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 fhe epidemic
^^^1 colin Stewart
local knobs
the local music directory
kevin chong
new forms "staggeringly impressive" - Mojo UK
"ramshackle, heartfelt blast" - NME Magazine
HAWKSLEY
WORKMAN
AND THE WOLVES
RICHARD'S ON RICHARDS
SATURDAY OCTOBER 6
FIRST EVER US. LIVE TOUR!
an evening with
moei
,a4H2jg2T/4** Iff
if'    ' •   ' ^H   ■■*. WITH      • «
CITIZEN COPE
Mil^*1* •■
PURCHASE TICKETS OQQQQQ AT hob.ca OR ticketmaster.ca | tic
COMMODORE BALLROOM I
[T^in^HXi the; epidemic by bgrijarq ap. 8
kevihchong by doretta lau p. 13~. .    -
^ new forrWf estiva I by robert-robot p. 13
tribal wizdom and red hip hop,by tania wilfard p. I5u
loud! by steve dipasquale p. 16
local l<nobs by tobias v pr 19 .
colin stewarf by chrisfarftin p. 20
interview hell p. 4
kill your boyfriend p. 5
strut & fret p. 6
fucking bullshit! p. 6
radio free press p. 7
panarticon p. 7
culture shock p. 10
Vancouver special p. 10
dj profile p, 11
over my shoulder p. 12
under review p. 21
real live action p. 22
charts p. 23
datebook p. 24
on the dial p, 26
kick around (comic) p. 27
KIT
lori and andrea last minute design,
jay aouillard photograph, loud
doing the nutty insane drum thing.
' editorsat fin:
Lyndsay Sung ■
Tl broncFiy"
ad stallion:
Sfeve DiPasquale
■ * those artsy kids; *,
Lori Kiessltag
Matt Searcy
production .madness!:
Christa Min
"power jam!"
real live action:
Ann Goncalves
layout:
Lori, Matt, Lyndsay
photography and illustrations:
Matt Camirand, Jay Douillard, Chris
Frey, Tanya Goering, Jeremy
Jansen, Lori Kiessling, Scott Malin,
Mike, Andrea Nunes, Dan Siney, Zoe
Verkuylen, Christi York
production:
Christa, Ann, Bryce, Lori, Rich, Barb,
Tobias, Lyndsay, Maren, Steve.,. big
up to anyone we forgot...
special props:
Carolyn DiPasquale, Josue Menjivar,
Duncan McHugh
on the dial:
Bryce Dunn
charts:
Luke Meat
datebook:
Barbtown!
distribution:
Matt Steffich
us distribution:
Lindsay Marsak
publisher:
Linda Scholten
© "DiSCORDER" 2001 by the Student Radio Society of the University of British Coiumbia. Aii rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents dre $15 for
one yeor, 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 Mag-
:ine.
DEADLINES: Copy deadline for the October issue is September 14. Ad spdce is dvailabie until September 19 and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, ddmage, or any other injury to unsolicited manu-
scripts, unsolicited drtwork (including but not limited to drawings, photographs and transparencies),
or any other unsolicited material. Material can be submitted on disc or in 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 dt 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 822.301 7 ext. 0, or our news and sports lines at 822.3017
<t. 2. Fax us at 822.9364, e-mail us at: cit1rrx3r@ams.ubc.ca, visit our web site at hrtp://www.citr.ca or just
pick up a goddamn pen and write #233-6138 SUB Blvd., Vdncouver, BC, V6T1Z1, CANADA.
printed in Canada
66 WATER STREET VANCOUVER CANADA
Events at a glance:
SATURDAY SEPTE
MAT ST. MARIE @ INSIDE W7 DICKEY DOO 9PM
SUNDAY SEPTEMBER 2:
FLY GIRLS EVENT • HERSHE BAR 9PM-2AM
MONDAY SEPTEMBER 3:
HERBERT (DR. ROCKIT, U.K.) w/ DANISICILIANO PHIL PARNELL
THURSDAY SEPTEMBER 6:
"Coast 2 Coast" a Cycle Aga
\Y SEPTEMBER 7:
BACK TO SCHOOL JAM @ CROSSFADE w /SEANSKI vs. MR.RUMBLE
on 4 turntables. FREE before 10:00 pm/$8 after - FREE with student I.D.
SUNDAY SEPTEMBER 9
RITUAL - GRAND OPENING
WEDNESDAY SEI
OFFICIAL UNIVERSAL MUSIC AFTER PARTY @ GRANDE
~* "t GM Place, come the Official A
"   iEVE-RUFFRYDERS
FRIDAY SEPTEMBER 14:
DJ PUMP @ CROSSFADE
MAX GRAHAM 9PM/CC
FRIDAY SEPTEMBER 21:
MING & FS @ CROSSFADE OM Records/NYC
/IBER22:
CHRIS SIMMONDS @ INSIDE
WEDNESDAY SEPTEMBER 26:
DMX 'THE GREAT DEPRESSION" ALBUM RELEASE PARTY
@ GRANDE Tc
MS. HONEY DIJON @ INSIDE
MONDAY - LUSH - SEXY HOUSE
WEDNESDAY - GRANDE - R&B, REGGAE, HIPHOP
THURSDAY - WEEKLY ROTATION OF SPECIAL EVE
FRIDAY - CROSSFADE - PARTY HIP HOP
SATURDAY - UlSISe - FROM HOUSE OF VENUS
3Ef£gSl interview
uring Canada incessantly?
Park played with?
by Capozzi Park alongside tunes fro
Why aren't Capozzi Park signed to Mint records and t
Probably the attitude.
What members of Destroyer have members of Capozz
The cute one, and the shy mystic.
Do you know if Destroyer plans to cover "I Belong to Everyor
their latest album Streethawk: A Seduction?
I doubt it, althought we did "Streets of Fire" a couple times.
Why is or isn't Capozzi Park as relevant today as the Trooper compilation?
Who? Trooper what? To whom?
Give us all a writing lesson by re-writing a verse from the Capozzi Park song "Now!" with a more
modern theme. [The song is about stopping the Vietnam war—now!]
Now? Nah.
Why was it a good idea to put the band Bacon with the New Pornographers and Clover Honey?
Because they are heavy like Iron Maiden.
Describe a live performance that was truly fun.
For tlie Good Jacket series of shows, we were playing with "local legends" July 4th Toilet, who were doing
a fashion show, and not performing. We decided to do a tribute to them, The Obergammau passion plays,
Trooper, and others. Gradually through our set, each member of the band became Rob Dayton, in costume and nose. I wore a see-through cowboy outfit, Scott got the penis-pants, and Jody from their band
shot us all at the end, and sang a song I'd written for him to sing.
Talk lovingly about former members of Capozzi Park.
We all had crushes on Marcy. Steve had crushes on us. Robin liked it when you scratched
his head. "Freebird." Ever heard the song?
Is it important for an artist to endure rejection?
Rejection is nature's way of letting you know if you're not dabbling.*
D
So what were Amy's Rocks thinking when they invited you to play with them at Ms. T's?
Who knows. We certainly didn't fit the bill. I guess they saw us at Facefest and liked us.
How much did the Brickyard charge you to play there?
We played with Pet Fairies and Red Siren and they wanted to charge, I think, like 50 bucks to be split
between the bands.
How's recording coming along?
Good. Real good. We'll have something out real soon.
Are you planning any shows in Victoria? Who would you like to play with there?
Yeah Victoria, probably Darth Brooks. They're awfully good.
Are there any vegetarians in the band?
I eat meat sometimes, Toby's vegetarian, Sean's vegan presently.
Have you ever fried bacon on stage?
We'll serve bacon sandwiches at our next show.
Agree politely with something you absolutely abhor.
Public castration's a good idea.
Who's in this band anyway, and who else have you played with? Complai:
much priority.
Marcus: Motorama, Veronica.
Sean: None.
Toby: Some. They have no names.
Brag about the best gear you own like a metalhead in kindergarten.
Got a '66 Gibson Melody Maker, Fostex D2424. Five year old metalheads (
pie.-
about the band that gets I kill your
boyfriend
IJ.LIUJMI.mi
MINIMUM WAGE
Bob Fingerman
(Fantagraphic Books)
After yet another failed
relationship, I spent the
requisite time trying to
figure out what I did wrong. Oh,
and I kind of buried myself in my
comics. It was at this point that I
discovered Minimum Wage and it
made everything alright.
Minimum Wage originally
was a graphic novel that went on
to a 10 issue series. It's written
and drawn by Bob Fingerman,
and this is his first foray into
autobiographical comics. Much
like the comic's main character
Rob, Bob toiled away in
porn/Cracked comic obscurity.
The first graphic novel introduces you to Rob, his girlfriend
Silvia, his roommate Jack, their
friends, co-workers, and of
course, the other citizens of New
York. The focus is primarily on
Rob and his relationship with
Silvia. At this point, they're contemplating moving in together.
Now you could say there is not a
hell of a lot going on, but you'd
be wrong. Fingerman imbues the
cliaracters with gallons of life. It's
an adventure accompanying Rob
to work, or to one of Silvia's parties. Even going to the bathroom
leads to interesting observations
as he encounters Jack after a bout
of sex. These people are quite
real. The storytelling is honest.
