyfriend's kit right now. It's a
Ludwig. I don't really have a preference.
Nathan: Pawn shop guitars and amps strictly. The
e generic the better. The shittiest equipment
you can possibly find.
But you were playing a Gibson tonight, or a
Nathan: r
is a fake. It was a hundred dollars.
a hundred dollars in LA.
What kind of amp do you use?
Nathan: A Peavey. I got it four years ago. I don't know how it works.
Beth: You've had it since I've known you.
Nathan: The speakers are hollow. I got it for 80 dollars at a pawn shop
in Arkansas. The shittiest equipment you can find is the best to play.
Do you put your guitar through any effects?
Nathan: No. Just a little bit of distortion.
Beth: He is anti-pedal.
Nathan: Anti-pedal all the way. It's like that technology shit.
What do you want people to do when they hear your music?
Everyone: Dance, dance, dance! [laughter]
Kathy: And want to start a band.
Beth: And just fucking think about what they're doing.
Nathan: And let them know how easy it is to start a band. There are
no challenges starting a band, getting on a record label, putting out
records. No challenge at all.
Beth: That's not even important.
Nathan: Yeah. That's not the important thing. Having fun is the
by cassandra S ANT AN A
most important thing. People who make a conscious decision to be
in a band and put out records, to be popular and famous, are so stupid. They need to quit.
How did you come up with "The Gossip?" Were there any other
names that you guys were considering?
Beth: We were the Rock 'n' Roll Fakies.
Nathan: That was a horrible name, oh my God.
Beth: No, it wasn't a horrible name. It was good.
Nathan: It was pretty bad.
How would you describe your music to people who haven't heard
it yet?
Beth: Trashy blues punk. Southern trashy
blues punk.
Is that a new genre?
Nathan: Southern trashy blues punk?
Beth: It's trashy, it's southern...
Beth and Nathan: ...it's blues and it's punk.
Are there any other jobs you would consider doing, besides being
in The Gossip? What did you want to be when you grew up?
Kathy: I want to be a psychologist.
Do you still?
Kathy: Yeah, I still do.
Beth: Hair dresser, choir teacher.
Are you still thinking about going back to Arkansas to go to beauty school?
Beth: No. I really want to be a hair dresser. I'm not going back to
Arkansas. That was just the dumbest idea.
So I can confirm that it's true you're staying out west.
Beth: Yes.
Nathan: An astronaut. I'm obsessed with space.
You're sure about this?
Nathan: I swear. Either making really shitty movies, like those USA
"up all night" movies. Horror movies, like Zapped Again, or Weird
Science, or being an astronaut.
How/where do you practice? Do you practice a lot?
Kathy: We practice once a month if we're lucky, right now, 'cause
Nathan lives in Canada, and it's hard for us to get together.
Are you thinking about finding a stand-in guitarist, for every now
and then?
Kathy: No. We tried that once, and it worked. But it really didn't.
Nathan: I'm just gonna find a stand in band when I'm in Canada.
A new band. The Canadian Gossip.
Beth: Eh?
Nathan: Eh? That's all it is.
In the liner notes of your new release, you thank The Need and
Jesus in the same sentence. Was that coincidental?
Nathan: They are very much alike.
Beth: [laughs] I love The Need and I love Jesus.
Are you religious?
Kathy: I think we all are.
Nathan: We were all raised very religiously.
Beth: We were all raised... to say there is no God is the only unforgivable sin. So that's the only thing I won't do.
Okay. Some of the shows you're playing on this upcoming tour
are not all ages.
Nathan: And that sucks.
What would you say to a bunch of underage fans who were upset?
Nathan: We are so sorry.
Kathy: So sorry.
Beth: We worked so hard. We are so sorry. We didn't know. This is
our first tour by ourselves. Fuck. I hate 21+ shows, they fucking
suck. They're fucking stupid.
Nathan: [On the last tour] we ended up playing a lot of shows that
were really expensive. We knew we were going to. If you're going to
tour with Sleater-Kinney, of course. My ideal tour [would be made
up of] shitty little basement shows.
Beth: I want to do a strictly separate tour like that. It just sucks that
those kids miss out because of shit like that.
Nathan: If the underage kids show up early, we'll sneak them in.
Are there any towns or venues you're looking forward to playing?
Beth: I really want to play Little Rock, Arkansas. I'm really looking
forward to Boston, Minneapolis, and LA.
Kathy: San Francisco, New York.
Is it hard to balance your real life and your band responsibilities?
Beth: I don't see that at all.
Kathy: I don't have a real life. I just have a food service job, and
that's all.
Nathan: Batting off the groupies.
Kathy: Yeah, that sucks.
Nathan: And all the record signings. It's so hard.
Beth: There's this boy in Alabama who has the cutest crush on
[Nathan]. He keeps emailing me.
Nathan: Really? Sweet. That's awesome.
Do people assume that you're all one way or another?
Kathy: I don't think so.
Beth: That's so true. Kathy gets the boys.
I hear Kathy has a big lesbian following.
Kathy: What?
Beth: Oooh girl.
What about you, Nathan?
Nathan: Substitute teachers like me. Beth gets all the ladies.
Beth: I don't get any ladies.
Kathy: Oh, sure.
Beth: In North Hampton, dyke city. I was single, and I was like, I'm
gonna get some. I didn't get any. [My friend and I] didn't get shit,
and it was dyke city.
Nathan: They were like an '80s movie. [Beth's friend] was the jock,
and [Beth] was the nerd.
Do you ever go to strip clubs?
Nathan: Strip clubs are so depressing. I went to one once in Canada
with my girlfriend. It was so depressing. It depresses me.
So do you guys do any extracurricular activities, like bowling? Are
you big knitters? Do you watch Oprah?
Beth: I crochet.
Get out!
Beth: I do. I crochet like a motherfucker. Doilies? I can crochet like
nobody's business.
Have your families been supportive of your careers? Of your
boyfriends and girlfriends and all that?
Kathy: I don't think my family really knows what's going on.
They're pretty supportive of me no matter what I do.
Nathan: My family doesn't understand anything modern. They're
like Quakers. "Electricity is Satanic!" Zippers aren't Christian either.
Kathy: They're really conservative.
Have they heard your new album? 'Cause
it's really sexy.
Beth: My mom loves it. My mom is the
dirtiest person ever.
Nathan: She's sexy.
Is your song "Swing Low" about oral
Beth: Yes.
What songs on That's Not What I Heard
aren't about sex?
Beth: "Got All This Waitin'," written by
Kathy. I don't think that's about s<
How does your writing process work? i
Nathan: Computers.
Do you ask a computer what to do?
Nathan: "Computer: how should I
write this guitar riff?" I send emails to
my dad. He sends me chords.
Do you plan to cover any songs
the future?
Beth: We want to cover a million
Nathan: The Misfits, Ike and
Do   you   listen   to   Destiny's
Beth: Of course.
Nathan: We want to go on tour
with Destiny's Child. That's the
reason why this band exists. •
12 DiAcorder sea,c
This dinner thing was not my idea. Delays, however, mean
that the boys from Chicago's Sea and Cake arrive in
Vancouver late, and they arrive hungry. Juan, their tour manager, hands them 10 Canadian dollars each ("Will this be enough?"
one of them says) and says something in the order of "Go have yourself a good time." Next thing I know, our shoes are lined up in a little row near the door and a Kiminoed waitress is gently hustling us
to "sit closer together." It's an intimate room: thin paper walls and a
distracting Japanese fountain trickling just next to me. I just sat
down, for goodness sake.
How am I going to do this? I'm sitting so close to guitarist
Archer Prewitt that I can hardly move my mouth, let alone flip
through a pad full of questions. And besides, they all look damn
tired. I make the announcement: "Boys, I'm tossing the pad." Sweet
relief sweeps through the room—it's not easy being prodded, poked,
probed all the time, you know? This "interview," therefore, is nothing more than an average dinner conversation between a band and,
well, a stranger, with the stranger asking most of the questions. Bon
', Tortoise dude): I'll have the
John McEntire (di
Sashimi plate.
Eric Claridge (bassist, artist, ex-Shrimp Boat): I'll have the chef's
special with the chicken breast.
Sam Prekop (singer, guitarist, also ex-Shrimp Boat): I'll have the
bean cake appetizer and salmon teriyaki.
Archer Prewitt (guitarist, cartoonist, ex-Coctails): I'll have the
salmon teriyaki, chef's special.
JM: And maybe a small sake.
EC: Make that two.
AP: Uh oh, you're going down.
SP: It's very potent, you know.
AP: [in his sultriest Southern twang] It's very surreal Eric.
You'll lose your orientation.
EC: [to JM] You're a bad influence.
JM: I take the blame.
DiSCORDER: Are you tired, John?
JM: I'm really tired.
EC: How could you not be tired? When did we get home?
JM: Four? Three?
AP: They went out for a nightcap.
EC: We didn't find one. Instead we found some really bad food. And
that Moby album, playing super fucking loud. [More laughter]
AP: Oh no!
JM: Let us not speak of this again.
And yet it's all we talk about for the next 10 minutes, the general
consensus being that it's not really their "cup of tea," shall we say. I
decide to sneak in a couple of pre-prepared question.
Your songs are full of repeated cycles, phrases and riffs reminiscent of mbira and other African instruments. Did any of you study
African music?
AP: No. I didn't study music at all, John did.
Where did you study?
JM: At Oberlin College.
Any good?
JM: I guess so.
Where all the "good players" go?
JM: Yeah. It's where those snotty violin-playing kids go. The people
who are gonna go into symphonies, that's the sort of school they go
And that's the direction you were headed in?
JM: I was a performance major, leaning how to play, when I started
there. I got out of that pretty quickly. Very unpleasant. It's a totally
different world. Super super competitive, there's no creativity
involved in anything. You're just learning the repertoire and that's it.
So it didn't really interest me. I stayed in the music school, but I
started doing electronic music. This was between 1987-92. That was
sort of a weird time for electronic music, sort of a transitional period
I guess, in terms of not only the technology but also the way they
were approaching the curriculum as well. It was becoming a lot easier to teach that stuff; it was more accessible. It was becoming much
more consumer oriented where as it had always been housed in the
academy, so only five schools in the country had the right equipment. All of a sudden it opened up a lot.
AP: It's always difficult to discuss [where the music comes from],
but people always want to know it. You could sort of half-heartedly
name a few albums that you're listening to at the moment, but it
isn't really a coverage of the scope of what you're really interested
Who writes the songs?
SP: We all write the songs.
AP: Sam pretty much brings the core of the song to a situation where
we three work on adding to it and manipulating it to become more
of a proper song, a more fully realized song. It even goes through
more changes when we bring it to John in a recording situation,
where we decide on the length of things, the structure of things, and
then it goes through further manipulation in the recording process.
Pro Tools manipulation, where we can move things around a bit. In
the preliminary stages it's all pretty intuitive, for lack of a better
word, in that we're self-taught musicians. We just slide around the
neck until we find the notes that seem right. We don't really know
what we're doing, but after doing it for a number of years you kind
of develop your own chord vocabulary. I guess that's why it's a fairly unique sound.
Does anyone want to tell me how you, um, met?
JM: [to Archer] Come on, make up a fanciful tale.
AP: Eric and Sam were on this fishing barge... tofu farm... or something. They were living together, and it was after their band Shrimp
Boat broke up. They were offered more money to do another record,
and Sam decided to maybe work with some other people, and he
called me up and set up a little practice, a little get-together, audition.
SP: [Soprano] Next.
AP: He told me that he would call me.
SP: "Please don't... call, um."
AP: We got together and it seemed really solid from the outset. There
was a real meshing of styles—we were all inept. It was good. I
brought my ineptitude to theirs and it was a wedding... of sadness...
and torture. And then we decided we were going to record it a couple of weeks later after barely knowing the material. Luckily John
was sort of milling around, working there at the studio. And then he
said to the drummer at the time, "Um, maybe I could play a little
drums." And then John laid in the fat [John excitedly drums the air]
beats. Ooh. Ooh. And the rest is history.
JM: Have some more sake.
I didn't realize the politics were so devastating.
AP: So the band formed in the studio. We weren't even sure if it was
going to be a touring or a performing band. I remember the day John
played and then on the way home in the car, Sam and I were silent
for a while. Then I said [high-pitched Texan accent[ "John's greaaat!
I'm so glad this worked out...'cause it was sounding really baaad!"
So then you just churned them out for the next few years?
AP: It appears that way because the first record was released in
Europe, and it didn't make it to America for a while, and by that
time there was already another record. But yeah, we were pretty
busy. We were young and hungry.
SP: It took a long time to do Nassau, sort of spread out.
What do you do when you're not doing music?
AP: I do a comic book, and I have another band, and I do illustration. Art and music, side by side.
Who does you album covers?
AP: Eric did the Mingus painting in the first, and Sam did photography for The Fawn. It's hard to say who took the picture of Nassau,
a little sculpture of Don Qui
:ulpture that I was
takenly brought with
II, but it's heavy. If I'd
s if I have
all took phot
something. Eric owns the sculptu
EC: It's not a sheep. It was just some weird si
given when I was 12 or something, and I mi:
me from Memphis when I moved up. It's sm;
known it was in my bag I would've tossed it (
it was it made it and Sam owns it now.
AP: He's got two of them.
SP: Yeah, I have another one.
How is new music created?
AP: When I'm sitting down to write a song, il
trol over what happens sometimes. Especially when a song presents
itself from beginning to end in a matter of hours, or less. I think
"What the hell's that?" I'm happy that it happens, but it doesn't happen that way all the time. You just wonder how your hands fell on
the chords the way they did.
JM: Even with your 10-part songs?
AP: Yeah.
JM: Oh yeah! He's the master.
You notated 10 parts?
AP: Well, usually with those kinds of songs, I don't notate
really. I have my own way of writing out the songs, but those songs
are more like composed, I guess, bit by bit and then pieced together.
I suppose a few times it's happened where from beginning to end
even though it feels like a whole lot of changes and crazy stuff going
There's a photo on the
reminds me of the hills ai
AP: That's in Kyoto.
But the front's of Melbourne.
SP: Brisbane. I was there this time last year, playing solo. I remember
the shows in Sydney were better, but everyone told me it would be
the other way. But I liked Melbourne. We have a good friend who
lives there. She runs a label called Spunk.
JM: There's this band Ceding [from Sydney]—they toured with us,
with Tortoise, in Australia. They wear these backpacks, that's their
only stage gear.
AP: They're just filled with nothin'.
JM: I think someone from Stereolab had one.
AP: Are they a certain kind of backpack?
JM: No, they're just standard backpacks, but they had their logo on
Juan [manager]: I like that Melbourne band The Art of Fighting.
JM: What about that band Minimum Chips?
Minimum nothing—the servings are huge. As we collectively stuff
our faces, the conversation becomes more and more muffled. After
the show that night, Eric tells me that tonight was the best gig he's
played in months. Archer credits it to the sake. •
2001 February 13 \/
hULr\ mv
Why is it that the mention of "folk music," even
among open-minded music fans, conjures up
images of granola-crunching helicopter dancers
and navel-gazing guitar strummers? Are people
more comfortable with terms like "alt-country,"
"roots music," and "worldbeat"? In mid-February,
over 1600 delegates from North America and
overseas will descend upon the Hyatt at the 13th
Annual North American Folk and Music Alliance
(aka "Folk Alliance") conference. While it's been
described by some a "music festival with elevators," this gathering of the folkie tribes is, first and
foremost, a music industry trade show. I surveyed
several under-30s who will be attending the conference about the music business and their opinions on folk music.
Jesse Zubot, of local acoustic duo Zubot and
Dawson, points out that folk music is "kind of a
broad word, f think, and it can include world
music. All the Euro stuff, the whole gypsy swing,
is technically kind of folk... even Moby, he sampled those field recordings and he's said that folk
is a big influence on what he does. The boundaries
are definitely stretching." He notes that their own
sound, which they've labelled "Strang," goes over
much better in larger cities. He doesn't know why
this is, but thinks that perhaps anything vaguely
resembling old-timey music is not considered
"cool" in small towns. The underground music
scene, at least in our city, is "definitely into it,"
according to Jesse. He was pleasantly surprised to
overhear comments after a recent screening of the
Coen brothers' movie O Brother, Where Art Thou
about how cool the soundtrack was. "People were
walking out and saying stuff like, 'Hey, maybe
bluegrass is not that bad.'" As for the Folk
Alliance conference, Zubot and Dawson are
attending their first one in the enviable position
of being one of the few bands selected to play at
the official conference showcases. Strangely
enough, this instrumental duo was selected for a
"singer-songwriter" showcase. "Personally, that
doesn't bother me, as long as there's people
around," Jesse drawls. "We don't really have
vocals, but we do write our own songs, so it's not
a big deal." He's heard that this conference is "a
huge party, and people have a good time. There
will probably be a lot of musicians who like to
Jesse's musical partner, Steve Dawson, added
his thoughts on the "Is folk music relevant?"
issue. "To me, it's partly a question of terminology. Is "folk music" music that's taken from traditional musics of any sort and then just rehashed?