Initially it was the cats flying
around the room while Rob and
Silvia were having sex that sold
me on the comic. But even after
reading it tlie fourth time, it still
cracks me up.
Minimum Wage portrays rela
tionships the way they really are.
The characters jump to conclusions because of their jealousy.
Rob's friends remind me of mine.
Even his thoughts are familiar.
Far from two dimensional,
the story con
Rob and Silvi
together, his friends help him
move, there's a pregnancy scare
and a comic convention. They
argue, they look at Edward
Hopper, they attend two very different funerals, and they get
engaged. It's life, folks. It made
me realize that I was human, and
it was comforting. Now it's just
funny. I can look back and laugh.
Who knew comics could be so
interactive?
Artistically, I love this comic.
Fingerman's style is bombastic
and squishy. Great in-your-face
design. Things almost literally fly
off the page. Cartoony and
grotesque, but incredibly fitting.
The main characters change
time; hair gets longer, people get
older. Fingerman's style reminds
me a little of Dave Cooper's
work, but only because both are
very expressive artists.
In a couple of issues he had
guest artists. Once it was Dean
Haspiel who was good. The other
time it was Pat McEown and I
was utterly blown
an autobiographical piece all
about girls entitled "Hormones."
He had a strange cartoony/
wispy style that
and cute, and he was really honest too.   Issue #9 was a stellar
The bad thing, 'cause like
every relationship there is always
a bad thing, is issue #10. It leaves
you hanging and Fingerr
n't put out anoth<
He's done other more ambiti
comics,   but   no   peep   aboul
Minimum Wage. This
just a chronicle of his first marriage; I guess he moved on. It's e
shame because besides Skinheadi
in Love, I still think Mi
Wage is the best he'
But what do I know. I'm biased
it made everything alright. •
Send comics for review to Kill Your
Bofriend, c/o DiSCORDER
Magazine. The address, in case you
wanna know, is #233-6138 SUB
Boulevard, Vancouver, BC V6T 121,
Canada. Comix
[THE EPIDEMIC
•I AM COMPLTLEY OPRATION L" CO (ACHE 005) ■
Radio
BERLf
COMING AUGUST 13TH1
• Hour Best dubss   j^CHE
?4CHE|
SE^gSaHSB ABJECT CINEMA
Thursday, July 19
The Blinding Light!!
Ever the nurturing s
the Blinding Light's .
McKenzie gave 12 I
teed screening, a deadline,
LO dollars each, then sent t
off to "make a movie w
somehow addresses the abji
Six months later, the tiny In
was bulging with a suppoi
but discerning audience, t
to see the results.
sed the abject as I
?rstand it—as a kind of
nic debasement. The defin-
given to the image-makers
"the transgressive, thedis-
ing or the horrifying" and
iugh there was plenty of
going on, it seldom felt as
vas coming from a place of
tion. As a last resort I con-
d the dictionary: degraded,
ng in self-respect, wretched,
rable, base. And, I would
devoid of ironv—which is
it can be so devastatingly
began
looked. But the manky little trophy goes to Emily Vey Duke
and Cooper Battersby's Totally
Abject 11. A woman on a bed juggled her breasts while tunelessly singing an oh-baby type song
into a hand-mic, which she then
held to her male companion's
naked butt. This was not porn.
It was not titillating. It was
hilariously abject. The atrocious
sound quality and the monochrome dimness didn't hurt
either. It could have been an
"courage." The formal device of
cutting it into labeled sections
though, kept its sad, pitiful air
from landing in my stomach
where it belonged. I liked
Middleton and Taylor's On The
Romance Tip—a blurred cruise
through discos and neon-lit
streets to a growled down
Michael Jackson tune. Nice and
/ liked Middleton and Taylor's On The Romance Tip—a blurred cruise
through discos and neon-lit streets to a growled down Michael Jackson tune.
All shot on vi
irks ranged fron
Mthel
■ally
had
n bare
ning t
Others
every penny o
like videotape.
The interesting thing for i
was how few of the films act
Jane Lee's Feeling Sentimental, a
girl held what looked like a pile
of small, beautifully coloured
stones—'til she begins to eat
them. They surrendered to her
teeth like rich chocolates 'til I
rest of the films took a
but who's kvetching?
the shorter pieces tend-
->e the most abstract.
r   Frise's   Abject   Bliss
like an impressionistic
1 essay about death and
irts of it looked hand-
u>st inaudible but it still
e blissful than abject. In
ingly visible
Meesoo Lee intercut black and
white clips of Connie Frances
with found footage of unbelievable American commercials for
cosmetic enhancements in his
With a title like Lesbian
Robot 2ombie At The Door, Kiley
Fithen will never need to give a
plot synopsis. She obviously
had fun making this one, splaying giddily over the schlock,
horror and comedy genres to a
soundtrack of oompah accor-
dian and cheesy organ. Wild
costumes and prosthetic genitals abounded.
And now we come to the
full nine yards section. The
longest film was Betaville, an
ambitious, futuristic noir piece
about selling out to creeping
totalitarianism. Carefully scripted, well acted, and stylishly
shot, it tasted a bit like that Brit
television   series,   Ultraviolet.
The most lavishly outrageous and entertaining offering
was Amy Lockhart's Miss
Edmonton Teen Burger 1983. To
say that John Waters was leering over the proceedings is an
understatement, but in terms of
sheer   audacity   and   surreal
ME/!NS!ALU!I0N BY IRENE 10UGHUN
AS PART OF THE TAKE A PILL EXHIBITION
AT GALLERY GACHET.
sidewinders, it almost outdid
him—if that's not too hard to
believe. It featured a vulgar,
tarty mother (in the Divine
mold, of course) and her
Michelin-baby daughter, as well
as a portrait of Nancy Reagan
with arms that reached outside
of the frame and a herd of
insane party guests. The best
thing was that due to a computer crash the previous afternoon,
Lockhart was still editing this
monster while the other screenings were already underway.
She got it to the cinema just in
time to seamlessly close the programme.
I hope the Blinding Light
does this sort of thing again. It's
not only a nice little parody of
the    official     film     funding
process, but it also galvanizes
some interesting talent.
THE PLUG HOLE
On the evening of Friday,
September 7, 15 artist-run galleries and independent
spaces—including The Crying
Room, Dynamo, Gallery
Gachet, and Video-In—will be
holding simultaneous openings
of exhibitions and performance
art during the second annual
Swarm. All the events are free
of charge and most begin somewhere between 7 and 8pm. One
that looks unmissable is Laura
Babak and Irene Loughlin's
Take A Pill at Gachet. It's an
exhibition exploring "constructs
of female hysteria through the
examination of sedation, panic
and control" and will include
performance, installations and
video. There will even be a lecture by Dr. Marie Loughlin on
"Hysteria Through The Ages"
at 6pm. When Irene told me
about this, it was evident she'd
been mining the humour as
well as the horror. Maybe guys
could go dressed as Lydia
Pinkham. Anyway, lock into a
complete list of the participating venues and start mapping
The Tiger Lillies are coming
back. Wednesday, September 5,
8pm at the Culch. Please, just
go. This might be an easier
place to live if more people are
infected with what they've got. •
fucking
bullshit
by christa m.
Records are my crack. I
fucking buy too many
records. I don't even like
music. Even the records I have,
85% of them are garbage. Okay,
okay, within the room where
they sit they're shitty. Relative
to the outside, they're alright.
But still I don't listen to most of
them. First, I have to feel like
listening to one. The chances
that I'm going to feel like listen-
obviously something better to
listen to, are pretty fucking low.
1 might remember what it
sounds like in my head. I might
remember it sounding good. 1
have a bad fucking memory.
So I have a lot of records
that I don't like. The problem is
that I won't get rid of them. The
number one reason that t won't
trash a record is because it looks
nice. Maybe I like the cover, or
maybe the wax is white. Both of
these excuses are ridiculous
because there's not enough
room to put the records on display. Ail I can see is the spine,
6 September 2001
and a couple illegible letters on
it, unless it's a double LP (the
spine's twice as thick, see) and
that might look nice from a distance. Anyway, if the record
sucks, I'm sure as hell not going
to pull it out, let alone take out
the actual record to see the marbled vinyl, as pretty as it may
be. Well, sometimes I do that. I
think, What the fuck am I doing
with litis record? And 1 pull it out
to buck it out the window but
then remember it's beauty.
Fucking stupid.
Still, I keep crappy sounding ugly records too, either
because they're part of a set or
because they're old and hard to
find. Usually, if I like the way
one record sounds I have to get
every other record associated
with the one I like. There's
always a stupid album in there.
Maybe two. Sometimes I can
make a cutoff point like I won't
get any of the records they
made after '81. But say they
made a good record in '78 and
in '80 and the one they made in
'79 is the worst. I still have to
have the bad one. I'll never listen to it, but I have to have it.
Without it, it'd be like having a
dictionary where some jerk
ripped out the whole F section. I
could look up erection and grasp
but not fuck. That's just wrong.
It gets out of hand trying to
complete the collection. The
ing my
from the UK, and even though
it's the same record, the covers
are different. Or maybe I have
the record but not the cassette
or the CD. I have to have every
format. Or maybe I have the
record, but I'll get another copy
and not open it. I'll just keep it
sealed. In case it goes out of
print and I ruin the first copy,
crease the corner or something.
I keep the good records in a
r. I vt
s feel-
I this o
guy took my money then
turned his computer off. Now
I'm back to searching through
crates of crap. It takes a long
time. If I go to a different city, I
spend most of the time staring
at the phone book trying to find
the record stores. Then I hover
over record bins, flipping until
I get a callus. Then my neck
starts to hurt. It's not fun. I forget to look at the trees and I
never find what I'm looking for.
Sometimes I find things I
already have and buy them
anyway. You never know what
might happen to the first copy.
Or maybe the first one's the US
release and the second one's
special case. In case there's a
fire. I don't keep them in alphabetical order. I'm not insane. 1
group them according to how
good they are. The thing with
records is they stay where you
put them. They're not going to
leave you. Bob Dylan isn't
going to start fucking Patty
Waters when you're not looking. They're nice that way. And
they're heavy. So if somebody
breaks in chances are they don't
have the time or the strength to
take the records. (If you try and
I catch you, I'll cut my records
into throwing stars and aim for
your throat.)
So I don't even know if it's
the records. It's just that the
records, they're mine. And I
care about them. 'Cause I guess
you have to care about some- day. I let it in and we sat around
talking about romantic ideal-
, the i
r of a
Don't you hate the way
ad agencies co-opt
ideas from cool sources
to manipulate their target consumer? Hell, I do, and so does
PUBLIC WORKS, a monkey-
wrencher zine for the free-radical, b.s. detecting activist right
here in our own yard. So stop
that self-loathing and loath
those who market happiness
while funding the politics of the
dead. Public Works makes me
feel good about what people are
learning and what they're
doing (peacefully) to thwart
this menace. This is matter-of-
fact information with a great
layout and just the right
amount of humour and street-
level directivity. The most
important local zine in a long,
long time. Get more info at pub-
licworks@disinfo.net and find
one around the independent
shops and keep it out of the
boss's reach, okay?
Speaking of the boss (not
again,
namely A READER'S GUIDE
TO UNDERGROUND PRESS
(formerly 2inc World, a name
changed by the co-opting of the
word "zine" by way too established magazines and websites).
Probably the best thing about
ARGTUP is the news and letters
sections that keep readers and
publishers up to date on free
speech and civil liberties issues,
and there are plenty of authoritarian censorship stories; there
always will be. The reviews are
always painfully honest. One
item making the news this time
is the long overdue return of
Factsheet 5. Some sucker forked
over the exorbitant amount of
cash! Whatever. Here are 92
pages of phenomenal reading.
$5 US for Canadians. Send to
PMB 2368, 537 Jones St., San
Francisco, CA 94102.
Another publication that
amazing amount of
s SLUG AND
LETTUCE, which I'm happy to
report, still exists after 68 issues!
S&L is not for the visually
impaired by any means, the
type looks to be about 5 point.
This makes the print run (20
pages, 11x15, newsprint) cost
effective and the amount of substance is enormously comprehensive. Zinesters and bands
may like to know that S&L's
focus is firmly set in the punki-
ty punk punk realm so you may
want to just hang on to your
sensitive poetry, kitties, and
ponies zine, right? Slug, and
Lettuce just requires 75 cents of
US postage to be delivered to
your abode, a good deal, considering the crap that you find
on magazine shelves for $6.
Contact PO Box 26632,
Richmond, VA 23261-6632.
Kyla Sweet's NOTEBOOK
COMIX ($2, PO Box 19146,
Vancouver, BC V6J 4R6) came
knocking at my door the other
woman's visit to the crotch doctor and hand-drawn film making. It then ate all my Lucky
Charms and drank milk right
out of the bottle. Needless to
say, I was kinda pissed, but I
couldn't hold a grudge for long
because for all its sloppiness
Notebook Comix carries itself
with such naive charm, what
can you do? I was handed a
small roll of black film with a
short bio of film experimenter
Len Lye. I just stood there shaking my head and said,
"Notebook Comix, you're a weird
kid, but I like ya."
Russ Forster's illustriously
eccentric 8-TRACK MIND was
mailed all the way from 23145
Melrose, East Detroit, MI 48021.
The weird thing though, is that
it appears to be a couple years
old now. I suspect that Russ
heard something about this zine
review column and thought we
might be interested in the interview with Vancouver's own 8-
Track tape manufacturer Scott
Livingston (Tosk Recordings),
who appears to live in my
'hood, yo. Russ, the 8-Track's
most flamboyant apostle,
apparently threw in the zine
towel at issue 100. What's the
ing to? Hail
bizarre niche racket.
Now, if you haven't run
across a GUINEA PIG ZERO
yet, you're really missing true
greatness in independent periodicals. GPZ's focus is all about
people used as scientific experi-
these
opm
■xperii
incurred. Although completely
clinical and therefore disturbing, the articles keep the reader
keep eyes glued to the page (not
been tried, yet). The voyeuristic
nature of the articles and studiously acquired  knowledge
has brought editor Robert
Helms some attention from several media sources since GPZ's
inception. This is the eighth
i. Do n
;stlm
geeks. He's asking $6 US bucks
from us Canadians for one issue
which is pretty well worth it, I
think. Write to GP2, PO Box
42531, Philadelphia, PA 19101.
Andrea Gin of TURF
informs me of her scheduled
Turf zine fifth birthday party.
Sounds like fun to me. She sa) S
there's three bands (Ewoks,
Birthday Machine, and The
Battles) playing on October 6 at
Ms. T's, and while I'm probably
jumping the gun on announcing it I'll take the chance of
embarrassing myself and others
if any changes occur.
By the time you read this,
the Comix and Stories event
will have taken place at the
Heritage Hall. I'd like to know
like these. Did you feel it was
worth it? What did you like or
not like? I had no involvement
in it, so feel free to just be honest, I'd like to know. Send com-
speckfanzine@yaho<
panarticon
"Weapons Hint combine good design,
good function and good quality with
prices so low tiiat as many people as possible will be able to afford than. "—ODE
ART IS POLITICS
In 1974 Mr. Peanut ran for
Mayor in Vancouver, complete with costume, pornographic press photos, tap
dancing, and a skimpy female
chorus line. He refused to give
interviews and still got over
3000 votes, enough to get back
his deposit. Perhaps a little lesson can be learned from Mr.
Peanut today—for getting an
aging, balding white guy with
wire glasses, a minus one
charisma level and a secret
agenda to fuck the province like
a dirty whore elected as premier
is a true art. Mr. Peanut was
performed by Vincent Trasov,
created jointly with John
Mitchell, and goes down in the
international performance art
scene as a major socio-political
art intervention. You've probably missed its appearance at the
Belkin which ended in August,
but you can catch the
Trasov/Mitchell permanent
exhibit, and underway as you
read this, the no doubt fine
work of the UBC Masters of
Fine Arts  Graduate  Exhibit.
w.belkin-gallery.ubc
RUN(A)WAY WARFARE :FLA-
/ELLATON
Flaj took over a Railway chic
warehouse studio on July 28th,
brought to you by inter-mis-
sion.org and curated by Natalie
Purschwitz. A whole pantheon
of designers, make-up artists,
hair stylists and DJs collaborated to bring off this successful
event. MC'ed by a girl in male
drag, lip synching to a cheesy
male voice announcing the
designers, Flaj was the perfect
environment for the combination of subtle and outrageous
clothing (or lack of it). Nerdcore
is in: glasses, buttons, dorky
and dumpy yet sexy from Janet
Glover contrasted the skirts
over pants and hooked
sweaters from Heather Young.
Sarah Edmonds accessorized
her models with intricate and
delicate paper pirate ship and
crow hats. Urban conscious,
retro-bohemian Left Bank subtle threads, colours, and exterior
seams complimented the large
pockets, dark tones, and Maoist
jackets from models in Taoist
postures by Jen Gilpin. As can
be expected, sexual warfare
from unpredictable conceptual
artist Triina Linde. Picture
naked males lying down on the
runway to be "pissed upon" by
"portable bladder bags"
attached to clear, plastic
sheathed, near nude female
models, replete with wear-a-
canvas-and-food styles and
2001 Census forms. Corin
Sworn and Erin Stanley revived
a bit of the '80s with torn white
t-shirts, and Natalie Purschwitz
ended on an experimental tip
with burnt blankets, fur, sleeping bag jackets and cardboard
shirts. Flaj will return in the
future, hopefully with the sincerity, energy, and unpredictability of the first show.
<www.mter-mission.org>
I-CHING RHIZOMES MEDITATE IN EDEN
Olo J Milkman, Esq., sometimes
soundman for a big program-
and Paul Kamon, yoga photographer, launched a joint showing at Coffee 4 House in June.