In which case maybe we shouldn't give a fuck. Or
is it traditional-based music that we can plow
through, take bits and create something new and
original? There's definitely more of [the latter]
being created in the last five or six years. It's real
ly relevant music that doesn't get a lot of airplay,
but it's important art."
How to meet that challenge? "Well, sad to say,
a lot of people have turned away from radio, even
college and community radio which does sometimes play really interesting roots music. Alberta
has a really cool radio network called CKUA
which has a lot of great folk-based programming.
We don't have the equivalent here, which makes
exposure to that kind of music tough."
Steve has been to a lot of other music industry
conferences and offers up his perceptions: "All the
others [I've been to] are really 'showcasey,' and
most of them are not what they cracked up to be.
Mostly what happens is that a couple bands get a
buzz, the rest get screwed into playing for free,
and then by seven or eight years into their lifespan, nobody in the industry is taking that conference seriously anymore. Folk Alliance is different,
it's not real hype-based. For us it's a chance to
showcase in front of a lot more people that can
benefit us professionally"
As for the events open to the public, Steve
hopes that people will find out about the Big
Night On the Drive (February 15). "Hey, it's a
chance for people to get hip to some cool new
music from all over, for a reasonable price, and
maybe that vibe can continue. It would be great
to have an event like that on Commercial every
year, maybe even more often."
Another young Vancouver group, the Be
Good Tanyas, has been creating a local buzz in the
past year, and hopes to spread that buzz around
during the conference. Not only is this their first
Folk Alliance, but it's their first music conference,
outside of a Railway Club gig at last year's New
Music West.
Trish Klein, BGT's banjo player, anticipates a
"really BIG conference. It's never been hosted here
in Vancouver, and I think it's a big deal that it's
happening here. I'm totally swamped by hearing
about how many musicians are going to be in
town, and then there's all the festival promoters,
booking agents, etc. As a musician, it could open a
lot of doors for us, as a lot of the main people who
put together festivals will be there."
Safe to say that BGT would like to play more
festivals? "Oh yeah, playing festivals is where it's
at," Trish laughed. "For us it's the best way to
tour, make some money, have great audiences,
make contacts. Once you get into that circuit,
more festivals will hopefully book you, and that
opens up to touring other countries and Europe."
Like Steve Dawson, Trish wants to get the
word out about the Big Night On the Drive: "It's
going to be like a folk festival times ten! All over
Commercial Drive, instead of just Jericho Beach,
a lot cheaper, indoors. Each venue is going to have
its own different vibe. And also unlike Jericho, a
lot of the venues are licensed."
As for folk music in general:
"It's totally relevant, because folk
music is our history, it's an evolving art form, and it's the people's
music: non-corporate, and written from .an honest place. Folk
music is hip-hop, reggae, punk,
world, and a wliole lot more. It
draws on old traditions, but at the
same time it's always new."
So what might older folkies
think of all this? "There's some
resistance from older people
about the hip-hop/electronic
thing, and  the idea  that folk *
should only include traditional *
forms. However, I think those
walls are coming down, and it's all a grassroots
thing. I think if you want more young people at
folk festivals, a good start is to book more bands
like Third Eye Tribe, Kinnie Starr, Ani DiFranco.
On the other hand, we can learn a lot from old
guys like Utah Phillips, who's a really entertaining storyteller and not afraid to mock the 'old
folksinger' stereotype."
Trish's bandmate, Sam Parton, has been to
one Folk Alliance conference previously
(Memphis, 1998). "I was performing with Chris
Chandler at the time, and we went 'guerilla-style':
hanging out in the hotel lobby, playing in hotel
rooms and that sort of thing," she reports. "We
didn't get involved in the machinations of that
conference, so this time it will be a lot different."
Sam gives another hearty thumbs-up to the
"Should we give a fuck about folk music?" question. "Yes! Folk music, roots music, whatever you
want to call it, people are becoming more discerning and the increased amount of choices through
MP3s and so on is a good thing. People like Beth
Orton are even bringing it into the mainstream in
some ways, combining roots influences with elec-
tronica. Oh Susanna is getting a lot of success
across generational lines. The response to BGT
from young people has been amazing. Even the
recent 'Rock For Choice' event at the Cultch.
Everything I saw at the hip-hop /spoken word
night was definitely folk, and great stuff! It's all
grounded in the reality of what we're about. Our
generation—communal, not commercialized."
Dugg Simpson, artistic director of the
Vancouver Folk Music Festival, may not be under
30, but he has gained a reputation in folk music
circles for his forward-looking and open-minded
festival programming. Anyone who knows Dugg
will not be surprised to learn he has a few strongly-held opinions about folk music.
"I think we are in a folk music revival that
makes what happened in the '60s look like a
kitchen party, frankly. But this time, so many more
of the world's traditions are involved. African tra
ditions, Cuban, Brazilian, Celtic, etc. Look at rap—
it's a tradition that goes back to Gil Scott-Heron
and The Last Poets in the '60s, and all the way
back to the tradition of the griots in Africa," Dugg
"At the same time, I think we fetishize age to
a remarkable degree. It's part of that whole western approach of looking for difference, ft works
well for marketers, but in the end good tunes are
good tunes. Every generation gets behind 'their'
artists' changes in the tradition and sometimes
older people are sometimes going to find those
changes a little harder to assimilate."
So how does Dugg cater to younger audiences when programming his festival?
"'Cater' isn't how I look at it at all—'consider,'
certainly. There are always young artists on our
stages. Some years, it's Ryan Moore's Twilight
Circus or Kinnie Starr or Dan Bern. Last year it
was the young Celtic edge program. At the same
time, there are always senior artists on our stages,
people in their 60s and 70s. Part of what I like to
see on-stage is that connection. This used to be
much more of an all-ages planet. It's way too rare
in this city, or even this culture, to see people of
all different ages getting into music together."
David Jacobs-Strain, a 17-year-old blues guitarist from Eugene, Oregon, will no doubt be one
of the youngest participants at the Folk Alliance
conference. Although young, white, and raised far
from the Mississippi Delta, one of his early guitar
teachers put him onto the music of blues greats
like Fred MacDowell, Lightning Hopkins, Taj
"It wasn't an immediate thing, but I was
drawn by the ragged honesty of the blues.
Structurally, it's simple, but the reelings and raw
nature are not simple at all. It's a bit like haiku.
And it's powerful for people regardless of their
social or ethnic background. I think that anyone
with emotions can play the blues. I don't have a
problem singing someone else's story, as long as I
point out it's their story. I play music that's meaningful to me, that is, it has honesty, soulfulness,
14- Di*cor<ler ^sO! sm \e  srn
and respect to its c
Teenagers have not been known a
traditional audience for the blues, but
David claims quite a few friends his age
share his musical tastes. "When my classmates are exposed to it, a lot of them discover that they really like it. Most teenagers
are far more open than we get credit for! It's
about exposure. On top of that, it's hard to
access that age group to get them to come.
Folk music, including the blues, can't
launch a massive advertising campaign. It
has to be a grassroots, person-to-person
Affixing labels such as "folk" to eclectic, acoustic music poses a problem for
many young artists. Mare Wakefield of
Portland trio Vivian's Keeper finds it
frustrating to concisely describe her
group's music, for instance. "We're multi-
instrumentalists, we play acoustic instruments, but we're not necessarily 'folk'
music. We like to think of ourselves as
more eclectic, with country/jazz/rock
leanings. People see our banjo and
assume that we're a bluegrass band. We
come across that old-time purist aspect
quite a lot, like you have to play 'exactly
this way' to be legitimate."
Similarly, Groovelily is a young "lush
pop" band from New York City coping
with the "folk moniker," as keyboard player Brendan Milburn puts it. "We're very
much dance-oriented, but we love playing
for folk music fans because they pay attention and get all the funny bits in the lyrics.
But they can also rock out as much as any
club or college crowd."
Member of Groovelily had heard about
Folk Alliance for some years through the
grapevine, but rejected it as "Folk? Ew. One
guy (or girl) with an acoustic guitar. Blech.
That's not us, we're a rock band."
But exposure to folk artist Jonatha
Brooke got them thinking. "We would see
her play solo when she came to New York,
and the performance would be as powerful
as when she brought her band. So we
thought, if we were to take our songs and
play them in front of a 'folk' audience,
meaning more quietly but with the same
energy, then maybe we could
make something happen here."
In some respects, Ontario
singer-songwriter Aengus Finnan,
29, could be a poster boy for what
many perceive to be the "status
quo" of contemporary folk music.
White male, plays guitar, combines covers of traditional songs
with traditional-sounding original
material. Although his Irish parents were involved with folk
clubs and festivals, he never
dreamed in his early years that
he'd be a folk musician. "For me,
it's about the community. I've
always loved the folk community,
and have found great comfort in
it. After a stint teaching up north
in Moosonee [Ontario], I went to
a folk festival and had a 'lightning
bolt.' I was reminded of a whole other
world I'd forgotten about. My sanctuary is
folk music and I'm challenged by it. It gives
us stories, it gives us truth, excitement, and
yes, I think it's very relevant to my generation. Sadly, it's an unknown world to many
in my age group, and so in that respect the
audience for folk music is still somewhat
Aengus is more business-oriented than
most of the musicians I spoke to, and peppers his conversation liberally with buzzwords like "networking" and "career
path." "Folk Alliance is an investment in
my future," he stresses, "and in some ways
it's like a chess game. I've worked hard
over the last year to generate attention." To
that end, Aengus has arranged two public
gigs in local suburban theatres before the
conference, will present a workshop during
the conference ("Creating Effective
Business Plans"), and will perform in the
Big Night On the Drive. Not bad for somebody who runs his business from a small
basement office.
Kevin So, a singer-songwriter from
Boston, hopes to be the future poster boy
for contemporary folk. His is also one of the
rare SXSW success stories I've heard.
Busking on 6th Street in Austin during that
conference last year (with his friend Mary
Lou Lord) led directly to opening gigs for
Billy Bragg on the West Coast in the fall.
What does he hope to gain from Folk
Alliance? "I'm there for business, I want to
make some good connections. If I can
upgrade my lifestyle and get to another
level, that would be fab. I would like to get
out of the DIY thing, get signed to a good
label, get a booking agent."
And what about being a visible minority in a predominantly white singer-songwriter scene? "Well, as one of my songs
says: 'This job is for a white guy, you know
what I mean, Vance Gilbert and me are the
only ones on the scene.' Sometimes I wonder if I'd have more opportunities if I were
white and good-looking. But I think the
most important thing is to present my point
of view with tact and intelligence. I have a
different perspective to offer, and I think
many in the folk industry see that.
"But as for 'folk music'," he pauses, "I
play all kinds of styles. I play an acoustic
guitar, solo, but if I had more money I
would hire guys and have a band. Just like
Bruce Springsteen."
Young men and women plying their
trade as musicians won't be the only under-
30s at this conference. Kerry Bernard is 25
and already a Folk Alliance "vet," having
survived previous conferences in Memphis
and Albuquerque. She works as a publicist
for a musician management firm in Boston,
and claims there are many publicists in the
industry her age. Although business is her
first priority, being a "big music fan" is a
bonus. "The first Folk Alliance I went to I
nearly freaked out, there was so much great
Dominic Lloyd, 29, will be travelling to
Vancouver from Dawson City, Yukon,
where he is the "artistic director, office
monkey—you name it" for that city's summer music festival. "I think folk music is
relevant... people can like both club music
and folk music, for different reasons.
People are often put off by the 'f word
(folk) because they picture white guys with
guitars. But it's more than that! Blues, country, worldbeat, anything where storytelling
is the focus."
Thais Perkins, a singer-songwriter from
Oregon, will be directly involved in the
conference as organizer of a showcase
called "New Blood," which she describes as
"a collection of us 20-somethings and Wild
Women of the West." She'll also be moderating a session called "The New Youth
Movement In Folk," which, she says, comes
as a result of discussion at last year's conference about why there aren't more young
people involved in the folk community. "I
think Folk Alliance is doing a great job in
their attempts to make younger folks feel
welcome. One of the functions of Folk
Alliance is to foster community, to provide
the place and the time to allow folks to get
together and solve their own problems,
build their own castles, and that's what
they've done here."
Folk music. Should we give a fuck,
anyway? I leave the final comments to
Dugg Simpson: "Fucking right we should!
What do you want to do? Leave the future
of music up to the five major global music
corporations? Hello cheese food! Hello
musical mad cow disease. Anybody who
loves music should give a major fuck—
whether you're a player or a music lover
or working with it, because all the great
music draws on traditions. This music has
been polished by generations of artists,
each one of whom was hip, hot, and happening while they were alive. They
pushed it and polished it, and this is what
we have inherited. It's an amazing gift!
Are we not going to cherish it, bring it
another generation forward and pass it
on? For me, it's cultural ecology. Enjoy
this gift from our ancestors, and celebrate
the fact that these traditions are alive
today." •
Some of tl
ie best music at the Folk
inference will take place
not only at official delegate-only
showcases or informal after-hours
jams, but at public events! Roots
music fans of all ages should take
Dugg Simpson of the
Vancouver Folk Music Festival is
one of the local committee members
who are helping ensure that many
of the world's finest folk musicians
will have opportunities to perform
"Vancouver is
" he
"In some ways this conference
might help make that clear to people here, which is a good thing.
We Canadians don't celebrate
our accomplishments much... we
just kind of go along and don't
pause to just go "Hey, this is an
amazing scene here, you know!"
The Folk Alliance conference has
meant that a lot of people in the
roots community have started talking to each other and are now working together. Artists, fans, presenters
— which might not sound like a big
thing, but it is if it's not happening."
"So far that has translated into
the World Ceilidh at the
Commodore; the Really Big Night
on the Drive which will involve 120
groups and solo artists in 22 venues
all on one night, and the creation of
the Vancouver World Music
Collective. All sorts of artists from
different traditions working together to make a splash at the conference
and now looking into ways they can
work together afterwards. Ifs a
pretty good beginning!"
On behalf of the local committee, Dugg invites one and all to
come and hear some gnat music for
a reasonable price in mid-February.
"On Valentine's Day, the
Commodore will have 5 bands for
$25; they're all great dancing music.
On the Drive the following night
(Feb. 15), a $16 wristband gives you
a choice of 22 different venues full of
music and a free shuttle bus
between them. In the long term,
there's already talk of trying to do
another night on the Drive next
year. This town could use a bit of
fun in any given February, couldn't
For more info on these events,
call the Info Hotline at 878-6688, or
see http://www.vancouver.cbc.ca
Advance tickets for all events
are available at Ticketmaster,
Highlife Records, Black Swan
Records and Virgin Megastore.
Richard Wood (PE1) and IP.
Cormier (Cape Breton) serve up a
blistering array of Maritime tunes.
The Puentes Brothers (BC) —
Hot Cuban dance music from twin
brothers from Cuba who now call
Victoria home. Their quintet features electric fiddle, guitars, trumpet, brilliant percussion, and wicked
vocal harmonies.
Gjallarhorn (Finland) — This
powerhouse Nordic world music
quartet combines didgeridoc
Hardanger fiddle.
Joaquin Diaz (Quebec) — A
Montreal-based accordion virtuoso,
Joaquin and his dynamic band sizzle with merengue music from the
Lunasa (Ireland) — This Irish
instrumental "supergroup" will perform high-energy dance tunes from
the Emerald Isle and beyond.
A Really Big Night On the Drive
(Thursday, February 15)
22 theatres, halls, community
centres, clubs and restaurants in the
Commercial Drive area play host to
the biggest night of folk, world and
roots music Vancouver has ever
Truly something for everyone:
from "Articulate Anarcoustic"
(Tippy A Gogo, Geoff Berner, Ford
Pier, and Joe Keithley) to "Pickin"
and Singin'" (Zubot and Dawson,
Be Good Tanyas, Cathy Fink, and
Marcy Marxer) to "Global Village"
(Cordes en Folie, Hawaiian
Slack Key Guitar Masters, Amir
Koushkani, Realones) and more...
Free Downtown Folk Events!
Feb. 13 - 16 at CBC Studio One
(700 Hamilton), noon to 2 pm
Feb. 13: Salvador Ferreras,
Amir Koushkani, Francois Houle
Feb. 14: Fillipo Gembetta,
Cordes en Folie
Feb. 15: Celso Machado with
Qui Xia He, Karelian Folk Music
Feb. 16: Quebec artists—Tess,
Vesse de Loup, Michael Jerome
Feb. 16 at Carnegie Centre (401
Main St.), 10:30 am Special guests
Valdy, Kim Barlow, Rick Scott, and
Tim Readman join the Carnegie
Song Circle for an informal morning
of old-fashioned song swapping.