Milkman's I-Ching line drawings, each drawn separately yet
continuing the same line structure, forming connected yet het-
erogenuous squares that can be
assembled in I-Ching numerical
permutation structures, gravitated alongside Paul Ramon's
ethereal and relaxing photographs of desert yoga meditation sessions. Although the
exhibit is over, Milkman's work
will be on display at the
Refrains performance at the
Video-In on September 29th.
when we unblinking types at
CiTR received this pamphlet for
"ODE," a website that in its
design and rhetoric resembled
Ikea, we just wrote it off as
some confused dotbomb. When
the invitation came in to see the
"Showroom" at the TAG
Gallery, boy were we feeling
silly. ODE, conceived by artist
Sarah Beck, is all about making
freedom through weapons—
such as the "Rooikat" tank-
available to everyone, with little
assembly required (just an
Allen key). You can still catch it
all online at www.shopode.com.
BLACK DEATH
Goodbye, goodbye, to the wonderful independent store
known as Black Sheep Books.
We all know who to Fuck, and
that includes ourselves. This is
a dark time indeed for Anyone
Who   Cares.   Do   something
FUCK IT MOVE TO MONTREAL
Oi everyone's minds recently, as
I looked at another dilapidated
and shitty "warehouse" in
Richmond to live in—give it in,
give it up, move to Montreal
where it is cheap and French and
there is art money and warehouses downtown and this nebulous thing called culture that
everyone has (maybe it's in the
scarves). Well, we're kicking it
for a bit longer in VanCity,
despite the yuppy "studio"
craze (a poor excuse to build an
room is up a ladder) and general
shitty attitude from the city, the
province and the Feds to do anything brilliant that might actually blow Vancouver up out of its
capitalist-drugged slumber.
With that in mind, think art and
experimental electronic music at
Refrains, a conference and per-
a parti
villi n
bed
" and double the
rent) and "loft" frenzy (the bath-
formance featuring Kim
Cascone (SF, Mille Plateaux) and
Jetone (Montreal, Mille Plateaux)
among others, talking and performing the juncture between
music, aesthetics, and politics.
http: / / www.shrumtribe.com/
.   7EfFkSAU®ai< o
0   S
C2
CE
<r
GQ
7'c» listen to Disintegration if I owned it on vinyl,
but the record store never seems to have it in."
—"Robert Smith Vs. Crosstown Music"
3 02
8 September 2001
Subcultures are often brief resting
Stops on the way to adulthood. Who out there
doesn't know someone—or 50 someones—who
passed through punk while heading toivards a different bland equilibrium? Though my own
involvement in Vancouver's cloudy and divided
punk scene has ranged along a continuum spanning "marginal" to "imaginary," it still boggles
me how many faces have remained familiar over
so many years. Andy Dixon got thrown into
Vancouver punk at the age of 12; he's been there
ever since. As a founding member of the recently
deceased d.b.s. and the currently active Red Light
Sting, Andy has, at the age of 21, accumulated
more experience as a live musician than most people his age. Saying that he feels "like a jaded old
man already," Andy just released a full-length
CD, titled I Am Compltley Oprationl, of his solo
studio ivork as The Epidemic. I talked to Andy in
a Kitsilano park on a sunny August afternoon
after a long day of work. DiSCORDER: Tell me how you became The Epidemic.
Andy Dixon: I was in the Red Light Sting, and I wanted to
do something with a little more melody. My brother got me a
couple of music programs—I guess it was an early Christmas
present—and I just started experimenting with them.
And that was this year?
Yes, the fall of 2000.
Which programs do you use? I know a lot of your work is
sampled guitars, etc...
Yeah, a lot of samples. There's a program called Fruity Loops,
a sequencing program, and then Cakewalk and Cubase,
which are actual recording programs. And then one called
Cool Edit Pro which I just use to touch things up with.
Is the Epidemic exclusively a recording project for you?
I'm trying to figure out how to do it live, but I don't really
know how I can do it yet.
It would be heavy; you'd have to carry a lot of stuff around.
I don't really know if it's possible, but I'd really like to. So
maybe I could either make it more electronic live so I can just
use samplers and stuff, or find more people to play the
instruments. I'm not sure how it's going to work.
Your other bands are/were definitely more "live"-oriented.
Yeah, and it's fun because whenever I've been in bands where
we were recording, it's always been like, "Well, we'd like to
do this, but we could never do that live so we shouldn't do
it." It's fun to have the other end and say, "I'm not doing this
live, so I can do whatever I want."
Besides that, are there any differences between working in
"live"-oriented bands like d.b.s. or the Red Light Sting and
doing a studio project? Or is it just the way it makes you
think about songwriting...
Exactly. If I'm writing a song then I don't have to have it all
together and bring it to some other people. It's a much shorter process. I can just say, "Oh, I like that one riff," and record
it now, and then I can go and do other things. It's more cut-
and-paste. You can't really do that when you're negotiating
with other people. It gives you the freedom to do whatever
you want, but there's also no one else to tell you when something sucks.
On the subject of freedom: you've obviously been active in
the Vancouver punk scene for a long time, and I'd like to
know whether you think that people are more open to
experimental stuff than they used to be. Do you think it's
easier to do things that aren't necessarily "punk rock" in the
strictest sense of the word?
[Dubious] I don't know. Back then, when I was 14 or whatever, I wouldn't have thought about it. I don't think it's really
changed that much. A lot of "scenes" these days are meshing
more... maybe since Refused did The Shave of Punk to Come
with electronic elements. A lot of people are blurring the lines
more and maybe it's easier to get away with stuff like that.
It also might have to do with the fact that the technology is
a little more easily available than it was then.
Yeah, and it's cheaper and more people know about it than
in, say, the mid or early '90s.
Could you tell me about your record label?
It's called Ache Records. The first release was the Hot Hot
Heat 7" and it came out in the spring of 2000. It's pretty new.
It started with that, and then we did the split LP with Hot Hot
Heat and the Red Light Sting. Then we did the last d.b.s. EP,
and then technically the Radio Berlin LP and The Epidemic
CD, but my CD wound up coming out first because of problems with the Radio Berlin LP. Them's the breaks, I guess.
You also run the button company, If I Only Had A Heart...
Yeah, the little badges. We were up all night working on that.
It's really busy right now, I think because it's the summer and
bands are on tour.
I don't know how big a button press is, but 1 assume it just
fits on a desktop.
Exactly. It's pretty small. I can't really remember what motivated us to buy it. I think we'd stayed at a guy's house in
New York, our friends from I-Farm had one. We played with
it and thought it was really cool. Then about a year later we
decided to invest in one. When I got a high-paying job all
these ideas started coming [laughs].
Is the button business paying off?
Yes. It's the only thing that's paid off. We do 300 buttons a
night in order to get enough money to put out the next
record. The buttons feed the record label.
Interesting that it's the only thing that pays off. It just shows
how unbalanced things are between music and merchandise.
I know, it's so ridiculous.
I remember reading an article about heavy metal in the
1980s that featured some statistic that said certain metal
bands sold many times more t-shirts than records. So maybe
you're continuing that tradition.
I don't even know why that is. I think it's because it takes
longer to get money back from a record. You have to go
through a distributor, who has to go through local stores. The
local stores sell it, pay the distributing company, and then
they pay us, and then we pay the band. With a button you
pay it all at once. The parts aren't that expensive, and you get
the money right away. Someone says, "I need 300 buttons and
here's the money," and then... you know what I mean? It's a
way quicker transaction.
Zoe Verkuylen [from the Red Light Sting] works with you
on that and on the label as well?
We do them both together.
What kind of music have you been listening to lately?
A lot of electronic stuff; that Mouse on Mars album, Idiology,
is really good. I just got an Electric Company CD, it's really
good. Joan of Arc is one band I can't stop listening to.
When I was listening to your CD, I kept thinking about
Joan of Arc—not because it sounds like Joan of Arc but
because I've only heard little bits of that band—because it
made me think of the term "pro-tools pop." I've heard some
people describe Joan of Arc in those terms as well.
Seriously, I would say that if I had to pick my favorite band of
all time, it might be them, d.b.s. actually played with them.
The first time I heard them was when we played with them in
New York or something. They had just put out their first
record, and they blew my mind—I'd never heard anything
like that. And that was five, six years ago. Most of the stuff I
was listening to five years ago I hate now!
What else were you listening to five years ago?
Ugh, a lot of metal-hardcore. That was in the wake of the
"emo explosion." The Promise Ring, Jawbreaker, both of
whom I still like. In hindsight, there were a lot of really bad
"emo" bands that came out around that time whose names I
can't really remember. I'm sure I liked them all at the time.
And you did the graphic design [with Jack Duckworth] for
the / Am Compltley Oprationl CD. Is that something you're
trained in, or did you pick it up along the way?
No, I didn't go to school for it or anything. I took a couple of
classes at Cap College, but that wasn't design at all. Just get
Photoshop and just go nuts.
I thought the cover was very cool looking. It makes me
think of the surfacy, glossy side of Vancouver—anonymous
looking corporate buildings and banks.
Yes, that's totally what I was going for. Anonymous architecture. My friend Nicola had pictures of exactly what I was
looking for, she had them lying around, so I asked if I could
use them.