Prepare to participate!
Feb. 16 at Vancouver Public
Library (350 West Georgia), 11:30 am
James Keelaghan, Mad Pudding,
Zubot and Dawson, Jean Hewson &
Christina Smith will perform in the
Promenade. Silkworm
vital on ai
say I havs
Tim Midgett
Height: 6'0"
Weight: 190 lbs
Position: First Bass/Baritone guitar
DiSCORDER: How would Lifestyle have been different had Ms.
Heather Whinna not been there to "produce" it?
TIM MIDGETT: As Heather puts it, she basically sat upstairs in her
pyjamas watching TV most of the time. Which is true. But every
now and again, we'd get stuck, something would not be working, so
we'd call her down and she'd always fix whatever the problem was.
For example, "The Bones" was much improved by her suggestion to
leave out the electric guitar on the first verse.
People have said that Silkworm's songs are either about women,
Montana, or something else that makes no sense at all. Where is
your presidential rally song? Do you consciously separate the rock
from your own political views?
I have written some songs that are sort of political, if elliptically so.
I don't divorce it from the rest of my life, but something needs to be
n emotional level for me to get a song out of it. And I can't
e felt especially moved by anything political for many
s, with the recent and notable exception of the Florida debacle in
the presidential race. Maybe there will be a song or two to come out
of that, then.
My friend Spencer and I agree that "Plain" is one of the best songs
you've ever written. He describes it as sounding "sleazy." I think
it's about the relationship between you and your wife. So it's a
sleazy song about your wife. That doesn't sound right. Please clarify what "Plain" is about.
Well, first, thank you. I like that one a lot myself.
I don't like a lot of pop songs about long-term romance because
they tend towards soul mate, love-of-my-life stuff, the kind of dippy
crap that deludes people into thinking they need to search the world
o'er to find their one true partner. "Plain" is meant to depict a situation in which things are not that complicated. I think it's a realistic
situation, one that mirrors my own and most other healthy, enduring romances I know of. I just think it's possible to be clear-eyed and
logical and still be in love, and that it's not disheartening to
acknowledge that tying yourself to one person does involve a fair
amount of compromise and sacrifice. I wanted to at least touch on all
of that in that song, and I guess I did.
However, I wanted the baritone guitar to sound sleazy, and I
made some of the lyrics rather blunt, so probably you are both right
in my estimation.
JK Manlove wrote the liner notes to L'ajre and the intro to
Lifestyle in the press kit. He has a strange way of writing where he
constantly quotes himself. Is he a famous rock star in Ohio? Is Ein
Heit really popular in Cleveland or something? With a name like
"Manlove," is he a parody of a rock star? Tell me some about Mr.
JK Manlove is a very talented writer and singer. He is also a believer in self-mythologizing, and he's good at it. We are not so good at it,
so lucky for us that he is on our side.
You were listening to Neil Young's "Don't Cry No Tears." You felt
inspired to write a song. You took the opening riff from the aforementioned song, sped it up, and made it heavier. "Cotton Girl"
was the end result. True or false?
Ah ha! Good guess. I love that song, and other people have made it
redundant to cover. I could play "Don't Cry No Tears" right now if
I picked up a guitar. I think there is a good portion of it in there.
Silkworms newest album. Lifestyle, is better than their
last three albums combined, better than Radiohead, and
much better than the last World Series.
This is an email correspondence with Tim, Michael (home
team: Mariners) and Andy (Cubs or White Sox), the
all star SHHworm lineup.
16 DiAcorcfer Consciously, however, I wrote "Cotton Girl" by trying to play
the Supremes' "Come See About Me" by ear. If you listen to them
back-to-back, it's probably pretty obvious. So let's call it an blend of
Neil and the Supremes.
Temporary Freedom, Punchdrunk, Blatant, Rockamundo,
Stampede, C/Z, El Recordo, Matador, My Pal God, Moneyshot,
Touch and Go. What is the difference between all of these labels
(besides the fact that half of them don't exist anymore)? Why not
make it Permanent Freedom?
It's too much work to put out our own records. I mean, if Touch and
Go called it a day, we'd probably do it ourselves at this point, but I
don't particularly enjoy the daily work involved.
To answer the first part of your question: Vanity labels:
Stampede, C/Z, half of Matador. Formed out of desperation: Temp
Freedom. Best intentions: El Recordo, half of Matador. Why not?:
Punchdrunk, Blatant, Rockamundo, My Pal God, Moneyshot. Lifers:
Touch and Go.
I finally found a copy of the Engine Kid/Iceburn split 12" that you
play trumpet on. What happened to Engine Kid, and will you ever
write a Silkworm song with a trumpet part?
Engine Kid broke up a long time ago. Greg, the guitarist, is in
Goatsnake, the heaviest band in Los Feliz. Krafty, the bass player, is
an electrician. Jade, the drummer, was drumming in some lame
bands last I heard.
Perhaps I will break out the trumpet sometime, now that you
Rumour has it that you like Bryan Adams. Please take this opportunity to defend yourself.
"Like" is a relative term. Certainly, I find things to appreciate in
some of his music.
Reckless, for example, is a prototypical sludge album. By way of
definition, sludge is popular music made by hacks operating at their
very limits, and it always aspires to be much more impressive than
it actually is. Commonly, there is much to like in sludge, especially
that of the hard rock variety: lotsa riffs, lotsa hooks, lotsa funny misapprehensions about life to hold one's interest. Occasionally, isolated facets of actual quality will exist, like the Rod-like graininess of
Bryan Adams' voice. And in fact many fans of a record like Reckless
will swear that it is the grand achievement it aspires to be and is not
the aural equivalent of a Mylar balloon that the rest of us appre-
As involved as a description of sludge must necessarily be, one's
love of it is simple. Do you exclaim and turn up the radio when
"Run to You" is played, laughing and singing along at the same
time? Then you understand sludge. Not everyone does understand
it, and to tell you the truth, those who do not may be better off.
Is Alex Rodriguez a jerk? (Let me remind you that he said that the
Mariners gave him "no choice," he gets his hair cut every ten days,
and he's best friends with Derek Jeter who is committing one of
Man's greatest sins by writing an autobiography.)
Mmmmm, I'm still barely inclined to give him the benefit of the
doubt. But the evidence is piling up in favour of "jerk." If he brags
about his contract one more time, then I am solidly in your camp. It's
true enough that I wish the Rangers ill for having signed him.
A friend of ours works for the publishing company who is
putting out Jeter's book. She knows him, like on a first-name, kiss-
on-the-cheek basis. Which is pretty weird when you think about it.
Andy Cohen
Height: 6'0"
Weight: 163 lbs
Position: Lead Guitar
DiSCORDER: My favourite guitar solo of all time is yours in
"Grotto of Miracles." What is your favourite solo, your own or otherwise?
ANDY COHEN: It's too hard to pick one. Some favourites: "Dick
Dogs" by Sonny Sharrock, "Little Wing" from The Jimi Hendrix
Concerts, "Since I've Been Loving You," on the Led Zeppelin BBC
Sessions. Many by Angus Young, Steve Albini. As far as my stuff
goes, I'd say the "Scruffy" is the first thing I really liked a lot that I
Yngwie J. Malmsteen just released his 13th full-length album
called War to End All Wars. Do you see any value in playing fast
for long periods of time?
I don't think there's any value in anyone other than Yngwie playing
fast for entire concerts. That's his gig, and he does it better than anyone. I saw him last year and it was mesmerizing.
What is the main difference between your Stratocaster and Les
Paul when you play them through the same amp? What kind of
song will make you play one instead of the other? (I'm assuming
it's not a tuning thing. You're not in Sonic Youth for Christ's sake.)
There is not much difference discernible to anyone other than me. I
should probably just play one or the other all the time, voluntary
simplicity and all that.
Who is "Motorhead," and why is he "coming for you?"
Motorhead is the speed freak who lives down the street from
whomever he lives down the street from. Motorhead doesn't need a
reason to "come for you."
"Roots" seems to be a song about going "home." What do you
miss about Missoula? What is stopping you from going back there
instead of writing songs in Chicago about how much you miss it?
I miss the absence of traffic and that small town laid-back lifestyle.
If I actually went back to Missoula, I'd probably bitch about how I
missed the city. Why not go back now? I'm too snooty to take any
job currently available there.
How does the band work when you're in Chicago? Do you trade
tapes through the mail? Play songs over the phone? Or do you
wait until you're all in the same city before you introduce a new
Our albums are now recorded a la Prince. Whoever wrote the song
plays all the instruments and records it himself. No need for the
other members. We don't usually reveal that so as to keep the band's
mystique intact.
Tim and Michael are very active in updating the SKWM website.
You rarely write anything for it. Why not?
That's because I don't really exist. The Motorhead came for me a
long time ago, and now Tim and Michael pick up the slack.
Mr. John Lee of Seam has stated that you are in a band with him
called Mirror America. Please divulge some details on this project.
The band is actually called Yellow Stallion in honour of John Lee's
awesome virility. This name change was not my idea, but now that
it has been put forth, I'm all for it.
What is wrong with eBay?
They haven't figured out a way to get pictures of all the stuff I want
to sell on there without requiring me to work. That and they offer
stuff that makes me want to buy it despite the fact that I don't really want or need it. I've made some mistakes on eBay.
Michael Dahlquist
Height: 6'2"
Weight: 175 lbs
Position: Drums
DiSCORDER: Do you sing the beginning of "The Bones?" It's definitely Tim by "shouldn't care who knows it now," but I figure
you had to quit then because you couldn't sing that high.
MICHAEL DAHLQUIST: Nope—it's Tim all the way through.
What do you say of Tim or Andy present you with a bad song?
Not being the song writer, how much "say" do you have?
It depends on my mood, I guess. If the songs are just kind of bad, I'll
generally try to play something that emphasizes the "badness," and
eventually they'll get an idea of how lousy it is, and we won't play
it anymore. If a song is REALLY bad, I'll usually just not play at all—
or maybe I'll click the song off, they'll start playing, and I'll not play
at all. Eventually they won't bother trying. In this sense I have a lot
of say in which songs we choose to play.
What usually happens is a lousy song will be worked to death,
played relentlessly until all three of us give up, or until we decide it
needs to be acoustic.
When will we hear the sequel to "Shithead?" (Forget "Who Let
the Dogs Out," "Shithead" was the original barking masterpiece.)
Do you write songs anymore?
Was there barking on "Shithead?" Someone once thought it was a
homosexual love poem: "All I want now is some man to come and
press his lips against me." It was actually about Sinead O'Connor's
breasts. Maybe that's why I never wrote any more songs. But I've
thought about writing songs. Singing in the Crust Brothers is the
most fun ever. I want more. In my experience, though, song writing
is terribly difficult. It's a little like writing poetry, and that's about
the most difficult thing ever. I suppose people are more forgiving if
the lyrics suck in a song but no way. I'll probably try it again at some
point, though—I've always thought it would be fun. If Andy and
Tim were worse songwriters it might be easier.
Why are there no drums on "Roots" or "The Bones?"
Drums made both these songs sound like garbage. I got no subtlety!
That's not really true, but these songs sounded better with nothing.
Silkworm's career is well documented on your website. You tell us
when the shows are, you answer stupid questions posted on the
message board—hell, you even tell us about smoking hash with
Italians in your tour journal. When it's so easy to update information on-line are print interviews like this one becoming obsolete?
It feels like if there's something you want to tell us, you'll just
post it on the website. Do you need jackasses like me to probe
It's true there's lots of information on the Web, but it's like if every
time you released your paper it came on top of a box containing
every other issue of the paper ever written. It's a little overwhelming
when you might just want to pass some time on the shitter.
The stuff on the website is always going to be funnier than the
stuff in an interview. I guess you rock journalists have to write about
something, though.
With the demise of The Rocket and murals of women masturbating for "Playa'z Night" at the Starfish Room, do you think people
are losing interest in rock music? Does it seem like less people
come to your shows?
Women don't masturbate. At least not the ones that come to our
shows. It seems like people are losing interest in rock to some point,
but they still come to rock shows. I mean, it's not like they ever came
to ours in droves, and generally a few more people come each time
we play (except this last trip to California—never tour on Christmas
weekend!). They say the kids all like the electronic music now,
though, don't they? Maybe rock is dead. Fuck.
Why don't you play all-ages shows?
Because all the kids like electronic music now.
Could you imagine recording with anyone else but Albini? Is it
possible to make your kick drum sound any better!!?!
We actually recorded Blueblood in my basement with our friend
James Hale recording. We mixed at Steve's but James did a very
good job. I'd generally say no, I can't imagine recording with anyone
else, but it's possible.
I've got to say, you should find that CD single we did for
Matador with the George Jones cover on it. It's just drum and bass,
and the bass drum is this 48" kick drum from the civil war, and it's
completely out of hand. I don't know that anyone other than Steve
would let such a thing happen in his studio, or know how to get it
on tape, but it's completely out of hand, and I'm glad he did.
When you're playing live, with or without your shirt on, whose
ass is more inspiring? Tim's or Andy's?
They actually both have pretty nice asses. They really do. I think
Tim's is a little meatier but Andy's is very nice as well. Generally,
though, I look at their asses and I can only think of my own fine,
By Christa Min
Drawings By Aaron Carpenter
2001 FcbrMOrtf 17 Simon Fisher Turner began life on this
earth in 1954 when the gods conspired
to create an exceptionally gifted, kind,
and humble human. This was not to be the
only time that Simon Turner would be
born—he's been reborn a half a dozen times
during his lifetime. Though Turner remains
relatively unknown to most of the world
now, he was a celebrated young actor and a
bubble-gum pop idol in the early '70s,
described as "best young actor" by Britain's
Bravo magazine. He had a few hit singles
and was eventually slated to take the spot
vacated by David Cassidy as Keith
Partridge's English cousin! Over the course
of time, and through exposure to some more
worldly vices, Simon discovered that he was
"shit." This is where the story takes on an
entirely different direction. He began to see
real rock 'n' roll bands, developed a mind of
his own, and ventured out as an artist on his
In the last 20 years, Simon has released
dozens of albums in a dizzying array of genres. He's made soundtrack music for esoteric filmmaker Derek Jarman, produced
music for fashion shows, released startling-
ly daring works as SFT, appeared as The
King of Luxembourg on El Records, and is
also Loveletter and Monday Sinclair of
Siesta record's Reverie and If sub-labels.
Tuner was also the creative mind behind the
spazzy-pop of Bad Dream Fancy Dress, a
forerunner of the sound revisited by
Girfrendo and Le Tigre.
Rarely has one person ever lived the
"right place, right time" cliche like Turner
has. Turner has recently released Travelcard,
an album of artistic experimentations that
eludes classification.
DiSCORDER: I've read your short bio on
the Mute website. You claim to have been a
pyromaniac and a thief. What kind of trouble did you get into in those days?
SFT: Petty theft and arson, as I said. At my
parents' dinner parties I'd go through their
guests' coat pockets, stealing from shops in
Carnaby Street. I once climbed into an office
in the West End, up three floors of scaffolding, into an office window, looked around,
and left them a note about the lack of security. [I] always [had] a dream to steal a
Bentley or Rolls Royce. Walking home one
night I got into a Rolls Royce, found a passport, driving license, money etc., and beautiful Schaefer pen. Left the lot, had a sleep,
and went off in the morning, having left a
note again. I've never burnt a building
down, but fire is an attractive element.
Bonfires, the blue flames, smell, danger. No
more pyro for me, thank you.
How did you get involved in television
and what programs were you on at the
I went to a drama school. Arts Educational
Trust. It sounds like an office, but it was a
ballet school. 90% gals, 10% boys. We had
fun and the school had an agent. I spoke, as they say, "the Queen's
English." Posh, if you like. So I got radio work initially, then the TV
started, mainly for the BBC: Tom Brown's Schooldays, The Silver Szvord,
Wings, The Long Chase. Mainly kids' serials. I left school to concentrate on doing this acting. It seemed a ridiculous way to live. I
earned more then my pa, a submarine captain.
Eventually you were voted best actor in Europe by Bravo magazine. What is Bravo, and what were the circumstances of the
award they granted?
Bravo was, and still is, the biggest teen mag in Europe. I was, as I
say, doing rubbish, which seemed to be promoted in the right way,
so pin-up I became. Ironically, the year I got the award I was a
healthy 20s-ish drinker. I enjoyed my classes and drugs being sent to
my hotels on location in advance. Ludicrous, but amusing in an odd
kind of way. The acting meant I traveled the globe and worked
extremely hard. It's not a piece of cake.
Whose brilliant idea was it to get you behind the mic, which led
you to being declared "Britain's answer to David Cassidy"?
A man: Jonathan King. A self-styled writer of crap-pop.
It's true then, that you had thousands of girls chasing you in those
Girls chased. I had bodyguards on record signing occasions: Fat
Fred and Harry the Plank. They went on to fame and fortune as
Zeppelin and Deep Purple heavies. I was young and believed it all.
Sex with the odd—but very nice—fan was okay, but I'm sure I never
took too much for granted.
Why did Sid Vicious kick you in the balls?
Jealousy. I could get into a club in Margaret Street, The Speakeasy.
He couldn't. I was drunkish, and he just kicked the shit out of me.
Hurt too.
Is it true that John Lydon gave you advice to do your own thing,
and did that advice steer your direction?
Mr. Lydon and I shared an afternoon in the Roebuck Pub on Kings
Road one summer's day. He really is the man. Very, how d'ya say,
concise. And pure. We talked money, commercialism, beer, fame,
being on TV, etc. He sums up, for me, the spirit of what punk was
supposed to be, which was, be yourself, unique. Don't be a sheep
and follow the herds. I'm glad to see he still seems to believe this.
How long were you a member of The The, and how did you meet
Matt Johnson?
im through Cherry Red, the pub-
in the office as I was starting to
th Colin Lloyd Tucker [his old
t out as a three-piece. No drums,
md wore jumpers. I love Matt's
re. A unique style. Nice man, too.
A year or more, maybe two. I mi
lishers. Mike Alway employed
make music. We got together,
friend from the Gadgets] and w
We all had number one haircu
guitar playing. I wish he'd play
I see him about once a year.
Is this around the time that you met Bruce Gilbert of Wire?
Yup. Cherry Red and Mute had offices in the same building. Bruce
did a record called Mzui, and a cool exhibition in a space in
Waterloo. I went along and we got on, still do. He's tall, with a strikingly dry sense of humour. He always comes up with glorious surprises for me, and my music needs a little pushing sometimes.
You were also somewhat involved with the Go-Betweens and
recorded their "Lee Remick." Were the Go-Betweens part of the
El label at any time?
Cherry Red published the Go-Betweens. Lindy drummed on the
Royal Bastard LP, and yes, "Lee Remick" was a song we did. They
asked Colin and I to sing for them, which was fun, if you could get
through the arguments with the boys. I like them very much. We
tried writing together but came up with rambling drunken song
titles instead.
Can you share with me what you had in mind with "Deux Filles"?
The idea came to me in a dream: How to get a record released—pretend to be a girl [group]. Colin kept me musically sparse. We had
rules and managed to play live once without anyone knowing our
As time went on you met your hero Derek Jarman and recorded
several soundtracks for his films. How did Derek's death effect
Deeply. I'd worked with him on six films. I think about him a lot
and miss him. We had an odd relationship. I never socialized with
him, just work or visits to the cottage. I could go on for ages. A wonderful warm man. I miss his eye and commitment to his arts. A rare
Reportedly there is a film that Jarman shot of an El live show. Is
there any chance that this might surface at any time? I need to see
Yup. I got a call yesterday. It's in a warehouse in North London.
What are the basic differences between the King of Luxembourg,
Loveletter, and Monday Sinclair [Simon's alter egos]?
The backing band. I hardly play on Monday Sinclair or Loveletter.
KOL was a lot of me doing guitars etc. Tapes, voices. The rest, I'm
just the singer.
Was there ever any talent behind Bad Dream Fancy Dress besides
The girls were a hoot. Both had different voices, but they were a
laugh. Not stupid, they had balls. We all slept together while recording the LP. No sex between us. We had respect. They were funny,
amusing, and liked a beer.
Please share an amusing story about Momus, or if not amusing,
tell us something we may not know about Nick.
Nick has just done some songs for a film called Lowdown. He is
also dry and clever and okay.
You have met an enormous amount of your own personal heroes
and plenty of mine. Is there someone you would have like to have
met that you never have?
Hmm... Stravinsky, Arco Part, Guy Gibson, Oppenheimer, Mr.
Ferrari, Architects, Oliver Sacks, Marco Polo, Quentin Crisp, Scott
Walker (for his Tilt and Poleax music).
On the Sunshine Pop compilation from Cherry Red, you tell an
interviewer that you would have probably been a "successful, rich
bastard" if you had achieved the kind of status of someone like
David Cassidy. Do you mean that?
Yes. Dead too, probably. It took a long time to become me.
Also, uh... I heard, through several sources, that you are gay. What
Bisexuality is the bee's knees. Just love whomever you love, honestly.
You recorded a cover of Public Image Ltd.'s "Poptones," obviously as a response to Lydon's critical analysis of pop music, right?
Can you shed more light on this?
I enjoyed the Englishness of the lyrics and thought it would get up
Lydon's nose too. The idea of strings on a Public Image song seemed
a good idea. Still is.
I, being American, missed all the Simon Turner news during the
last few decades, so what was the story of you being Britt
Eckland's "toy boy"? What the fuck?
Who gives a fuck? Not I.
Sorry. I've really no idea what any of this is about. Don't even
know who Britt is. Just going on a quote from an El compilation.
She was married to Peter Sellars and lived with Rod Stewart for
Is there anything that you have that I can get my hands on, like
Bad Dream outtakes? Rare vinyl of "Sir" or "Royal Bastard"?
Something of that nature?
Alway and I are working on a massive CD selection. The world of
(various) SFT. Everything will go into the G3, and I'll edit, mutilate
and churn out a messed up version of my life.
Tell me something about Mike Alway and your work with him.
I always listen and trust him. I'm a good dog, really.
What is it that Alway is particularly looking for in these songs?
Englishness, and the Queen's English pronunciation.
What is your latest solo project?
CD for Lowlands. Also Travelcard, for Sulphur Records, with
Scanner. •
is, DUc<?r4<?r
2001 FebrKari, 15 FAT GIRL ON THEIR JOCKS:
Kid606 thinks Vancouver's cold. And he's got
issues with us college radio types. Thankfully, he
approves of DiSCORDER. He disapproves of
nepotism, except maybe if it's people he's signing to his
own label, Tigerbeat6. He probably doesn't need any
more groupies than he's already got, as everybody's on
his side these days, but I did my best to get on board the
young electronic train that he's conducting across our fine
continent. Cex and Lesser had a thing or two to tell me
about their roles in all this mechanic/electric mayhem,
and Kid606 spewed an awful lot of his guts about what
keeps him busy from dusk until dawn. These men get to
jet-set all over the world to play shows to adoring fans,
and they don't think a thing of it. But they're not rock
stars. They're a new breed, young guns with their hands
on the mouse. Says Kid606, "I'm 21, but [Cex is] only, like,
19. We're all pretty young." No kidding.
Don't go feeling all old and decrepit if you're fully
legal and have yet to establish yourself as a major player
on the music scene. Lesser just released his first record on
Matador, and he's over 25. Wow. Oh, and speaking of
"wow," there's a reason this ain't no transcribed interview. I really am a big dumb-headed fan. Listening to my
interview with Kid606 was one of the most painful things
I've had to do in recent months. Ooh! Aah! Musicians are
fascinating! Those of you who are new to this young electronic posse, or are already a little bit friendly and familiar, may be awed as well by the wisdom of those so
young yet so wise to the business. And, if you refuse to
see their wisdom, you can at least enjoy their keen senses
of humour and ability to spew forth fantastic vendettas
. with grand enthusiasm.
Case in point: Cex's response to my asking why he
thinks he's funny, and whether it's because he's a teenage
"I doubt it, because there are tons of teenage guys
who aren't funny at all. A lot of them are making electronic music, in fact. They're trying to be all stone-faced
like the big weenies from Britain and Florida who make
electronic music. But I'm very glad you noticed the distinction between oldness and funniness... specifically, that
old things and people are serious, they like things done in
old-man ways, and they don't like things stirred up. And
they HATE "fun" and "humor" and any time something
is funny or entertaining or makes you want to dance, they
spit on the ground and mumble something about how
nothing that's funny or that people like is worth your
time because it's a joke and because no one could possibly
be serious about making people laugh. Fuck that."
I could stop there, but why? This boy's got a story to
"Cex is definitely not here to kiss old-man ass and try
be on old-man labels and put out records the old men can
golf-clap to in their old-man magazines. Cex is burning
down the nursing home. I have a philosophy that I'm trying to live, and hopefully when I'm on top of the world,
sipping Little Hugs in the limo on the way to the MTV
Music Awards, other people will take my philosophy to
heart and start living it too, and making the world a better
place. And that philosophy, the one that's going to switch
the industry, is this: I'm not an artist, I'm an entertainer. So
here's what's in for the year 3000: hooks in your songs,
endearingly embarrassing photos of you on purpose in
your album, audio of your real voice on the record."
Yeah! Kick it to the Man in his big fat pants! Not only
does Cex have a funny (in that tee-hee kind of way) stage
name, but Ryan Kidwell's got a funny way of looking at
things. He's young and he's proud!
So is Kid606. He's proud of what he's accomplished in
so few years. Starting at age 14, he made do with whatever
gear he could get his hands on, working his way up to the
golden glory of the Macintosh computer. Scoffing at those
stuck using PCs (except for Dat Politics, who use "really
cheap PCs...[and] two pieces of software" and are his
favourite), Kid606 has turned his gear manipulation into a
fine art form that keeps the cash rolling in.
Not too long ago, Kid606 got it into his head to start his
own label. Tigerbeat6, funded by the first Kid606andfriends
compilation and Kid606's outside efforts, has released CDs
by Cex, Electric Company, and Blectum from Blechdom, to
name but a few. "Everyone wants their own label, but
nobody wants to do the work. Everyone wants to work on
their music career, but I don't need to do much to sustain
my music career anymore, so I can work on a label and help
other people." Kid606 finds time in his busy schedule to
forward the careers of young electro-punks like himself
who haven't yet gotten the attention he has received.
"I don't want to release my own stuff. If I have to
release it, it's just not that good. I hate most labels, most
labels suck, but I'm lucky enough to work with some of the
greatest labels." So Kid606 is a little edgy about label issues.
That didn't stop him from hooking up with Mike Patton's
Ipecac label and France's uber-hip Mille Plateaux. He's
working on a Depeche Mode remix, and there's no way
that's not major-label. Lesser's new album, Gearhound, is on
Matador. What's going on? These guys are getting love all
across the board, with labels jumping to get a piece of the
action. Do these labels know what they're getting into?
Lesser's albums hurt my ears. Apparently, they sometimes hurt his own as well. "Ya, actually... I'm prone to
migraine-ish pains, but I think it's more likely that I have
some sort of degenerative disease than the power of my
music to kill brain cells. It just ain't that good." Maybe. It's
up for debate as to whether high-pitched frequencies are
good for brain activities. If that's the case, then everyone
should get their hands on Kid606's P.S. I Love You LP, if only
to increase SAT scores. The sounds being made here are
outta control, if you'll excuse the lameness of the statement.
Can't but help and get excited when the beats hit the fan.
One release that got us (not the royal "we"—I swear
others like it too!) all giddy was the Attitude compilation on
Tigerbeat6. How great is a cute little 3" CD of fucked-over
NWA and Eazy E songs? Marvelously great. Ridiculously
great. Kid606 butchers "Straight Outta Compton," and gets
his electronic wizard buddies to take on 13 other lucky songs.
Lesser's "Fatgirl On My Jock" presses all the right buttons, and,
apparently, covers a subject he's more than a little familiar with.
"Everyone knows that the girls go for stocky electronic musicians," says he, and I don't even think he's joking.
And so a guitar in hand is finally being replaced, in some circles, by a laptop as the new desirable instrument of a performer.
This is not to say that hair groupies have died out (just go to an
emo show, they're there now), but only that fans are embracing a
new stage aesthetic. The girls
get it too, don't worry. Poor
Blectum from Blechdom gets
dragged to movies by all
kinds of weird fanboys. Kevin
and Blevin, the two hotties in
the control seat for the mayhem and destructive/constructive
sound collage action of the band's De Snaunted Haus release, are
doing things their boys haven't even thought of yet. I think. Who
knows? They forgot to email me back.
Lesser and Kid606 are getting hassled to play all over the
place. Kid606 swears that his live show is "booooring," but supposes that his hip-wiggling might make it a little more pleasing to
the fans. Says Lesser, "I've been told I have a fairly visceral live
show; it is clear that I am actually making music up there... and
that iff fuck up you can hear it (knock wood). I still haven't had
a true crash onstage. Programs go down, but I can work with
that... but you know, it's really no different than breaking a string
or a drumhead. I've been known to disrobe if things go really
awry. Is that what you're looking for?" Might be. When I saw
Pole, he sweated. And pressed buttons. They all press buttons.
This button pressing is getting Kid606 flown to Germany for
a weekend, and Lesser just got back from a mini-Europa jaunt.
KlangKreig got him over to Berlin, and Matador sent him packing to Paris and London for some hot press activity. "Yeah, happens all the time... it just kinda happens," says Kid606
nonchalantly of his weekend abroad. Somebody's doing something very right, I think...
Cex calls bands with real instruments like drums, bass and
guitar "caveman music bands," and Kid606 emits a disapproving
tone when discussing the use of such instruments. "1 try to a\ old
it, but it might peek its way in eventually. I have a guitar that I'll
sometimes use on some songs, but I never want that to be the
focus of [my music]. I never want to become a 'wake up and
train' type of musician." So instead, these young men dedicate
their lives to learning the tricks of their electronic trade. But not
just anything works with this new, modem genre they work in: "I
think that minimal techno is turning into the lowest common
denominator of electronic music; it's like the emperor's new
clothes—really well-marketed electronic music." Ouch. Kid606
disses corners of the scene that he refuses to visit, and tries to
help others steer clear of these places. Without pointing fingers,
the message is clear that there's a right and wrong way to do
San Francisco is doing it right in many different ways. Not
everyone is all about the Tigerbeat6 revolution just yet, but that
doesn't faze the kid. He plans to pack it in and try something different when the mood suits him. Hell, he could reinvent himself
at twenty-two. The possibilities are endless. "I'm trying not to
work on stuff, to be honest. I'm just trying to not give in to the
temptation to release records and give in to the same old thing.
I'm obligated to play a bunch of shows and tours, but after that,
I'm going to do a bunch of different things. I have a record I'm
finishing up, and I told Matador I'd do something for them. I
have all these weird 7" ideas that'll probably just come out on
New directions, new sounds, all of them challenging and,
most importantly, entertaining. The Tigerbeat6 crew is all about
this thing called entertainment, breaking new sounds and ideas
for the modem audience.
Kid606 toured with Mike Patton's Fantomas. Cex was voted
"Most Original" in his senior year at high school. Lesser's releasing his entire back catalogue for pretty-much free to anyone who
wants it. These guys are full of surprises, which suits me just fine.
Each new record will showcase new talents and discoveries of
what electronic gizmos, with a little human TLC, can do. If any of
these men make it to town, I'll be front row centre, and I'll be
doing my best to sing along. •
2001 February 19 At the Drive-In
Aean amopp Uoa a conversation with paul from at the drive-in and then they
both write a review of the show that happened a few month* ago*
DiSCORDER: Do you hate interviews?
Paul: No, no, I just woke up.
This new album [Relationship of Command] seems to me to be
faster and angrier than previous material. What makes you
I wouldn't say it's anger, I would say it's intensity. We're not an
angry band, it's more emotional or whatever. I think we went into
the studio to be experimental with electronics and stuff, but it
turned out to be our most rock record yet. We were allowed to do
pre-production, which is new for us, and we had a lot more time in
the studio, whereas before we had four days to bang 'em out. This
time Ross [Robertson] helped us channel everything and focus on
the core of the song. I think that's why some would say it sounds angry.
Did you vote?
What do you think about Dubya becoming prez?
We're from Texas, and George W. Bush is governor of Texas, and
we see a lot of the bad things he's capable of. Texas executes more
people than any other state. I think it's a turn for the worse.
Do you allude to any politics in your records?
No, we stay away from that, we're not a political band. I mean we
have internal views, but we don't preach them.
What do you think of our incessant desire to label everything.
Are labels negative?
Yeah, we would never label our music; to me that's just putting
yourself in a cage. We just say rock, that's kind of infinite, it lets us
How do you look at the future? Shit, that's really general, but is it
We just take it slow. We've never had this "take on the world" attitude. We just had a crash and escaped death without any scratches,
that puts a different perspective on everything. We just say we'll
do it until it's not fun anymore.
Well, time is another constraint. When you map out the future
and you take a wrong turn it could be seen as failure.
Yeah, or a brand new route.
Has last year been a fast year?
Yeah, it feels fast, but we've been at it for six years. Maybe in the
past few months it's been quick, but we always talk about it and if
anyone is unhappy we'll take a break.
You have been getting a lot of good press from international
media. Does that pressure you?