It's almost at the point where the photos break this architecture so far down to surfaces that it doesn't even look like
a building anymore.
That's sort of her gig these days. I thought it went with the
music as well: a cut-up look at things. A deconstructionalist
look at things.
Well, the way a sampler works is by grabbing a little piece
of something bigger and then exploding it...
Yeah, making something unidentifiable and then doing what-
r VOl
nth it
What's your favourite song on J Am Compltley Oprationl?
Which one are you the most proud of?
Probably the last two because they're the newest. They were
tacked on just as I was finishing mastering. I don't know
what it is about them. I'm proud of the drum programming
on the second-to-last song.
I liked "Robert Smith Vs. Crosstown Music" because I have
a weird, ambivalent connection to that place. I only go there
maybe once or twice a year now. Also, I was thinking about
the contrast between the very surfacy, glossy side of
Vancouver portrayed in your cover art, and then also the
other side, which is the side I'm more familiar with and
comfortable with. I can't really relate to the bank facades
and the anonymous buildings, but I can relate to the idea
of Crosstown Music.
I wanted to name some of the specifics of the city so that people could be like, "Hey, I know that place! All right!" But seriously, I've been going into that store once a week for almost a
year to see if they have Disintegration by the Cure on vinyl,
and they never do. My friend Matt Smith actually bought me
a copy somewhere on Davie Street, but it doesn't play very
well. It's really scratched. So I'm going to keep looking.*
9S{£gIM^Effi culture
shock
anthony monday;
When I woke up this
morning, I felt a little
fuzzy. Not fuzzy in
the hangover sense. Not fuzzy
saying that 1 crap my pants
without knowing or have memory lapses, or any other signs of
the decay of the body. I am just
suggesting the possibilty that,
■ at 26, I have fallen beyond the
desirable youthful body. Hair
sprouts in places it wasn't
before and disappears from
where it was. The fact remains:
I do not look like a Ken-doll
anymore, and when I shake my
By this admission, I am not
suggesting that I have totally
lost my ass-shakeability. I know
about the ass than any other
month of the year, and so it
would be unfair of me to judge
my essential ass-ability against
the other asses of this month,
my "Gays Against Gays" column. This month's column is
all about the ass, if you had not
already figured it out.
And at "Pride" there was
Ass. Hard-bodied military men
rubbed their crotches with fake
guns. Underwear-clad ravers
danced atop trucks, the rain
soaking them and their skimpy
dergarr
v r street,    where    the    wicket
Vj marched,   it   was   a   hideou:
asses that rose and sunk in the
I turned away, and caught
my reflection in a shop window. Is this how it feels when
the doves cry? I asked myself.
Later, in the clubs—because
that is what Pride weekend is
all about, isn't it?—I saw the
same men dance. I saw their
essential asses shaking, I saw
their quintessential Ass. And I
was 26, single, with a little more
hair on my stomach, and the 20-
year-old boys in the bodies of
men writhed together, they
danced on, danced the light
fantastic—strobe lights and
disco balls. They seemed to be
mocking me and my less-than-
pert buttocks. It seemed like
Bif this admission, I am not suggesting that I have totally lost my
ass-shakeability.I know I still maintain a certain shaking-ass-ness, a
modicum of sex in my pants.
are younger, firmer asses out
there now. Asses which shake a
little faster, a little better, a little
rounder. They've got the right
stuff, baby.
Although, perhaps I should
not use this past month as a
gauge of my quintessence of
assness. It was summer, and
therefore, all about the ass.
Anyone would have ass competition during summer
months, would they not? And
in August too: the prime ass
month. August is always more
10 September 2001
there the skimpy bathing suits
and tight shorts to reveal
"Ass"—as an entity within
itself—but also there was a
more insidious, more viscous
all feel insecure about our
behinds. Yes, 1 am talking about
Vancouver's "Pride" parade.
Now, why "They" would
name such a parade "Pride" is
beyond my capabilities.
Pride is, apparently, based
on how great it is to be gay
because look-at-the-great-
und erwea r- we-ha ve-a nd -look-
how-na ked-we-can-get-in-a-pu
blic-space. But that is a topic of
another column dear readers:
their behinds joined together,
grew and melded until it was
only me, thumping music and a
giant perky bum, laughing and
mocking. I left, quickly, still single, still 26, sagging. Running
just as fast as I could. Holding
on to my own hand. Trying to
get away into the night, and
then I put my arm around me
and I tumbled to the ground
and then I said, "I think I'm
alone now. There doesn't seem
to be anyone around. I think
I'm alone now, the beating of
my heart is the only sound."
Send me back to Kuwait. At
least there I am wanted for my
whiteness, not my ass. •
COAL
Beautiful Afterburn
(Coal Music)
Coal is Vancouver's sexiest-
sounding band. If you're someone who swoons over Chris
Isaak, then you can think of
Coal as a girl-fronted, smokier,
London, you can think of Coal
as a kind of post-punk, post-
country, post-surf, post-grrl-
core take on her style. In other
words, Coal's songs will make
' that crazy, stupid
alio
e thm
tions you had back when you
were dropping acid. (Not that I
would know about that.) Maybe
you've settled down and put
these things behind vou, but
Nicole and her gang'of crack
musicians will bring it all back,
on this CD better than ever. And
you will like it. www.geoci-
ties.com/coalmusic
VICTORIAN PORK
Victorian Pork
(Porcine Music)
Since I didn't have much luck
with the band's website, I'm
going to rely on my own knowledge of Victorian Pork. So
here's my own totally unauthorized list of band facts, based on
seeing them play a couple of
times in the past year or so, and
vague memories of other peo-
pie's stories:
1. Victorian Pork, in its original
Vancouver's very  first punk
2. In the current incarnation, the
bassist is a former member of
(most famously) The Pointed
Sticks, and the drummer used
to be in The Enigmas, Big
Guns, and others.
3. The singer/guitarist, LX, is
still in her teens.
4. LX's dad is the bass player.
(Could this be the world's only
father-daughter punk band?)
5. LX has only been playing guitar for a year or so, but now she
is »the* band guitarist; this
includes solos.
6. She also writes most of the
songs, with lyrics as snotty as
her singing style.
In some ways, the list says
it all. VP has unbeatable punk
cred, combining first generation
punk and real-life teen members. Their songs are short, fast,
and loud. The band is tight and
competent but keeps things
simple, and the CD (thank god)
is not overproduced. There's
even a song about The
Buzzcocks—my only regret is
that I can't quite make out what
LX is saying about them. (She's
ripping into them, I suspect.
She's an uncompromising girl.)
Listen to the CD and you'll be
impressed by the sincere hard-
edgedness. Better yet, go see
them play live and get the visu-
www.victorianpork.com
STAR COLLECTOR
Black-Eyed Soul
what to expect, but the mere
sight of it put the  Monkees
lilac
■Eyed
different—I ended up with
"Motorcycle," from that first
CD, stuck in my brain. (Ah, the
Beatlesy guitar intro, the weird
lyrics....) Perhaps I had too
many expectations, or maybe
Star Collector is suffering some
kind of sophomore jinx, but
sadly I must say that nothing on
Black-Eyed Soul grabbed me in
quite the same way.
It's not a bad CD. There are
plenty of good things here, like
the band's continuously good
musicianship and the writers'
sense of hooks. More specifically, there are details, like the
groovy bass riff that forms the
backbone of "Talisman," that
tell you the band knows what
it's doing. But there was a certain freshness and lightness that
made the first CD such a find,
and those qualities just aren't to
be found in Black-Eyed Soul. Is it
the dirtier guitars, or the nastier
(but more forced-sounding)
lyrics? Are they just too slick?
I'm not sure, but I'm just not
Sorry, Star Collector. Maybe
www.starcollector.ca
V/A
Team Mint Volume 2!
(Mint Records)
Even though I know better,
I harbour a romantic image of
life over at Mint Records. I like
to imagine the bands all
squeezed into the label's tiny
office space, drinking, laughing,
sharing delicious gossip as they
stuff envelopes, listening to
Nuggets compilations, Hank
Williams, and maybe Cheap
Trick and some 1950s stereo
sound effects records. This little
fantasy of mine isn't based in
the reality of this admirable
label, of course—it comes
instead from listening to their
releases. Whether it's Tankhog
or cub, from way back in the old
days, or any of the songs on
Volume 21, there's a certain joyous
Mintness that comes through.