No, I don't even look at it. They send us a sheet with all the magazines that we're in...
What about this? [Pointing to a leaflet on the table] "The best new
rock 'n' roll band on earth." (New Music Express) If I saw that I'd
be shitting my cargos.
That scares me. Its like they're setting us up to fail, so many expectations. What if some kid sees that and we have a bad day?
It's another cage.
That's why I don't look at it 'cause I know it'll go away. They'll turn
on us just as fast as they came to us.
What goes on the mix tape for the trip?
Miles Davis, Metallica, Fela Kuti; a lot of jazz, drum and bass:
Photek, Roni Size, Diesel Boy. Just so much stuff, e
Would it be a problem if you became regular play on MTV?
It wouldn't be a problem 'cause we'd do it our way. We don't cater
to radio or MTV. If they want to play us that's fine with us.
Have you thought about your next record?
Right now we're touring, but we're the type of band that gets bored
really easily. We want to write, but we also don't want to get bored
of playing our new songs.
Do you think you'll continue at the same pace?
I don't know. We thought this one was going to be crazy experimental, but it was the opposite. When you have a plan it collapses.
I have a plan. I'm reviewing the show, and I was thinking I could
get your perspective on the Murder City Devils. Could you do a
review then, maybe after the show? Is that cool?
Yeah, sure. We've been on this whole tour with them and we've
known them for two years. They played in our home town, then
we played in theirs. We also played here with them. They're like
brothers to us. I love seeing them play. It excites me, it makes me
want to go out and play. It's perfect. I can't say enough good things
about them; great band, great people. •
Wednesday, November 15
Richard's on Richards
I have to admit that I'm biased on this one. Red Light Sting could've twiddled their proverbial thumbs and sat sedated on stage, asleep at the wheel
with Dwight Yoakam blasting from a tinny alarm clock radio. Greg could
have read the dictionary or painted Richard's and I would've watched in
awe. You see, I saw the show on Hallowe'en and no matter what happened
on November 15, this would be a good review. However, they need no help
from my pen. Nervous yet poised, they played with intense ability and outright prowess. Perhaps the gaps in between songs could've been shorter, but
otherwise I think they know a thing or two about a thing or two. Hoorah for
home-town spazz-wave.
At the Drive-In was supposed to be reviewed by Red Light Sting. If
they saw what I saw it would go something like this: Oh my. Onslaught of
sensory data. Complete overhaul of brain by band on stage. Jumping from
rafters at Richard's into cerebellum and surrounding cranium. Bruises on
knees. Intensity, outright manipulation of aural sensations, and captivation of
neural network. I don't know if they were everyone's cup of whatever they
like to have in their cup, but I drank it up.
Horns up.
Paul from At the Drive-In
101.9 fM
gerald "rattlehead"
Saturdays, 1-3pm
3 and bother othei
and talking to herself n
Record played most often on your show
Slayer, Reign in Blood.
Record you would save in a fire:
Black Sabbath, "Paranoid" 7" single (German
import) and Black Sabbath, Master of Reality US LP
with poster.
Record that should burn in hell:
Metallica Load and Reload. More crap: American
glam metal early to mid '90s period.
Worst band you like:
Last record you bought:
Don't Believe  a Word 7" single (Irish import).
First record you bought:
In 1971, when I was l l I was in a record club: I
bought The Beatles' Revolver, Maple Music Volume
1, The Guess Who's American Woman, and The
Partridge Family's red one.
Musician you would most like to marry:
Nashville Pussy guitarist Rhyter Suysfsp?). Of course
I got to get rid of husband Blaine first. (Just kidding.)
Favourite show on CiTR:
Flex Your Head and Lucky Scratch.
Strangest phone call received while on-air:
A woman used to phone the station around about
i shows. She would be wandering around the station
no sense. The station remembers back then. •
Eve.- wqnted 'emr1
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street date:
dial ms. hancock @ 604.822.3017 x 3
Mute Massaker
(Thirsty Ear)
The spawn of a heavyweight
jazz sax-man,
Caspar Brotzmann spent
his formative years around
some of Europe's most ferocious improvisers. Whether
as an act of bloody-minded
rebellion or in sincere tribute
to his lineage, he's spent the
last 14 years applying free
music methodology to hard
rock aesthetics via his power
trio Massaker.
It may be unfair to generalize about the results of
Brotzmann's approach on the
strength of this disc alone, as
it doesn't feature the classic
Massaker line-up. Then
again, he's such a focused,
forceful musician that it
seems fair to assume the end
product is pretty similar no
matter who he happens to be
playing alongside.
So let's just say that the
Caspar Brotzmann experience is somewhat akin to
hearing Jimi Hendrix jamming with Led Zeppelin's
John Bonham. In hell. For
this particular rock behemoth, though, the guitar is
less mojo and more nomad
war machine, leaving a trail
of fire and devastation wherever it may roam. This,
friends, is the blues freed of
structure, cleansed of soul
and unleashed in a pummel-
ing feedback onslaught.
In this regard, his closest
peer is Japan's Keiji Haino,
leader of the notorious three-
piece Fushitsusha. Both
explode the basic materials of
rock into an apocalyptic
meteor shower of noise and
both are iconoclastic individualists who often sound
rather weighed down by
their comparatively leaden
rhythm sections.
Still, Mule Massaker just
isn't as impressive as anything I've heard by Haino
and co. This is partly a technical thing—Brotzmann is a
relatively restrained and conventional guitarist—but the
more fundamental problem
is philosophical. Whereas
Fushitsusha always sound
overwhelmed and consumed
by massive cosmic forces,
Massaker sound stern,
immovable, and consequent
ly, earth-bound.
Sam Macklin
Jeremy (Jez) Butler has
spread himself very thin this
past year. He's taken on the
task of producing the Songs
for the Jet Set compilations as
well as being the facilitator
and musician behind
Lollipop Train, Maria
Napoleon (aka Shazna Nessa
Currie or ex Mrs. Momus)
and now this latest sunshine
pop release, Death by
Chocolate. If someone were
to play a selection off any of
the three new albums he's
recorded, I would be unable
to tell them which album it
came from—although I am a
fan. I spoke to Jez, who
assures me that all the new
material was indeed recorded separately and for their
own specific outings. Funny,
though, that Lollipop Train
and Death by Chocolate both
feature singer Angie Tillet
and Jez Butler respectively.
Jez is also the shining light of
Tomorrow's World, whose
material can be found on the
Songs for the Jet Set series and
on a few hard-to-find compilations from Spain and Japan.
Besides containing the hilarious "My Friend Jack" from
Jet Set 2000, Death by
Chocolate chooses some
flowery twee from the past
like Dudley Moore's "The LS
Bumble Bee," and the ridiculously pompous "If you want
to sing out, sing out" lifted
off the Harold and Maude
soundtrack. Pretty specialized and way outside the
JetSet label, which usually
offers up things like Tram,
Sister Sonny, and Macha.
(Rage Of Achittes)
Think slow. What comes to
mind? A turtle? A slug? The
leader of the Alliance? Think
slower. Now think heavy.
Whatcha thinkin'? An 18
wheeler? An aircraft carrier?
Big Pun? Think heavier.
now ya gotta think stoned.
Yeah, stoned. Like your most
stoned night at the local
adventure playground in
high school. Yeah, you know
what I'm talkin' about. Hell
yeah. Now mix in a little
shotgun blasting, a cup of
guttural, vomit-spewing
vocals and a bucket of piss
and you've got the recipe for
a Goats Blood poundcake.
Mark James Thomson
The Sleepy Strange
Repetitive and murky,
Japancakes build a sound
akin to Tarantel or Tortoise
in practice sessions with an
added pedal steel. Patience is
a virtue you'll have to have
developed for The Sleepy
Strange, but thankfully some
of you post-rockers have
obviously been practicing
that already. The band's
members are said to come up
with the basic elements of the
tune but then to not practice
them at any length, just
rework the intricacies and
subtle movements for hours
in the studio. Hence, the
tracks are excerpts of very
long sessions. This does
make for a Sleepy Strange,
and can be rewarding and
peaceful in an alpha wave-
inducing way. The pedal
steel adds an (at first listen,
unwelcome) lonely western
sound perfect for driving to
your friend's funeral.
(File 13)
When everything from indie
rock to yuppie dinner party
music is idly flirting with the
idea of innovation, this kind
of unashamedly retro guitar
pop can provide blessed
relief. The sublime unorigi-
nality of bands like The
Dandy Warhols and The
Brian Jonestown Massacre
acts as a de facto deconstruc-
tion of the meaningless language that today's
"alternative" music uses to
celebrate its own cleverness.
In such a climate of middle-brow smugness and harassed "experimentation,"
something as passionately
inspired and artfully contrived as this short EP comes
as a breath of fresh air.
Leaving behind their dalliance with shagadelic swinging-London pop, Lilys have
returned to their dream-pop
roots and produced something utterly synthetic but
disarmingly beautiful.
There's not a shred of
originality here. The Byrds,
My Bloody Valentine, and
obscure first-wave UK post-
rockers Seefeel are all plundered mercilessly. But
because Lilys clearly love
these sources and truly
understand what makes
them work, the results are
never less than beautiful.
Sam Macklin
Concentration of Suffering
Ninety-nine percent of the
time, I'm a New Yawk HxC,
meat 'n' potatoes kinda guy.
But every now and then, life
throws me a wrench that
causes me to seek something
just a little more... extreme.
Like the other day when "the
man" decided to tow my ride
from a "customers only" spot
while I ran across the street to
get my Quiznos on. That day,
the chugga-chugga just wasn't going to cut it. I reached
deep into my CD pile and
pulled out what I needed—
Myopia's Concentration of
Suffering. From the first
strands of the battle march
sample I soon began to feel
my frustrations rage away.
Seriously, this disc smokes
most of the competition and
clearly puts the band at the
top of the local grind/death
heap. Every cut is relentless,
pulverizing metal fury. My
favorite tracks include the
opener, "Self Inflicted
Slavery," "Twisted Fate," and
the title track. These guys are
clearly blast professionals,
and I expect them to soon be
crushing the headbanger
world with their sonic battery. Hey, we all deal with
stress differently, but if raging hell metal is your outlet,
look no further than Myopia.
Mark James Thomson
Ape Sounds
(Mo' Wax)
Planet of the Apes. This is the
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ATLARGE entertainment and CITR present IIUI^ ciTR
2001 Febrwartf 21 inspiration behind Tokyo-
based musician, clothier, film
maker, and toy designer
Nigo. Although anything ape
seems to be swinging these
days, Nigo has been reclaiming the ape image for some
time now—he is perhaps best
known for his clothing line
Bathing Ape, which is poised
to invade North America in
the near future. On this first
full-length release, the ape
man has employed such
Nippon-savvy cohorts as
Grand Royal's Ben Lee and
Money Mark, label mate
James Lavelle (for whom
Nigo illustrated the latest
Uncle release), as well as
countryman Cornelius
(another ape reference?).
Nigo's sound is typical Mo'
Wax fare: overlapping loops
mixed with jazzy drum lines
and keyboard treatments. On
Ape Sounds, Nigo's collaborators seem to run the show,
leaving the listener wondering if Nigo truly has talent or
just a lot of cool friends. I
have the sneaking suspicion
that Nigo's main collaborator, DJ Kudo, does most of
the work. Not surprisingly,
the best track on the album,
"March of the General" featuring James Lavelle, offers
the phat beats and craftsmanship one expects from most
Mo' Wax releases. The wide
variety of musical genres this
album offers is impressive,
but results in sounding more
like an ill-conceived compilation than a solid solo release.
Nothing to go bananas about,
friends. Watch the movie,
buy the clothes, no go Nigo's
Inland Empires
I would rather cut my ears
off than never hear Joel RL
Phelps' voice again.
This EP is a collection of
covers. The songs (written by
The Go-Betweens, Townes
Van Zandt, Fleetwood Mac,
Iris Dement, and Steve
Earle) share the same idea—
they're all sadly optimistic—
but I think the reason why
Phelps chose these particular
songs was just because he
liked them. There's no sarcasm; no irony for Christ's
sake. But he doesn't imitate
them. If the original song is a
line, Phelps pushes it into an
arc, makes it wider, gives it
depth, while William
Herzog's drumming places
perfect emphasis, and
Mercer's bass adds fullness
while still being spare. The
stand-up bass on "Someday"
and the piano on "Songbird"
are not pompous or orchestral, just supportive.
The prize on this record
belongs to "Now You are
Found (1962-1999)," the only
song out of the seven that
Phelps wrote himself. If you
want to leave, go somewhere
else, this song won't let you.
It will make you stay, only so
you can hear it.
Buy this record. If you
don't like it, first I'll grab
you, right under your neck
and press the fabric of your
lousy shirt in my fist. Then
I'll give you your money
back. Guaranteed.
Christa Min
No Kill No Beep Beep
The album cover sports some
cool-looking people, possibly
to offset the funny-looking-
ness of the group itself
(shown on reverse). Did
someone style all these kids
or do the band's fans actually
look like that? If so, count me
in to club Q And Not U, but
not just because their following pulls off a kind of suave
rockin' nonchalance that I
can only dream of. The full-
length debut from these
oddly named DC boys has
enough fast tappin' hi-hat
beats, dissonant chords and
yelling/screaming vocals to
make me want to shake my
stuff more than once. A
tempo change halfway
through the first track, "A
Line in the Sand," leads into
this crazy hand-clapping
boogie-beat that makes some
little funky man start dancing inside my head every
time I hear it. Super. The rest
of the songs on No Kill No
Beep Beep don't always live
up to this high water mark,
but putting some yawns
aside, it's definitely a solid
effort. Sometimes the singing
gets high-pitched enough to
verge dangerously close to
emo, yet the band always
pulls it back to the land of
send a message to majordomo@interchange.ubc.ca.
Leaving the subject blank, put "subscribe discorder-ust"
in the body of the message.
Rock just in time. Super production (helped by Mr. Ian
Mackaye) allows the riffs to
get pretty choppy while
keeping my smooth-loving
tastes from minding. This is
the kind of debut that I consider a sign of good things to
come. Kudos for the nifty
song titles too, ie. "Hooray
for Humans." Hooray,
Liquored up and Lacqured
I'm keeping my prairie pride
alive by visiting my parents
in Edmonton, where I can get
beer for 80 cents and see real
cowboys. Which, I figured,
was the perfect setting to
review this CD. So, as I practiced Chad Muska's rail
slides on Tony Hawk
ProSkater2, I listened to the
hee-haw sounds of Southern
Culture. I then decided that
if the B-52's and Jimmy
Buffet were to breed, this is
what their spawn would be.
And since neither Jimmy nor
the B-52's make me happy,
neither does this CD. In theory, I really want to like
Southern Culture. They have
great hair and pretty funny
lyrics, but this just isn't what
I can handle musically: too
twangy and kitschy, which
makes me bored and crave
real prairie music. I think I'd
rather listen to the annoying
video game music.
Tesla Van Halen
(Le Grand Magistery)
I'm very sleepy... but I can't
fall asleep because I can't
stop listening to Stars' first
album, Nightsongs. Their
music is too comfortable for
me, so... zzzz... Oh! I'm so
sorry, but let me introduce a
touching, brand new band
with a good, strong brew of
I was looking forward to
meeting soft, comfortable,
emotional and perfect music
like Nightsongs by Stars. They
mix nostalgia for young days
and dream of the future, and
fix Neo New Wave of the
new generation in the millennium. When I heard their
music for the first time, I
remembered a feeling over
Saint Etienne that made me
so happy about three years
ago, and I formed a visual
image of Air or Mellow with
fleecy world.
"This Charming Man,"
their cover of The Smiths,
can be expressed as Bossa
Nova + Lounge + Trip Hop.
So nice! I have never heard
such amazing music. You
will feel like dancing with it.
Their whispery voices
and beautiful melodies blow
up your mind. I am pretty
sure you will like Stars. So
you must get it ASAP, trust
Miki Hirano
L'amour et la Morte
SM5M i       ^^ ^ f-
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Strange man, this Stephen
Coates of Tuesday Weld.
Claims to have been visited
in his dreams by '30s English
crooner Al Bowly and actress
Tuesday Weld, both of whom
seemed to be telling him to
"say it with music." Okay,
you've got my attention.
Well, no actually, I was first
directed towards Tuesday
Weld's music on the three-
disc Kindercore records 50m
release celebration on which
Mr. Coates appears, sampling antique records to
modern electro-pop. In his
odd way Coates, I guess now
calling himself The Real
Tuesday Weld, marries '30s
romantic music with '60s
Euro-chic and current indie-
pop. This five-song EP continues the experiment into
genre-bending, sunshine pop
somewhat reminiscent of
Momus' Ultraconformist
album which grouped modern sinister rhythm and
rhymes with Kurt Weil-era
cabaret. A clever sort.