The bands, ranging from
country-inflected (Neko Case &
Her Boyfriends, Carolyn Mark
& Her Roommates, recent
signees Tennesse Twin), to sub
frat/garage rock (The
Evaporators, Thee Goblins,
The Smugglers), and a wide
range of post-punk, pop/rock
(The New Pornographers,
Duotang, Operation Makeout,
New Town Animals), as well as
those Albertan surf meisters
Huevos Rancheros and deadly-
cool electronicats I Am
Spoonbender, all manage to
sound happy to be on the Mint
ating   their   10th
the Mint boys can
clain
npus radio, and have
recently made splashes in both
the big American magazines
and the big Canadian music
awards. (Of course no one who
knew founders Bill Baker and
Randy Iwata back in their CiTR
days is surprised by this.) But of
course there's a lot more to Mint
than Neko Case and The New
Pornographers. With 13 bands
spread across 23 tracks, this
compilation is a sampler in the
best possible sense, offering
smatterings from all across the
label's output of the past five
years. It's not entirely even-
handed—for instance there are
three tracks each for Duotang
and The Smugglers, but only
one each for a couple of my
favourites, Operation Makeout
and Huevos Rancheros. (Then
again, this just might inspire me
to buy a couple more CDs,
right?) The point is to give listeners a chance to hear things
they might not otherwise, so if
you already love Neko, you'll
discover the reverb-embracing
Corn Sisters, which will lead
you to one of the cleverest songwriters and best live performers
anywhere, Carolyn Mark.
If you've been missing cub,
Operation Makeout may be just
the ticket. If you yearn for
happy/loud mile-a-minute boy
rock, perhaps it's time you tried
the New Town Animals. And if
you're wondering why no one
has ever arranged for a musical
collision of Bacharach, Pizzicato
5, and The Sonics, then obviously you haven't heard "The Rise
and Fall of the GQBC." by
Duotang.
The verdict? This is both a
compilation everyone should
have and a document of one of
Canada's most important indie
record labels. Congratulations
to everyone at Mint, and happy
birthday! • CiTR 0 J PROFILE!
Maren Hancunt
Stand And Be Cunted
Mondays, 3:00 to 4:00pm
>rd you would save in a fire:
:er Du, New Day Rising.
.rd that should burn in hell:
t Record you bought:
rd you bought:
rnw/ the Poets of Rh\
i and Me'shell Ndgec
arite show on CiTR:
k Noise (defunkt now;
ngest phone call eve
raphed by Lydia Lunch and Ani
CiTR OJ PROFILE!
Spike
The Northern Wish
Wednesdays, 10:00 to 12:00pm
Record played most often on your show: A tie between Plumtree's Plumtree
Predicts the Future, Starling's Sustainer and The Be Good Tanyas' Blue Horse.
Record you would save in a fire: My original vinyl pressing of Rheostatics
Greatest Hits. If I could get away with two, then I'd also grab my Infamous
Scientists Trouble 12".
Record that should burn in hell: Anything by pre-fabbed boy and girl bands,
because I really hate that shit, and almost all gangsta rap, except for NWA.
Worst band that you like: It's a dead heat between Nelly Furtado and Matthew
Good Band.
Last record you bought: It was actually two—that Gorillaz self-titled debut and
Sigur Ros' Agaetis Byrjun.
First record you bought: Get this: Boney M's Nightflight to Venus'. I thought it was
cool that the Cylons from Battlestar Galactica were "singing" on the title track!
Musician you'd like to marry: Lynette Gillis from Plumtree. But if she thinks I'm
gross, then maybe either Kathleen Hann.i,   Neko Case, or Alicia Keys. You can
see I've thought about this a LOT... maybe too much.
Favourite show on CiTR: I listen to 'em all, but my absolute favourites are Ska T's
Scenic Drive (I plan my Fridays around it), Our For Kicks, Replica Reject, Nardwuar
Presents, Folk Oasis and that Hans Kloss fellow because he's funny.
Strangest phone call ever received while on air:
"The fast talker" has called many times, but I'll go with a young woman—who
will go namesless—who called at the end of a fill-in I was doing to invite me out
for beers at the Bourbon, and she showed up—with her equally attractive friend
in tow, no less! Who says being a CiTR DJ doesn't have it's perks! •
0% r#tr «me<it <n&tt*>s> pftootxrioiM
teste
THE HUtfT RELEASE
IN Oil* NEW
MITE IN il MITE
SERIES
JUST CUZ ITS L1VS PUNK, DOC INT MEAN IT
HAS TO SOUND Mile JUNK.
FEATURE*: ENHANCED COMPACT DISC
WITH INTERVIEW AND MVE
raOTAOE* l» INCLUDE S PUU SIZE
COMIC BOOK.
Fat Wreck Chords P.O. Box 193690 San Francisco. CA 94119  www.fatwreckc
1lE[£g£5£3£ over my shoulder
^^^^^^
T^,:::!.::::;::.ir;e;
addressing
1   Series of Unfortunate Events.
(the polities
F   We are still lioping to inter
Is Open beg
view  the man behind  the
poverty in
misery, Mr. Daniel Handler. We've
posed of a p
tried   email,   fax,   post,  carrier
and 10 cha
pigeon, earner crow.   His people
well-selecte
"flev'hav^HrkHlliappedtv
writer   Bar
er sub].
.   I'licDt
Snicket's villain, Count Olaf.
half vt
ar stint as a volunt
Due to mv addiction to the
drop-i
i centre, The Door Is
misfortunes of Snicket's  three
Campt
ell covers everytlun
Baudelaire orphans, 1 have beei
rice w
ne and heroin, to
lazy on the adult book front. 1 dk
and w
irking girls, to crim
manage to finish two books just ii
gentri
ication. He explores
time to dash off this column. Las
facet o
f poverty and Vanco
month, 1 promised small presse
downt
>wn eastside with a
and poetry and I'm sticking to mv
est ten
ch. If this was a film
word. In honour of DiSCORDER'
menta
y there would be a 1
ns with facts about lower income brackets. On a fur-
kmada and is com- ther tangent, I have to say that
ologue, an epilogue, there's something fucked up with
ters interspersed by a society that cares more for the
excerpts taken from welfare of dogs and cats than it
Campbell's diary, does for its impoverislied and dis-
icles his three-and-a-   enfranchised.
I could go on, but in order to
void descending into a long rant,
m going to end here and say that
lis is one of the best books I've
i>ad all year.
BILLIE LIVINGSTON
The Chick at the  Back of the
(Nightwood Editions)
Billie Livingston, a member of the
"SI I' t
TUB
I
isn4
1
3ifl
'1
1!
IMItN 1
at Charle
Bukowski.  In another,
she deals
with a physiotherapist
visit am
bad underwear. The
everyday
mundane is extraordi-
nary here
and the everyday prob-
lem has
apocalvptic overtones.
These Po
ems are good,' and there
wandering cloud in sight.
GEORGE BOWERING
A Magpie Life: Growing A Writer
(Key Porter Books)
Okanagan-born   Bowering   has
always juggled the two disparate
genre
1   fictio
Ope,
I.link
idol
like
BART CAMPBELL
The Door Is Open:  Memoir of a
Soup Kitchen Volunteer
(Anvil Press)
The best memoirs seem to be talking about one thing (being a soup
The Chick at the Back of the
lurch is Livingston's first collec-
in ol poetry, ami has been in the
.irks since 1992. It is a unpreten-
iiis book that can be read in one
sitting without headache or hate.
More importantly, there's something good and dirty about
Livingston's writing, which centers on the relationship of the self
to loved and unloved ones. Her
verse is city-wise. It's the chick at
the back of the church hinting at
sex and only half-heartedly
repenting for it.
I hate the terms "gritty" and
"urban" (you may as well write
that something is "shitty" and
"urbane"), but if you want some
generic terms to get your footing
because you don't really have an
interest in poetry, I'm throwing
them at you now. I hate the term
"vintage" even more, but there's
nothing about The Chick at the Back
of the Church that could be
described in such a way because
it's modern in its subject matter
nd
of
-garde language poetry. In
Magpie, the terrain between the
two becomes the "biotext," an
extension of the writer composed
of an "Alphabiography," reminiscent ramblings, essays, and gossip. Writing in a cyclic fashion,
Bowering often repeats himself,
but the simple language betrays a
complex structure of thought, of
forgetting and remembering. With
tales of hedonism and rebellion,
from writing the Grandfather
poem to the Ubyssey, he illuminates life in an intimate way that
tricks me into believing his precise
self-questioning. At the height of
this belief, I am faced with
Shelley's choice: how did I come
to believe, now that Bowering
turns around and questions himself? A disquieting slippage, one
that attempts to speak to an in-
the-know audience as well as an
academic culture he frequently
despises.
I feel that after 200 pages 1
know little about Bowering,
despite his entire life seeping
through me. I am drawn to reread
and delve into the taste of knowledgeable, political prose on religion and land, murder and law,
through the eyes of a Native; the
dissection of "Oh, Canada;"
words on Lowry, Hopkins and
Punty. He thinks straight through,
as evident in the tricky art of literary criticism, which refrains from
opacity to give it straight up,
enthusiastic and jubilant, hungry
for the words and their charades,
and yet not afraid to casually
mention the junctures of deeper
reflection: Charles Olson on one
side, with Ezra Pound as his
ghost; Jacques Derrida on the
other, with Heidegger's spectre.
Unlike most memoirs, there is little glory gloating of the past nor
prosaic prophecies on the future.