Necessary Pieces 2
(Nordic Trax)
This is an incredibly smooth
mix by Bassix owner, Sonar
club resident, and one of two
peoples behind Nordic Trax
Records, Tyler Stadius. Mix
of what? Of original, underground, Canadian techno
and house, of course. Indeed,
one  gets   the   feeling   that
455 *bbot si
INFO: 893.5519
22 DiAcorder Tyler's CD was put out not to
impress everyone with his
impeccable skills, but to
showcase some of the amazing talent we have right here
in Vancouver. This CD covers
a wide range of styles, all in
the deep techno and minimal
house ranges, from
Vancouver producer
Ben Nevile's Perlon-esque
chopped-vocal sparse-and-
yet-lush house beats to
Toronto resident Sunkissed's
more techno driving rhythms
with dub-wafting ethereal
winds... not to mention
tracks by three-deck Toronto
techno DJ Mike Shannon,
two tracks from The Sci-Fi
Witchdoctor's nom de plume
F.S.P., and longtime
Vancouver DJ Jay Tripwire.
And of course there's a
standout track from Gavin
Froome, whose LP on Nordic
Trax last year, Mobile Villager,
made him famous enough
that he moved somewhere
kickin' like London England.
And I shouldn't leave out
Peter Hecher, Jon Delerious
and Deja Vu, which rounds
off everyone on the CD and
makes sure none of them
beats the shit out of me for
forgetting to mention their
names. But this is a great CD
and hey, it's all for the locals
so get out, throw down cash
and support so they can
move somewhere else. Me,
I'm down for Germany or
New York.
Tobias V
Finally, in September,
Cristian's new album on
Novamute is released. In
December it becomes available in Vancouver... phew! It
is Plastikman up a notch (to
force a comparison)—add
more bass-guitar riffs and
Latin reveller samples and
you have the dimensions of
this piece. Vogel mocks
Ritchie Hawtin's non-stop
"Decks, EFX & 909" tour,
referring to his own touring
as "Decks, FX, Booze &
Fags," but he is no goober.
He's one of those fellas in the
world of techno that has
evolved, having built his
sound on Berlin's Tresor label
and moved to Mute. Vogel
knows beats and is not
scared to use them with style.
Rescatel37 is not a dance
album, nor is it a sit-around-
album. It gets more interesting as you travel up to the
last track "Rescate
Freeformed Giggles," developing a more live, personal
feel. The music feels more
performed than programmed. "Wind From
Nowhere" has a drumbeat
reminiscent of Michael
Jackson's Thriller album. If
you like vocals in your songs
then "La Isla Piscola" is a
pleasure. I had a flashback to
the PlayStation game Grand
Tourismo 2's car-editing menu
with the sounds in "Grainiak
Burn." "Crater 8" demonstrates the huge array of
sounds layered into each
track—call it Rolls Royce
sequencing. There is a 12" of
"Whipaspank," where the
remixes are better than the
original, which does not
stand out as the richest tune
on the album. Vogel has said
that the album is meant to be
a reflection of his journey to
his birthplace, Chile, from
which his family fled (to the
UK) from Pinochet's wrath. I
would agree this album is
inspired and fresh; too bad I
had to go to Virgin to find it.
If Luke Slater's Wireless
caught your attention, then
this will please you (more).
By the way, 137 is the number you call to be rescued
("rescate") at the beach in
Cyrus B
If you look at the cover of
this album you see a girl in a
black and white photograph,
her face partly covered by
shadows, having a cigarette.
It sets the tone for music
inside. The first thing that
crossed my mind when I
heard the first few notes of
the first song was Leonard
Cohen, without the raspy
voice, and lacking some lyrical strength. So I continued to
listen to these folk ballads,
slowly getting the urge to get
the cigarettes and the
whiskey. That is, until I
reached "Go Jimmy Go,"
where everything jumps into
punk without much warning, only to ease back with
the rest of the songs into the
mood it achieved earlier. So
here's the deal: if you want to
listen to a recent version of a
cross between Cohen and
Bob Dylan, perhaps this is
the thing to get you there. To
get to the newest stuff you
could also pick up their
Everything's Fine album. As
for myself, I'm sticking to the
Urban ffloclne//edition 3
•| Baby Blue
2001 Febrttartf 23 real live
Saturday, December 9
Picadilly Pub
Neil Hamburger said: "Why
did Julia Roberts rub Hall
over her f^H Because she
was horny!" The giggles were
coming out of me like diarrhea.
Christa Min
Saturday, December 16
Capilano College Performing
Arts Theatre
It was an icy evening and
threatening to snow, the gig
was partway up a North Shore
what they used to be. I had a
terrible cold too, but it was Oh
Susanna's first home-town performance in more than a year,
and I wasn't going to miss it.
That's the kind of dedication Suzie tends to inspire. Offstage she's our girl: cute and
soft-spoken and quick to laugh,
disarmingly warm and relaxed.
When she stands up there on
the stage, often alone except for
as if she were singing a few
songs at a family gathering, as
if when she's finished Great
Aunt Mamie and the littlest
cousin will take her place and
play a piano piece for four
hands. You can't hear her—you
definitely can't meet her—without feeling as if you've joined
this family. Maybe this is why
spring up before and after her
nightclub performances as people rush up to embrace her.
Yet some of this is due to
the bone-chillingness of so
many of her songs. To see this
pretty girl, wearing no makeup
and a simple dress, singing
from the point of view of a callous prostitute-killer (in
"Jackson Wilson," for instance),
is to want to run to her with
comfort. Sure, she's studied
murder ballads in a scholarly
kind of way, and she has said
she's experimenting with their
tradition of relying on an unreliable narrator (etc.), but that
doesn't quite explain the intensity of the experience. You wonder where she's channeling
these hell-singed personalities
from. You wonder if she might
collapse at the end of the song,
once the demon spirit has left
her again.
This could have made for
an unnerving experience in the
comfortable but formal setting
of the Capilano College
Performing Arts Theatre, since
Suzie was up there on a big
stage and we were some ways
back, invisible to her in our
cushy seats, but she seemed
unaware of the physical distance and put on the kind of Oh
expect. She told stories about
many of her new songs, about
growing up near UBC, desperate to be cool ("Kings Road"),
about the real-life Ted of "Ted's
So Wasted," and the inspiration
for "Sleepy Little Sailor" (the
title track of her new CD). She
joked about giving us yet
"another sad lament," when she
introduced "Beauty Boy."
Over the course of two sets
Oh Susanna played almost 20
songs, a little more than half of
these accompanied by violin
player Jesse Zubot (of Zubot
and Dawson). Many were
newer songs, and the newer
songs are different, certainly.
Where Suzie used to write
mostly about outlaws and
death, with just a smattering of
personal-sounding items like
"All Eyes on Baby," the ratio is
now nearly reversed. Fewer
songs are now offering a
glimpse into the black heart of
evil; more are telling stories of
more familiar types of loss and
longing. Many are cooler and
less intense, if every bit as well-
written—this gave the audience
a chance to breathe, and also
meant that the shining old
favourite "You'll Always Be"
stood out in the second set.
As Suzie said herself that
chilly night, moving to Toronto
has freed her to write about
Vancouver. I would say that it's
also freed her to sing about the
abstract. This includes the lovely and heartbreaking "River
Blue" (which won a Juno!), and
a spare, beautiful cover of Otis
Redding's "I've Got Dreams to
Remember," both on the new
CD. (Sadly, she didn't play
"Dreams" that night, although
it was on the set list. Weren't we
a good enough audience?)
Walking out into the parking lot afterwards with my collar up around my ears, I felt the
absence of my post-performance hug, but I came away
with something more lasting:
the set lists I picked up from the
empty stage after the show.
Janis McKenzie
Thursday, January 11
Vancouver East Cultural
How the hell are you supposed
show in which over 20 spoken
word artists/musicians performed, all of whom are brilliant? Most importantly, how
can you write a coherent review
when you have the flu and are
running a fever? From the
moment Farrel Spence (of 30
Helens) opened the evening,
complete with a gorgeous,
bloody, hairy vagina and semi-
naked male dancers, the tone
for the evening was set. This
was the second of four events
scheduled for the 7th Rock for
Choice, an annual fundraiser
for the Elizabeth Bagshaw
Clinic and Everywoman Health
Clinic. The theme for the
cabaret was womyn's choice in
all its manifestations: a safe and
legal abortion, lifestyle, spirituality, sexuality, self-expression,
or the search for a self-image
not molded by convention or
pop-culture. The evening was
programmed and hosted for the
most part by Sini Anderson
and Tara Jepsen of San
Francisco's sister spit rambling
road show. The performances
were all impressive if not mind
blowing, making it hard to pin
point just one highlight.
Personally, I keep oscillating
between Nomy Lamm's (fat liberation activist and author of
the zine I'm so fucking beautiful)
mesmerizing, powerful, and
personalized version of
"Amazing Grace" to Inga
Muscio's (author of Cunt: A
Declaration of Independence) journal style pieces about friendship and relationships between
womyn. But there was also
Morgan Bryton (30 Helens) and
Sarah Hunt's hilarious dialogue on body image and feminism, Abby Wener's direct and
honest poetry about sexual
abuse and coming of age, Fiona
Tyler's musical talents, graceful
and blue, T.L. Cowan's wonderful tribute to Good for Her
(the most fabulous womyn's
toy shop in this goddamn country), and the Public I's (former
ly Monsoon) collective performance which brought the voices and views of Asian womyn
into the spotlight through well-
written witty pieces of prose
and poetry. This was just the
beginning. Two hours into the
show, the mic was passed on to
members of the sister spit rambling road show (Rene Van,
Tara Jepsen, Sini Anderson,
Nomy Lamm, Tiger, Lynn
Breedlove) who then proceeded to enlighten, shock, and
entertain the masses. The
evening was raw, honest, and
emotionally charged, and by
the end, the message was loud
and clear: womyn's choices
about their lives and bodies are
there's no mold that can be
used, no set formula that works
for all.
Rana E
Saturday, January 13
Norman Rothstein Theatre
Reasons why Charms of the
Night Sky are punk: Music is
their life, man. They sweat a lot.
They don't tuck their shirts in.
Mark Feldman wears a black
wristband just like the punk
rockers do. Their last album
came  out   on   BMG.   Wait  a
minute. That's a major label.
They're not punk, they're sellouts. Sellouts!
Christa Min
Thursday, January 18
Richard's on Richards
Once upon a time, there was a
group named Tribe Called
Quest: true soldiers of musical
excellence; defenders of wit and
rhyme that stood tall on the
hiphop scene; fathering lyrics
that spoke to many; free of the
usual gangsta blah blah and
disrespect for women.
These high expectations are
what lured me into the smoky,
populated arena of Richard's on
Richards on a dark and rainy
Waiting like a humble
monk for hiphop master Phife
Dawg, thine servant had to
endure endless citations of
sponsors and finally, after two-
and-a-half hours, he appeared
in front of a hysterical, white,
boozed-up middle class audience, all in their Tommy underwear. But instead of being the
long-awaited musical prodigy
we were expecting, Phife just
went on talking and talking,
merely quoting short passages
of songs.
What was going on?
I don't know, but from
where I was it sounded like
much ado about nothing—the
revolution won't be televised,
but it won't happen where he's
at either.
Sunday, January 20
Starfish Room
Ahhhhhh... Sunday night
in Vancouver. Not only was the
statement "CERFEW 12:00"
printed on the ticket, but the
show also started an hour and a
half late. Needless to say, Red
Light Sting plowed through a
six song, 17 minute set with a
handful of technical glitches.
Nice songs though, they just
don't play them very well. After
stepping outside for a smoke
(yet another reason to get the
fuck outta this shitwater 'berg),
fEBRURRy 20th, 2001
D1€S£L BOy
FEBRURRy 20th, 2001
BIG in JflPflfl
IDRRCH 6th, 2001
24 DiAcordcr I ordered another drink to enjoy
Radio Berlin. Every time I see
these guys I want to grab their
copy of Pornography by The
Cure... oops, I meant to say my
copy of Pornography by The
Cure. Did I mention that Radio
Berlin sound like they've listened to Pornography by The
Cure a litle tooooooooo much?
Anyways, bring on the
boys from Seattle known as
FCS North. It's always a pleasure to witness an amazing
band you hadn't heard. Three
piece: Rhodes, bass and drums.
Smooth, crisp acid jazz played
by three skinny young white
guys. Totally fucking awesome.
I only own Him's debut album
The Egg which is very minimalist middle eastern percussion—
quite nice, but I had no idea
what his live show entailed.
Well, "minimal" was not in
leader Doug Scharin's vocabulary tonight: two drummers,
two guitarists, two horn players, a bassist, and a rack of
effects. Mid-'70s Miles Davis
meets 21st century improv.
Every player was completely
focused and into the contagious
groove they were creating. The
only problem with fusion like
this is that the jams can go on a
bit too long without anything
new being added. At one point
in the show I think the only
people having fun were the
band. However, this was a very
cool event that we will probably
never see again due to the fact
that one day coming soon you
will not be allowed to smoke,
drink, dance, or participate in
anything that remotely resembles fun.
Luke Meat
Friday, January 26
The Havana Bar (Richmond)
There was a bad moon shinin'
down on the lower mainland
Friday night! This rock 'n' roll
party,   an   "in"   do   for   the
Canadian   University   Press'
national   conference   at   the
Executive Inn in Richmond,
was quite the comedy of errors.
Just ask Bruce and Nick, who
spent hours carting around a
sound    system    that,    once
installed, did nothing. Ask DJ
Crushworthy,   who   brought
only CDs for a gig that had
become vinyl only, thanks to the
equipment malfunctions. Or, if
you want the best stories, ask
the bands what they thought of
it all.
Apparently, the Havana Bar
is a little too swank to condone
the kind of wild and crazy rock
that it was rocked by on this
night. The Cinch (who I
missed) apparently sounded
like a big wall of fuzzy noise.
The Riff Randalls' set went off
without a hitch. This three-piece
has got it together, and Cathy
Camaro did a good job of hyping up the, um, 15 or so people
in the bar. Once The Nasty On
took to the stage, things went
awry in a major way. Jason was
trying to climb the on-stage
tree. All were drunk and rowdy.
Somehow, the band's mics got
switched off halfway through
their set. Here came trouble.
Whilst spinning Guns 'n
Roses' hit, "Sweet Child O'
Mine," I noticed a bit of a mob
on the dancefloor. The Nasty
On was going head to head
with bar management, and it
looked as if punches were about
to be thrown. Instead, the band
was thrown out, the lights
turned on, and the night
declared a bust... almost.
Yelling turned to pleading
turned to cajoling, and eventually a compromise was made to
let COCO, who had come all
the way from the US of A, play
their set. Thank goodness!
COCO's set was the funkiest thing I've seen light up a
stage in ages. A duo made to
send us all into hip-shaking
mode, COCO managed to lighten up the atmosphere, pack
more people in, and stun all
with sexy songs. The crowd
was chanting and dancing up a
storm, and the night's troubles
were set aside.
Congratulations to the
Ubyssey newspaper, as a united
crew, for winning the dance
contest. Yeah!
Julie C
Sunday, January 28
Starfish Room
The Nasty On opened to a
hearty crowd of 50(?) but still
managed to pull off another
solid show, whipping off tracks
from their debut CD as well as a
needs a new
(we mean It!)
application deadline: february 15th at 5pm.
hard working music-lovers with lots of spare time and
patience are encouraged to apply for this demanding but fun
and rewarding position.
you should have: good people skills; excellent written english;
some computer experience, though we will train (we use
word and guark on macs); and most importantly, a passionate
relationship with independent and local music.
this position starts in april/may 2001. with training beginning in
this      is      a      volunteer      position      with      a      small
please call barbara at 822.3017 ext. 3 or linda at 822.1242 or
email ♦discorder®club.ams.ubc.ca+ for more information.
resumes and cover letters can be faxed to 822.9364.
After a much appreciated seasonal break
here at DiSCORDER,
things are back to normal and
on schedule again and some
zines have been found, lost,
and rediscovered.
Can I tell you first about a
new digest-size, 224 page
book/zine from Seattle named
YET11 The subtitle reads
"Enthused art, music, writing
and other stuff" and right on,
Yeti searches below the tip of
the iceberg to rediscover
obscure artists and some of the
most valuable weirdos who
have graced our planet. Take
Tomata du Plenty for example,
the freshly deceased and unbelievably influential performance artist and punk
visionary. Du Plenty was a pioneer of Seattle's art troupe Ze
Whiz Kids and went on as the
frightening and scouring
singing demon of The
Screamers, a west coast punk
phenomenon that would
inspire many a rebel including
Jello Biafra himself. There's
more to say about Tomata but
just buy Yeti or read the
astounding last interview in
the newest The Big Takeover
(damn good music mag). Yeti
also sets focus on art fanatic
Harry Smith, takes on interviews with Destroy all
Monsters and Califone, and
looks into the history of "the
heavy, ethnocentric, rhythmic,
and intentionally crude psychedelic rock music made in
the late '60s/early '70s by
Swedish act Trad Gras och
Stenar ("Trees, Grass, and
Stones"). Also appearing inside
this beautiful compendium are
L'altra, Terry Riley, James
Brown's original Funky Divas,
Victor Brauner (!), Jana
Martin, creative writings, and
comics. This is something you
want to hop aboard now! Grab
#1 'cuz it's gonna be worth
something. Also included with
this issue is a fine CD containing fine acts like Califone,
Stereolab, Carissa's Wierd,
Mice Parade, Harry Smith,
Turn  On,  Magic  Magician,
Chessie, Tedd Pruddhome,
and stuff. (Yeti, PO Box 3061,
Seattle, WA98114 or look them
As usual, Seattle keeps
things interesting and alive
despite all negative predictions. Specifically, the new
TABLET magazine is still
going strong and filling an
important gap for some of us
who were weaned on the much
missed Rocket. A few familiar
names are involved with Tablet.
Take Dan Halligan for instance:
long time publisher of the
lauded Ten Things Jesus Wants
You to Know punk magazine or
De Kwok of Milky zine. The
newspaper consists of many
varied contributors and subjects, but with a decidedly
northwest focus, often taking
on weighty political matters,
new local bands, censorship
concerns, or just celebratory
frivolity like Kwok's little
"Stick 'em up" column wherein he reviews stickers he's seen
around town. Terrific stuff, all
of it. What does it take to get it
up here? For now see
Comic zines are a very
popular format for aspiring
artists and one aspiring and
twisted artist named R.
Fleming sent his CLASS WAR
comic to Radio Free Press for
the gist of the content, though,
and let you make up your own
mind about your level of interest. Fleming is a negative man;
much of the sketchy inkings
present Crumb-esque scenarios
with hyper-sexualized females
and plenty of weaponry, too.
Fleming seems to lean toward
the left, with visual commentary against racism and authority, while at the same time
describing himself as
"hated" and a "misogynist."
Interested? Send a couple
bucks to R. Fleming at 2301 3rd
Avenue, #530 Seattle WA
Another light-hearted and
welcome installment of GO
METRIC is available featuring
Beatle Bob, Superfan Scott Lee,
and Russ Forster of the now
defunct 8-track Mind zine. Co
Metric has until recently been a
New York Based indie-
punk/pop music fanzine. Now
GM resides in North Carolina.
So what is always a somewhat
silly and psuedo trashy read
continues with goofy articles
on Queen, Tim Burton, someone who sold their newly-cut
ponytail on e-bay, and the mod
band Creation. Also Wilco,
MTX, Enoch, Kung Fu
Monkeys tour '99, and loads of
tiny-print record reviews.
Everything is presented fairly
sloppily with little odd tidbits
stuck here and there, so you've
got to love it. Let's see, the note
says to email and verify the
address after April 2001 so for
Mike Faloon at 2609L Village
Court,    Raleigh    NC    27607
For all you zine kids and
should know about CRAP
HOUND, a huge compilation
of clipart from so many sources
it will make your head reel. It's
a labour of love from creator
Sean Tejaratchi, a Portland-
based zine veteran who has
been putting these things
together for a few years
already. The amount of images
compiled in each Crap Hound is
nothing less than astounding. I
have three issues now and
always find it to be a valuable
resource when I'm cutting and
pasting a new zine which, let's
face it, can be more charming
in so many ways compared to
computer designed zines, no? I
know what you're thinking
and yes, Sean did encounter
some legal roadblocks from
"the man" in the past for presenting copyrighted materials,
so just keep in mind the disclaimer from the 2nd page:
"Many images in Crap Hound
have copyrights held by
various lawsuit-friendly entities. Remember that Crap
Hound is scathing social commentary and emphatically not
a collection of images with
which to trample the fragile
rights of huge corporations.
Crap Hound officially urges you
to obey all laws, all the time,
and encourages abject submission to anyone with money
and the law on their side." Get
one from Sean at PO Box 40373
Portland, OR 97240-0373 for
$6—that is unless you are an
ad agency or large design studio, in which case you'll have
to pay $30.
Start a zine today
and get the word
out. Contact Radio
Free Press c/o
DiSCORDER, #233-
6138 SUB Blvd.
Vancouver, BC V6T
1Z1. •
2001 February 25 great cover of "Love At
Psychedelic Velocity" (note to
Jason: this was originally done
by a group called The Human
Expression! I think Love covered it later), a sixties garage
nugget that features a cool driving drumbeat and slashing
guitar, which the band delivered with mucho gusto.
With no time for talkin', the
four-piece maximum rock 'n'
soul outfit from LA set to
rockin', and leading the charge
was a black-clad soulsistah with
a set of pipes that knocked you
over from the first note to the
last. "Are you ready?" she
wailed. We responded, "Yeah!"
not just because we felt the
rumble of powerful music in
our bones, but for fear of physical punishment from our
American revolutionaries who
were holding court. Thankfully,
ment and will receive only our
obvious neglect in order to send
a clear message of our disdain."
LAspeak: "The computer fucked
up so these two beers are on the
Translation: "These two beers
that you never ordered will cost
you five dollars apiece."
LAspeak: "It will take you about
15 minutes to get from LAX to
Translation:   "It  will   take   17
inquiries, five different buses, a
shitload of backpedaling and
four hours to get from LAX to
LAspeak: Tower Records
Translation: Tower of Crappy
CD's and a Whopping 11 DJ
Dance Records
LAspeak: Public Transit
Translation: Non-white, Low-
Transporter Units
visual show, and even lacking a
tumtablist, the Anti-Pop
Consortium managed to completely blow a whole ton of
minds during their first-ever
Vancouver performance. The
sparse stage set-up of '80s drum
machines and some sampling
equipment was all the musical
backdrop the APC needed in
order to drop the intense
imagery that distinguishes their
MC'ing. The beats were simplistic, yet completely mesmerizing, feeling a bit faster and
smoother than much of the
Tragic Epilogue LP, but still capturing that bizarre retro-futuristic feel contained on the album.
The lyricism was even more
impressive. The three self-
described "post-modern" MCs
add an imaginative intelligence
to hiphop that just seems to
flow right out of them during
Kick around
she did not lay any boots to
behinds, but for those in attendance, the wind had definitely
been knocked from our sails,
and we dispensed with much
rejoicing and record spending.
Thanks Bellrays, for taking time
out to show us how to kick out
the jams.
Bryce Dunn
Saturday, January 27
Sunday, January 28
The Knitting Factory (Los
LA City Translator Post-It
LAspeak: "Good evening. Please
come in and have a seat."
Translation: "We are the mighty
Uzbeks! Despite our tawdry
pink awning which boasts of
bargain-bin lunch specials and
even though the quaint parti-
with Russian graffiti, you and
your hoodie-clad ilk are a
scourge upon our fine establish-
LAspeak: Loud, obnoxious, stupid assholes of both genders
who feel the need to bellow out
their idiocy and obvious emotional discomfort during otherwise refreshingly quiet,
contemplative improvisations.
Translation: See above.
LAspeak: (Thwarted bootlegger
to bassist Bob Weston) "Thanks
a lot you fucking asshole. Go
fuck your mother you fat fuck."
Translation: (Thwarted bootlegger to bassist Bob Weston)
"Thanks for coming to my shit-
ass Babylon of Lame to play
three shows in the short span of
24 hours and thanks especially
for the 40-dozen Krispy Kreme
donuts you so graciously supplied at the Sunday morning
LAspeak: 1000 Hurts
Translation: 1000 Joys
Hope this clears things up.
Steve DiPo
Sunday, January 28
Bringing an almost totally non-
their live set. Managing to make
their album material sound like
freestyling, and their freestyles
sound pre-written, the Anti-
Pops displayed an almost flawless live lyrical skill. Priest,
Beans, and Sayyid each brought
their own unique style, with
Priest displaying what was
arguably the most impressive
narrative ability. All three took
turns manning the music equipment, which even included
some live beat-making, and
often seemed to just randomly
trade off verses and stage roles.
The APC meandered through
the show with a type of impulsive flow that gave an organic
character to their intensely
modern sound. While the
image of one guy playing beats
with his fingers while another
drinks beer and a third invents
words as he goes along might
sound like the performance of a
trio of half-assed hacks, the
APC made the night feel like
the crowd was witnessing his-
Jason T
Seen a local/independent/underground show lately? Write about it
and send it in to us and we'll make you into a famous music critic.
Ring the RLA Editor (Steve) at sdipo@axion.net or 822.3017 ext.
26 DiAcorder charts
what's being played at citr
February Long Vinyl
February Long Vinyl
February Indie Home Jobs
1 pizzicato five
the fifth release...
2 new pornographers
mass romantic
3 johnny cash
american III: solitary rr
an   Columbia
4 the causey way
causey vs. everything
alt. tentacles
5 twilight circus dub..
dub plates volume two                  m
6 hawksley workman
for him and the girls
ba da bing!
7 state of bengal
visual audio
six degrees
8 the corn sisters
the other women
9 deltron 3030
75 ark
10 medeski martin...
the dropper
blue note
11 lilys
selected ep
file 1 3
12 the nasty on
lester bangs ep
13 peaches
teaches of peaches
14 sigur ros
agaetis byrjun
fat cat
15 pepe deluxe
super sound            emperor norton
16 coco
17 joel
trains are fast...
18 pj harvey
stories from the city
19 yo la tengo
danelectro ep
20 trail vs. russia
21 radiohead
kid a
22 black eyed peas
bridging the gap
23 the Vancouver night
24 add n to x
add insult to injury
25 the pets
love and war
26 songs:ohia
ghost tropic         seer
etly Canadian
27 the gossip
that's not what 1...
kill rock stars
28 q and not u
no kill no beep beep
29 pinback
some voices
30 stars
nightsongs         le grand magistery
31 low
things we lost in the 1
re       kranky
32 v/a Infidelity
lounge sessions 2
33 takako minekawa
maxi on ep             emperor norton
34 shipping news
very soon...
35 st. germain
blue note
1  exploders
electric power
rip off
gray's anatomy                              no chocolate for tyson
2 briefs
poor and weird
cut and run
squares elite                                          around the capital
3 rainer maria
hell and high water
nicely nicely                                             it's me, not yours
4 peeps
panty boy                                                                sea hag
5 abbe
elevator baby
triple word score                                             too far gone
6 black halos/tui
li       christmas split
joel                                                       heart X 50' woman
7 tristeza
are we people
tiger style
jay a. beck                                                               ophelia
8 big John bates
vibro psychotic
nearly nude
lollies                               found myself at the supermarket
9 salteens
victory gin                                                                     tired
10 blow up
dead stars, seven sixes
magnus                                                            dragon style
11  cex
get your badass on
fanfare                                        the heathens are happier
12 riff randells
who says girls can't rock
jumpstart                                                            worthwhile
13 various artists
it's a team mint xmas...
coupon                                                            train robbery
14 anniversary
bel riose                                                               the notion
15 paperbacks/projektor      split
uneven steps          postcard from the depths of shame
16 bum/pingu
magic teeth
join                                                           newsman politics
17 electric frankenstein    the perfect crime
sub pop
tennessee twin                                                 oh darkness
18 removal
featuring mr. chi pig
bad apple                                                         life is rough
19 jello biafra
the green wedge
alt. tentacles
seana and splatter bends                     travelogue 10.97
20 zen guerrila
the seeker
sub pop
cardinals                                                      walk don't run
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, "February"
charts reflect airplay over January). Weekly charts can be received via e-
mail. Send mail to "majordomo@unixg.ubcca" with the command: "subscribe citr-charts"»
°\ and MASSACRE the competition!
DiSCORDER maintains the largest circulation             A
and the lowest ad rates of any monthly                M
magazine in Vancouver, making it the most            m
cost effective ad medium around!                    V
Dial ms hancock: 604.822.3017 ext.3                             >
2001 FebrMarH 27 SUNDAYS
9:00AM-12:00PM   All of
time is measured by its art.
This show presents the most
recent    new    music    from
around the world. Ears open.
THE       ROCKERS       SHOW
12:00-3:00PM      Reggae
inna all styles and fashion.
3:00-5:00PM Reakowshit-
caught-in-yer-boots   country.
alt.   5:00-6:00PM  British
pop music from all decades.
SAINT TROPEZ  alt.   5:00-
6:00PM   International   pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your
jet set holiday now!
QUEER FM    6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of
t features, back-
ground o
HE9LLO INDIA   8:00-9:00PM
GEETANJALI 9:00- 10:00PM
Geetanjali   features  a  wide
including classical music, both
Hindustani and Carnatic, popular music from Indian movies,
Ghazals, Bhajans and also
Quawwalis, etc.
THE    SHOW 10:00PM-
12:00AM Strictly Hip-Hop
- Strictly Underground -
Strictly Vinyl. With your hosts
Mr. Rumble, Seanski, and J
Swing on the 1 & 2's.
12:00-2:00AM Time to
wind down? Lay back in the
chill-out room. Trance, house,
and special guest DJs with
hosts Decter and Nasty.
FILL-IN 2:00-6:00AM
8:00AM Spanish rock, ska,
techno,       and       alternative
BROWNS 8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
delights! Tune in and enjoy
each weekly brown plate spe
cial. Instrumental, trance,
lounge, and ambience.
RAPIDLY alt. 11:00-
GIRLFOOD alt. 11:00
3:00PM Underground pop
for the minuses with the occasional interview with your host
DJ Hancunt gives good funk
and feminism for Black History
Month, Feb. 12th and 26th.
Check it!
BLACK   NOIZE   alt.3-4PM
5:00PM Who will triumph?
Hardcore/punk from beyond
6:00PM Join the sports dept.
for their coverage of the T-Birds
and some other goofiness,
giveaways, and gab.
SOUPE DU JOUR alt. 6:00-
jund the
alt. 6:30-7:30PM
BY THE WAY 7:30-9:00PM I
don't know what I'm up to any
more.   I   play   lots   of   odd
and a demo here and there.
Go figure.
12:00AM Vancouver's
longest running prime time
jazz program. Hosted by the
ever-suave Gavin Walker.
Features at 11.
Feb. 5: Miles Davis with John
Coltrane Cannonball Adderley
and company —the complete
Milestones sessions.
Feb. 12: Alto saxophonist
Sonny Simmons ana flutist
Prince Lasha on their debut
recording reflecting the influence of Ornette Coleman.
Feb. 19: Miles Davis' favourite
drummer Philly Joe Jones leading his own hard charging
band, Philly Joe's Beat.
Feb. 26: Tenor saxophonist/
composer Wayne Shorter's
edgy and challenging disc The
All Seeing Eye
12:00-3:00AM Hosted by
Trevor. It's punk rock, baby!
Gone from the charts but not
from our hearts—thank fuckinq
8:00AM Bluegrass, old-time
music and its derivatives with
Arthur and "the Lovely
Andrea" Berman.
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Put your
hands together for the rocK 'n'
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30AM- 1:00PM
2:00PM Music and poetry for
C.P.R. 2:00-3:30PM
PROM QUEEN 3:30-4:30PM
4:30 (last Tuesday of each
10,000    VOICES        5:00-
6:00PM     Poetry,    spoken
word, preformances, etc.
PARTS     11
JDf^T]  E
;t floor sound system
SKA-T'S       L
| Rts
cl—-| T
10,000 VOICES (Tk)
cni,pL_^J THE    FTk
~   U^!^     RELATION-
DU JOUR        SHIP show
HELLO INDIA    [____
ON AIR       [*L
I Rts
LIVE FROM...   ■—'
I ,-»;,
2& OiAcorder
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots
• Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world FLEX YOUR HEAD 6:00-
8:00PM Hardcore and punk
rock since 1989.
8:00-9:00PM Greek radio
WORLD   9:00-10:00PM
DEN      alt.       10:00PM-
alt. 10:00PM-12:00AM
Phat platter, slim charter.
6:00AM Ambient, ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
FILL-IN 6:00-7:00AM
7:00-9:00AM Bringing
you an entertaining and eclectic mix of new and old music
live from The Jungle Room with
your irreverent hosts Jack
Velvet and Nick The Greek.
R&B, disco, techno, soundtracks, Americana, Latin jazz,
news, and gossip. A real gem!
10:00AM Japanese music
and talk.
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstructs.  Recommended for the
THE °SHAKE   1:00-2:00PM
3:00PM Zines are dead!
Long live the zine show! Bleek
presents the underground
press with articles from zines
from around the world.
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
6:30PM Celebrate Black
History Month with speeches
from Martin Luther King Jr. and
Malcolm X, reports on African
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things, (last
Wednesday of every month)
9:00PM Indie, new wave,
punk, noise, and other.