Caught up in the life of a magpie,
there simply becomes the dance of
the flight itself, and the n
the a
and v
The sort of world Bowering
grew up in becomes sadly evident
through its loss, as he laments the
destruction of Okanagan peach
trees, and the culture and world
that loved them. A tracing is made
here, a loss that extends to an earlier destaiction of this land and its
Native peoples through western
colonization. And all of this—a
commentary on time, on life, on
living itself—is the domain of an
artist and a poet and a critic, who
has gone to the ends of honesty
and sincerity and language to
people and things. •
SCRATCH RECORDINGS & DISTRIBUTION
Your independent musk specialists with a constant
supply of new releases at good prices.
726 Richards Street, Vancouver, BC V6B 3A4 Canada
ph: 604.687.6355 (store) 604.687.0499 (distro/label)
HEW OH NITRO!
THE     DAMNED
Grave   Disorder
CD Nitro   15844
The Damned and other Nitro releases available at these fine stores:
__^        Apollo, HMV, Luckys, Noize, Sam the Record Man,
j Scratch,Teenage Ram page, Virgin Megastore, & Zulu
Nitro is Distributed in Canada by Scratch PA^ATaH
°   http://nitrorecords.com     www.scratchrecords.com VV ® 'V I
©
12 September 2001 doretta
lag  vs.
evin  cnong
CI
Ever since I read Vancouver
writer Kevin Chong's bio in the
Asian Heritage Month guide in
May, I've wanted to interview
him. At that point, I liadn't even
read his book yet. All I knew
about the Columbia MFA graduate zuas that he'd seen the film
Rushmore eight times, and that
caught my interest because two of
my friends are obsessed with that
film. A few days later, I read that
he refused to make the protagonist
of his first novel, Baroque-a-
Nova (a found title from a song
on the jukebox at Helen's Grill),
Chinese because he didn't want
the cover to have bamboo on it.
The next day I bought his book
and finished it in two sittings. I
discovered that Baroque-a-Nova
is, among other things, a clever
take on the modern preoccupation
with pop culture. The book has it
all: a book banning, a series of
protests, a suburban kid with
famous folk singer parents, and a
German hip hop outfit named
Urethra Franklin. The following is
excerpted from several email
exchanges.
DiSCORDER: How many
times have you seen Wes
Anderson's Bottle Rocket and
Rushmore'!
Kevin Chong: The first time 1
saw Rushmore was at the New
York Film Festival. After the
screening, I approached Wes
Anderson and told him I'd
seen Bottle Rocket 13 times, at
which point he thanked me—I
think, with pity. Now, I've seen
Bottle Rocket maybe 17 times
(twice in the theatre) and
Rushmore maybe 9 times (7
times in the theatre).
Why have you seen them so
many times?
I probably wouldn't watch
them as many times now, but
at one point Bottle Rocket was
very much cherished by me
and a couple of friends for its
very idiosyncratic humour, a
wonderful Rolling Stones song
on its soundtrack, some very
memorable outfits, and its sensibility—it was knowing, but
not cynical. Rushmore was fairly well-received—deservedly
so—but Bottle Rocket was largely ignored when we saw it.
When I was younger, it used to
bother me that too many people liked my favourite band or
my favourite movie; I don't
feel this way anymore.
Anyway, Bottle Rocket was a
movie that felt like your own
property, which brought about
€^/'
conflicting impulses: you
wanted to share it with everyone, but you wanted to keep it
What other movies would you
watch repeatedly?
I've seen Francois Truffaut's
Shoot the Piano Player a few
times and Kryzstof
Kieslowski's White quite a lot.
And Superman III, whenever
it's on TV—the most underrated installment of the
Superman tetralogy. Though
this doesn't really compare to a
friend's wife who, as a child,
watched Grease II every day
after school for an entire year.
Do you have books that you
reread over and over?
I'm more the type of reader
who finishes a book and
decides to read everything else
by that author, but I've re-read
Paul Auster's Moon Palace several times, as well as Donald
Barthelme's Paradise. And I
think I'll have to re-read Moby
Dick again—there was a quite
a lot I missed.
The title of your novel is
taken from a jukebox song.
What songs does a jukebox
have to have in order to be
great?
Helen's Grill has a great jukebox with many old Sinatra
tunes, as well as Procol Harum
from the '60s and Kim Carries
from the '80s. But as far as the
great NYC jukeboxes, like a
couple of my favourites in the
East Village and in Brooklyn,
there has to be a combination
of songs everyone knows and
loves (eg. The Rolling Stones'
"Hot Rocks" or Marvin Gaye),
some more obscure tunes
(Mona's on Avenue B has "The
Only Ones" "Another Girl,
Another Planet" and
Modern Lovers; Max Fish has
Marquee Moon), and things you
wouldn't normally listen to at
home, but enjoy at a bar (Steve
Miller).
When you first started writing, was there an author that
you were trying to emulate?
There's a whole genre of guys
who thinks they're Leonard
When I was 19 I wanted to
write like Milan Kundera—ha!
The next year, I wanted to
write like Paul Auster. The
year after that, Donald
Barthelme. And sometime after
that, I realized I couldn't be
any of these writers—however
wonderful they were, however
much influence they had on
me—I had to make do with the
way I wrote and saw (and
heard and smelled) the world.
Though this year I've decided
to forget all that and rip off
Haruki Murakami.
What is it about Murakami
that makes him the rock star
writer that he is?
He makes the common place
fantastic and the surreal common place. Unlike people he's
compared to, like Delillo or
Pynchon (at least, early
Pynchon), he has a tender,
romantic streak. He loves
women; he loves women's
ears! He loves pasta and the
Beatles! All this—such personal, idiosyncratic stuff—and still
his books contend with metaphysics and epistemology, as
well as the effect of history and
totalitarianism on the present,
and the influence of technology and mass-media. He's fearless and brilliant. And hard to
put down.
What word in the English language could you not do without?
Why?
I like its abbreviated form, as
opposed to "pervert." There's
some innocence in the word
"perv" or "pervy." And there's
something naturally hyperbolic about it; there's a hangdog-
comic ring to the word.
What's in your CD player at
the moment?
In my car, a lot of stuff by
Grandaddy, a Modesto, CA
band. At home I've been listening to a lot of XTC, NRBQ, The
New Year (made up of ex-
Bedhead members) Ron
Sexsmith, and Loudon
Wainwright III.
If someone were to pick up
the film rights to Baroque-a-
nova, who would you want to
direct the film?
Richard Lester. He directed
Superman II, Superman III, and
A Hard Day's Night. Oh, and
maybe Wong Kar-Wai.
George Harrison: hot or not?
In A Hard Day's Night, he
strikes me as a creepy uncle
type.
Not at all! Definitely hot.
Anyone who can play guitar
like that must have a soft
touch.
Who would play you in the
Kevin Chong movie of the
George Harrison.*
When
there is a group of like-minded
people who ail share similar interests, what
do you do?    Get together, stupid!    When there
isn t a festival to share that vision with others, what do you do?
Create one. This was the vision of the organizers, volunteers,
friends,  performers,  and (hopefully) audience members who participated in the first annual New Forms Festival. No, Roni Size was not
in effect, despite the festival s name: this was primarily a showcase of local
talent.  The  good  people  at  Capital  Media www.capitalmag.com organized
an ambitious three days of talent that featured DJs, dancers, MCs, Graffiti artists, video
engineers, vocalists, and even a fashion show. The social pig that I am, someone who feels a
general lack of community when it comes to these scenes. I volunteered for the weekend.
IIEUI   FORmS   FESGIVHL
by Robert Robot
uiltiple venues on Main Street. Poetry, live jazz and DJing at Lugz, the Public
Lounge, and Monsoon. I missed all that in order to help out with the main venue of the night and weekend, Video-In Studios. Perhaps the most disjointed of the three evenings, the night began with a fashion
sliow put on by a group of designers and a body painter. They created a high energy spectacle of playfulness, with some very hip clothes, and models' scantily clad painted bodies. Unfortunately, tlie vibe created was oddly sucked out of tlie room wlien NoMigVideo artists (a la Cold Cut) took over the room.
Although their video art had merit, their low-key ambient aesthetic would have been better placed at the
beginning of the night, rather tlian quelling the vibe that the fashion show created. DJs Downlow and others provided ample sound backdrops between and after performances.
Saturday, August 4th
Considered THE night of the festival, Saturday night showcased Vancouver's burgeoning liip hop scene.
Video-In is transformed into hip hop central with graffiti artists throwing up pieces in the back alley, and
breakers sliowing off practiced moves before the talent hit tlie stage. Tlie stage was filled with performers non-stop until 3am. Tliere were too many crews and MCs to mention, but tliere were a few notable
highlights. Mcenro, started off the evening. Luke Meat's doppelganger, Mcenro's opening comment,
"Just another white guy rapping to a CDR" is telling of tlie local scene and the evolution of the art form.
Fried chicken and multinational conglomerates are the monkeys on Mcenro's back. The Jah-blessed soulful flows of Ndidi Cascade and Denna countered the predominately male roster. The engaging words of
head-shaved MC Kyprios provided the most insightful moments of the night. His poem entitled, "Hate"
offered some well-received commentaries on racism. It's always nice to hear some political engagement.