FOLK OASIS 9:00-10:30PM
The rootsy-worldbeat-blue-
coniunto show that dares call
itself folk. And singer-songwrit-
HAR   10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
HOUR 12:00-3:00AM
Mix of most depressing,
unheard    and    unlistenabie
SHOW   10:00-11:30AM
Two hours of non-stop children's entertainment including
songs, stories, poems, inte-
views, and special guests with
your host Christina.
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
STEVE ay&n°MIKE 1:00-
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
SHOW 2:00-3:00PM
Comix comix comix. Oh yeah,
and some music with Robin.
REELS TO REEL alt. 5:30-
6:00PM Movie reviews and
alt. 5:30-6PM Viva la
Velorution! DJ Helmet Hair
and Chainbreaker Jane give
you all the bike news and
views you need and even
cruise around while doing it!
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM The
best in roots rock'n' roll and
rhythm and blues from 1942-
1962 with your snappily-
attired host Gary Olsen.
RADIO     HELL 9:00-
11:00PM Local muzak from
9.  Live bandz from   10-11.
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
and v
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
HEAD 12:00-2:00AM
SHOW 2:00-6:00AM
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
CODE   BLUE   3:00-5:00PM
lelta lo\
THE    CUTE    'N'    CUDDLY
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth
of real  rock 'n'  roll debris.
Email    reauests    to
12:00-2:00PM DJ Splice,
A.V. Shack, and Promo bring
you a flipped up, freaked out,
full-on, funktified, sample
heavy beat-lain trip, focusing
on anything with breakbeats.
3:30-5:00PM Please keep
on rawkin in the free world
and have a good breakfast.
Roc on, Nardwuar and
Cleopatra   Von   Flufflestein.
6:00-9:00PM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa, and African
music from around the world.
honks, blues and blues roots
with your hosts Jim and Paul.
6:00-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
TABLETURNZ alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out.-Guy
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
listen online!
lisben bo cibr 101.9 fm all day march 8bh for bodacious
women's programming, call bryce ab 822.1242 if you
wanb bo conbribube.
v&. 0ood
roscoe p. coltrane@piccadilly; a perfect circle@qe theatre; version, echpphone, umbrellaheads@railway; lily
frost, peppersands, salteens@starfish room; modest
junk genius@anza; jeff healey@commodore; operation flowmotion@purple onion; beautiful music festival@sugai
makeout, blue collar bullets, clover honey@java joint; refinery; everclear@commodore; benn watt@sonar; ron
jet set, filthy rocket, triple word score@piccadilly; nie howard@railway; by08: love somebody@blinding   . .       _, t!
solarbaby@railway;     globalization:     what's     the light!! lousy bum@sugar refinery,
fuss@christ church cathedral; radio berlin, citroen, red new bl9 shoes@starf.sh
light sting@ms. t's cabaret FRI 16
the       radio,       dorothy@sugar       refinery;       CITR
mystik journeyman, living legends@sonar; ill-a-mental TUULI@RICHARD'S; fishbone, snfu@commodore; dark
feat, living legends, mystic journeymen, grouch, eligh, side of the rainbow@blinding light!!
aesop, murs, scarub, bicasso@sonar
SAT 17
MON 5 mac dawg, canned hamm@sugar refinery; unified theo-
corrosion of conformity@commodore; hard rock min- ry@richard's; mark farina@sonar; dark side of the rain-
ers@railway; jinri black@sugar refinery bow@blinding light!!
morning maker@china beach; selassie i power@palla- unrefined@sugar  refinery;   supersuckers,   the   nasty
dium; day shine dark, mr. underhill, red scare@pic- on@richard's; eye of newt with alexander nevsky@blind-
cadilly; linton kwesi johnston@sonar ing light!!
thern pikes, plasticene,
Special Events
richard ashcroft@commodore; blackouts@starfish;
coastal jazz & blues society@western front; anna
lumiere quartet@sugar refinery
tyler brett & tony romano@sugar refinery; coldplay@com-
modore, sight unseen@aberthau mansion; the golden wedding
band@railway; coastal jazz & blues society@western front;
people under the stairs@sonar
colorifics@sugar refinery; the radio@anza club; kurt
elling quartet@cap college performing arts theatre; dj
scissorkicks@sonar; super fudge live@purple onion
SAT 10
the building press, trail vs. russia, instrumen@java joint;
buttless chaps@sugar refinery; CITR PRESENTS CUL-
TURE@COMMODORE; 2001: a pop oddyssey feat,
hinterland, nicely nicely, the silent treatment@ms.
MON 19
flybanger, amen@starfish
cop talk 2: training oddities@blinding light!!; the last
poets, ota prota, isangmahal arts kollective@i-spy (seat-
WED 21
ford pier, joel kroeker@sugar refinery; cop talk 2: training oddities@blinding light!!
selina martin@sugar refinery; oh susanna, the waifs, Carolyn _mark@starfish;   san   pedro   circus,   the   junky
cabaret; load levellers, saddlesores@piccadilly; carolyn
mark & her roommates, torn holiiston@silvertone tavern;
coastal jazz & blues society@western front; the dalai
lamas@purple onion; craig norton, lisa o'neill, kimona,
laurie macdonald, steve sian@gallery lounge
SUN 11
FRI 23
blue pine, young and sexy@sugar refinery; nomeansno,
removal, automaton@graceland (seattle, 21+)
SAT 24
jerk with a bomb, emerald city@sugar refinery
SUN 25
march 21  in a suit@sugar refinery (ask them what it
means); hinterland@purple onion
MON 26
bright eyes, azure ray@starfish
MON 12 TUES 27
unwound, mecca normal@starfish; hard rubber orches-   something, hopefully
WED 28
TUES 13 mojave 3, sid hillman quartet@starfish
beautiful music festival@sugar refinery; sam@piccadilly
WEDS 14 adrienne pierce, Jessie farnell@sugar refinery; amon
beautiful    music    festival@sugar    refinery;     brad   tobin@sonar; wesley willis, country teasers@starfish
30 DiAcorder
the next installment of last
year's successful three-day
sound festival at the sugar refinery, february 13-15.
bands scheduled include entity:
ephemeral, eternal, dixie's
death pool, dj aural, birthday
machine, mark szabo,
noosphere, p:ano and guests,
it'll be beautiful.
if you're a hippie, or if you
smoke lots or pot, or if you
actually like dark side of the
moon,you'll want to rush to the
blinding light!! to see this
feature that pairs that stupid
pink floya album with the
wizard of oz. apparently, not
all of the music is pink floyd,
and once you realize that,
you'll trip out and think your
name is toto.
they're playing at the sugar
refinery on Saturday, february
10th. we hear they put on quite
the show. hmm. it's hard to
write these things at 4:22 am.
zorn's chamber ensemble will
be playing the new opera
house, benaroya hall, in Seattle
on Sunday, february 25. take a
dare, he'll be impressed. SFX  &   Upstream   Entertainment   present
The Kings Of Grass-Jams on tour with a mix ofCalypso, Salsa,
Funk, Psychedelia, and Jazz for your listening and dancing pleasure...
March 16,2001
Doors  8:30PM/Show   «?:30PIW
March 17&18, 2001
Doors 6:OOPM/Show  7:OOPM
TICKETS AVAILABLE AT tfcrlceeyyi^r^fe^
Southern Rock/Blues Explorations
into the music of Pink Floyd
with an ALL STAR Band
MARC FORD Former Lead guitar, Vocals with THE BUCK CROWES
JOHNNY NEEL Keyboards, Vocals with ALLMAN BROS. BAND
THURSDAY, FEBRUARY 8 •  Richard's on Richards
FRIDAY, FEBRUARY 9 • Garibaldi Lift Company, Whistler
SATURDAY, FEBRUARY 10 • Champagne's Surrey
SUNDAY, FEBRUARY 4 • 2 Louies Ballroom
(8732 BIsimRd.. Near Bin* Bay)
Vinyl is an 8 piece band from
San Francisco that is commited
to throwing the crowd into a
Gyrating Frenzy
Friday March 23rd
The Starfish Room
Tix @ Highlife, Black Swan & Zulu or all Ticketmaster 280 4444, www.ticketmaster.ca
More info streamline (604) 904 4207 or www.upstreamentertainment.com UHllldNlil
604 CD/LP
Positioned somewhere within
a sonic triangle that links the
following nodes: Chicks on
Speed, Le Tigre and Cibo
Matto, LADYTBON are the perfect articulation of historically-informed popular music
production. Plus, quite simply and perhaps more significantly, they are cool. Art-rock, punk rock and prog-rock
are the RGB in their sonic toner cartridge, which, when
combined, turns out nice glossy proofs documenting
their glorious Euro trash synth-pop vision! Concerned
listeners should stop by for a listen.
CD/LP 19.98
Today's Empires, Tomorrow's
Ashes CD
Chiefs of Winnipeg's G7 Record label, which hosts fine
releases from The Weakerthans and International Noise
Conspiracy, PROPAGANDHI have finally found time to
give us their sophomore effort. Much like the aforementioned groups, PROPAGANDHI adhere to punk's political
spirit, producing music to inspire social change, while
navigating clear of the diluted pseudo punk that is all sig-
nifierand no substance!
CD 14.98
Morse Code in
the Modem Age
There is more than one way to
reach an ecstatic state. For
example, there is an aggressive and active approach,
usually involving some kind of self-induced frenzy, if not
always violence. For good or bad, this approach is familiar to most of us. And there is also a slower, more tranquil approach, involving contemplation, quietude and
restraint. Deep down, perhaps this is what most of us
secretly desire. Of course, it isn't our job to judge the
better approach - we'll leave that up to you to deckle.
But it is safe to say that Doug McCombs and Noel
Kupersmith's BROKEBACK project endorses the latter
over the former. With three long tracks and a crowd of
famous players, the overwhelming message of this
album is that life, although seemingly replete with toil,
darkness, and stress, is still sweet, beautiful life. So hani
in there, baby, hang in there. Please note this is an
enhanced disc, featuring two videos by Braden King, the
director of Dutch Harbor.
CD 19.98
Turn 21 CD/LP
How many hours are you
gonna waste pushing cold
fries and ketchup around your
plate? How many nights have
you lost in the safe confines ot
the "family" restaurant? If this is you, then stale coffee is
the perfect articulation of your sorry state: "20 going on
21"! Why not let THE DONNAS help you over the hump.
Lefs face it, the Risky Business vision of coming-of-age
maturation is out-dated and too gender specific - a man-
boy Oedipal dream, a sad urge to be punished. But hey,
this punk rock record isn't like that! Instead, THE
DONNAS' anthems go like this: "40 guys in 40 nights".
Go out and get some action - your action!
CD 16.98   LP 12.98
Aaltopiiri CD/LP
More dark noise from these stark and sophisticated
Northern Europeans - the de facto kings of the sine
wave-static-thunder axis, and heirs to the still largely
misappropriated early industrial scene. As usual, if
played at a suitable volume, PAN SONIC's massive
sounds will attempt to bust your stereo system in half
and climb inside your ears. Zap. Buzz. Crackle. Then,
once in your body, this pure, concentrated electronic
energy will go to work on your nervous system, finally
restarting the psycho-social-acoustic deconstruction left
undone by SPK, Throbbing Gristle, Cabaret Voltaire and
Hon. No kidding, we mean it.
CD 24.98     LP 26.98
Euro Trash Girl/
Angel In Black
It's time to take a stand against those tongue-i
Europeans, or let some of their more troublesome citizens do it for us! CHICKS ON SPEED offer up a very blase
version of Cracker's spoiled-brat anthem, delivering tales
of international brat-packing and partying that sound all
too feasible for these ladies. The b-side is a remix done
up by Mause, who gives the song that extra little bit of
life one tends to expect from digital reconstructions. This
is a reprise of a self-released 7" from back before you all
knew you were supposed to care. These CHICKS were
willing to wait for us to come around - they had all of
Europe to explore/exploit! Hear the story here!
12" 9.98
The Sleepy
Strange CD/LP
Like the devoted Surrealists of
the 1940s, JAPANCAKES are
interested in somnolent mind-
states and mental activities that approach the unfamiliar
- the submerged, impulsive and coded terrain of the
unconscious. "Strange territory." you say, for a band
with a glowing reputation tor breezy pop? Exactly, my
friends! JAPANCAKES are the authors of dream music:
sublime harmonies, layered sounds
ent, and sonic audio-illusions that sr
the blissed-out pop you've come to love. AVAILABLE
CD/LP 16.98
Things We Lost In the Fire
Ever had the experience where you find reading a footnote more meaningful and enjoyable than the body of the
text? Such are the charms of perennial Zulu favourites
Low, who know the potential of taking a minute detail
and expanding upon it. Comprised ot simple bass lines,
reverby guitar, crisp snare shots and a post-Neil Young
voice, their songs are stark, originating with a filament ot
sound, yet spinning towards a haunting crescendo.
Imagine a strand of mustard-coloured wool caught in the
wind against a fence, a dried magnolia in a glass, or an
abandoned swimming pool littered with Eucalyptus
leaves — all hints of so much more. Now we're digging
CD 18.98    2LP 22.98
Folktronic CD
Not every pop star is a philosopher. Likewise, not every
philosopher is a pop star. However, it's probable that
there is at least one possible world where the two unconditionally meet. And, if so, we venture that this space ot
reasoning might just be the Folktronic world of MOMUS.
Spectacle, wit and an irreverent approach to pop music
norms combine in a menage a trois (I never use this
term) that is perverse, beautiful, and yes, as convulsive
as any modern pop exhibitionists Gan possibly be. ff you
are not a MOMUS fan already, you may be surprised to
know how many there are around yfflf.
CD 18.98
Look at you: a seasoned traveler
who knows how to see the world on a shoestring. Now you
can also listen to the world at a cheap fare! San I
Six Degrees Records serves up a nice introductory dish to
get you dancing, with remixes of Bebel Gilberto, DJ Cam,
Banco Oe Gala, Dzihan & Kamien and many more! Uptempo Cafe-del Mar style recordings with a focus on
grooves to "break down wails between genres, creating
:cessible recordings that combine elements from
many worlds". Sure, it's a lonely planet, but now it's a little
less so!
CD 16.98
Circle CD
If you've had your ear to the (under) ground you may
have been hearing some infernal mumblings about "post-
rap". Now, while it's easy to cringe at the suggestion of a
new "post-" prefixed pigeonhole, there actually might be
something in this one. Clearly it's an irreverent allusion
to the little loved, much used "post-rock" and it isn't hard
to draw comparisons between what's happening to hip
hop today and the stuff that rent rock asunder in earty-
90s England (for which that term was first coined). In
both cases, the means of a genre are employed towards
distinctly non-idiomatic ends. For further elucidation on
this topic, refer to Circle by producer Boom Bip and
ultra-prolific MC Dose One, probably the most abstract
rap album ever released. It's on some crazy-ass, intellectual mind-shit y'all!
CD 19.98
Papa M Sings CDEP
Like fellow Slint alumnus Brian M., Oavid Pajo has realized
the potential charms of adding a wispy voice to one's
sparse and often broodingly beautiful post-rock songs!
Sloth-like (and we mean that in the best possible way),
Pajo's new aesthetic speaks lor and to the recluse whose
evenings are spent foraging for emotional sustenance - the
ever-elusive nourishment of the "pensive mood." Here is a
record ideal for those who make it a practice to lose track
of time. So cheer up you homebodies, PAPA M says it ain't
that bad.
CDEP 14.98
atitien RecnRDiriGS:
DJ FOOD- Ouadrapiex CDEP /12"
DJ MAYONNAISE (of 1200 Hobos)- 55 Stories CO
MELVtNS- Electroretard CD
THE ALBUM LEAF- In an Off White Room COEP/10"
LESSER- GearhoundCD/2LP
SMOG- Forgotten Foundation CD (reissue)
SMOG- Sewn to the Sky CD (reissue)
MARK kozelek- What's Next to the Moon CD
AUCH- Remix Tomorrow Goodbye CD/2LP
LE TIGRE- From the Desk of Mr. Lady CDEP
RAINER MARIA- A Better Version of Me CD/LP
MOUNT FLORIDA- Arrived Phoenix CD/2LP
all prices In effect until febuary 28, 2001
1X69 TVeat <k& /tvenue
(alia eric &Uu KcaxU* SatetUu Scvit)
2cc**ttitcj, TUt ZutUUy:
tyumfi. S6atv: 50 s4*ti<tf&
'tit "PeUucvKf 20t6
afce*tin<2 "pe&tccevuf 23rd:
a, (fauifi S&otv- ȣ "pe*ttdic ImcK^uf
Zulu Records
1972 W 4th Ave
Vancouver. BC
tel 738.3232


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