Tlie DJ for the "Def Poets" was a sick scratcher. Wonderkut's' beatboxing and tight MCing was equally as
impressive. The energy of the night kept building and culminated with a free extended jam, comprising
a number of tlie evening's MCs, DJs, as well as the three piece band Obese Beats. I've never seen a better
showcase of local hip hop and was quite impressed.
Sunday, August 5th
Billed as a"Kinetic evening of visual art, dance, and decadent deep house," Sunday night was a low-key
version of the previous nights that went down at the Naked Lounge. Loren Knowles showed off lier exotic dancing style accompanied by grooves. Local vocalists Mikela J Mikeal's exquisite voice and trip hop
backbeat are set for stardom as far as I'm concerned. Troy Jaxon's strong vocal range was a nice segue into
tlie night's big act and only non-Vancouver performer, house DJ, Mauiricio (Naked Music) from San
Many months of planning and numerous snafus being avoided (tlie main venue, Video-In Studios almost
being shut down days before the festival, being one), the NFF went off. Because each day focused on different art forms, one had to attend at least two of the three days to get a true feeling for the festival. The
weekend was not designed to be a money maker, and the Capital organizers promise a bigger and better
show next year. This city has too fucking few summer festivals—and festivals help to drive our struggling scenes.  Let's be glad we now liave one more reason to celebrate our local talent and community. •
13 Efpk555MES P"—1
■■jI^Bw-w    *5p                 - ^Br* JUL ]9
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TheRealMcKenzies "Loch'da Loaded" CD/IF
Citizen Fish "life Size" CD/IP
'      '-. ugpsgr    .
ns.com
Inspection 12 "In Recovery" CD/LP
1^^H|j ro. Box 192027 San Francisco, CA 94119 www.honestif
www.indiepooLcom/theolaripper
14 September 2001 crn
IT)
(3GDGJ L7®
by tania willard
In the age of Eminem, gangsta rap, and rhyming about bitches and
hos, the underground prevails once again with Red Hip Hop and
Tribal Wizdom. Conscious, political and not without style, members
of Red Hip Hop and Tribal Wizdom speak on the Native hip hop
movement that's hooking its claws into the Vancouver scene right
"In the darkest sections of most societies lies the truth. The truth is easy to
face for those strong enough hut most humans are guilt-ridden, causing
fear when honesty is apparent. We live amongst capitalistic scavengers and
neo-colonial [sell-out] leaders stripping the Earth of skin and blood.
Anarchists and strippers gallivant the streets in fantasies of freedom.
Scholars lie to students about the creation of western society while getting
paid money to oppress. Inside the atmosphere of poison oxygen you will
find a formulation of matter that goes by the name of MANIK."
—redhiphop.com
MANIK OF RED HIP HOP
DiSCORDER: So gimme the goods on what Red Hip Hop is all
about, how long it's been going and who's involved.
Manik: Redhiphop.com is a web site started up last summer, a
resource for people interested in Native hip hop. It's a mechanism
for people to get a hold of artists and book them for shows and stuff.
Why hip hop?
Hip hop is the most popular music listened to by young people of
every race. A lot of young Native people go for hip hop.
What are your influences?
Public Enemy was some of the first stuff I got into.
Did you identify with the conscious element of Public Enemy?
Being young and Native, you know harsh life. It was uplifting to
listen to other people experiencing struggles.
What are some of your future plans?
Well... to update the website and record a solo album, hopefully out
by Halloween. Redhiphop.com is in the process of organizing a
Leonard Pelletier benefit album and a Native Youth Movement benefit CD. Basically, our plans are to do as many shows in as many
places as possible. Regarding Native hip hop, I want to do stuff for
everyone. I do stuff for my people always, but I want everybody
else to hear it too. I don't want it to be just Native hip hop.
What else are you involved in?
I've been rapping for nine years... but I'm also a part of the Youth
"I don't want any rapper coming up there and talking about
gangsters and pimping and hos and stuff. We can do without it, if
they want that stuff they can check out Too $hort or whatever. I book
shows with conscious artists and get them exposed, empower them to
create change for themselves."
Universal Colossal Gospel. The people in it are Fourth World
Occupants, smart MCs and conscious rappers. A crew in Sweden,
and all over. There's going to be a Fresh Coast compilation of all of
this stuff, to be released on Fresh Coast Records.
SHAWN OF TRIBAL WIZDOM
DiSCORDER: So perhaps you can give us some background on
Tribal Wizdom.
Shawn: It started way back when the Native Youth Movement used
to have dances, like, five or six years ago at the Native Friendship
Center. We used to gather young people together so we could talk
about the different issues that affect Native people and Native youth
in particular. So at these dances, the music of choice was hip hop. I
found this was a really good tool to get young people together to
talk about the issues. We kept having the dances, and then I met up
with Bonafide and Calvin, who were involved in the Vancouver hip
hop scene, and I told them we should get these kids together and
talk about the things that are screwed up, like Ihe way the government treats people, especially people of colour all over the world. So
they were like, "Yeah man, let's do it!" So we set up these shows
called Soul Survivor, and we had different speakers from the Native
Youth Movement and the West Coast Warrior Society and stuff like
that, to make people aware. After that was over I started Tribal
Wizdom to focus on the empowerment of our youth and self-expression through hip hop, spoken word, and traditional music, to help
people express themselves in positive ways. Coast to coast, I think
like, 60% of our people are under 25, most of the population is
young people and most of those people listen to hip hop. So if we
can get some good rappers out there and send out a good message
for our young people, then we can maybe start building an army.
We can take back what's ours.
So who are some of the performers with Tribal Wizdom?
Manik and Chile and Os 12 are really focused on hip hop and so
they choose to take the route that is straight hip hop. Also my brother Horse performs. Indian Agent, Li'l Dave, Skeena Reece, Bird and
Rain, Mr. Phixx, Hip Hop Ikwe and a lot of other rappers from the
underground Vancouver.
What's your job with Tribal Wizdom?
My job is to line up the venues and make sure the [show's] messages are good. I make sure they have a message first of all. I don't
want any rapper coming up there and talking about gangsters and
pimping and hos and stuff. We can do without it, if they want that
stuff they can check out Too Short or whatever. I book shows with
[conscious] artists and get them exposed—empower them to create
change for themselves.
Would you call what Tribal Wizdom does "conscious hip hop?"
I don't wanna say it's a political thing, but it is political. I guess some
people actually say that just being Native nowadays is a political
thing. The three main ingredients of Tribal Wizdom are empowerment, sovereignty, and resistance. Empowerment for the youth to
express themselves in positive ways. Sovereignty means actually
doing things on our own without help from government agencies or
outside people trying to control things; it's up to lis to take it upon
ourselves to be able to help ourselves. Finally, resistance is the state
that we're in, to resist government and corporations. Tribal Wizdom
travels and delivers workshops on colonization. We have an upcoming show at the Native Friendship Center on September 4th. Also
we have an upcoming benefit for human rights observers to be sent
down to Chiapas.
What are the links between the Native Youth Movement and
Tribal Wizdom?
We need to make partnerships and help each other because we have
to. So we fully support each other and the work each of us does. •
KIM CASCONE
jetone/timHecker
ONE DAY OF PRESENTATIONS AND DISCUSSION ON
THE JUNCTURES OF MUSIC AND CULTURE / ONE
EVENING OF PERFORMANCES : ALL FREE
■erforman
S by
NCE AND PERFORMANCE   '■
REFRAINS
MUSIC POLITICS AESTHETICS
. RETT (PENN STATE) STEVEN
SHAVIRO (UW). STEVE
DIPASQUALE (UBC). BRADY
CRANFIELD (SFU). CHRIS
LEE (BROWN). HENRY WARWICK. CHARLES HUDEDE
[THE        STRANGERJ'UORE
www.shrumtribe.com/refrains
15 E^gi^JL^-iES DiSCORDER: Do you guys mind going over one more time how
you all met and everything? I read on the website that two of you
met at the Michigan Womyn's Music Festival.
Eileen: Yeah, Leslie and I used to play in Katari Taiko and Sawagi
Taiko and we were—for the greater part of the '90s—invited to go
play, so we were there as a group and Elaine...
Elaine: Right, I was there playing with another group, so I'd seen
Eileen and Leslie over tlie years playing with taiko groups, but that
was the first time I had actually met Eileen. I'm not sure if 1 had met
[Leslie] at Michigan. So tliat's sort of where we met.
And could you explain what exactly the Michigan festival
is all about?
Elaine: It's a big festival in the countryside in Michigan that
celebrates women's music, women performers and artisans, and
basically women's culture—it's a women only event. It's the biggest
women's music festival in the world. I think it draws around 10,000
people, maybe even more now.
And has Loud played there as well?
Elaine: No. We might be a little weird for them.
Really?
Eileen: We've applied, but tliey keep rejecting us [laughs].
What kinds of musicians do get accepted?
Elaine: They get some pretty edgy stuff now. I think it's just the
same with any festival. There are thousands oi musicians who want
to play and they can only hire so many. I d<
anything.
think it's personal or
band. I thought it was such a great match, what we're both trying to
do musically.
I wouldn't want to denigrate them or insult them at all, but do you
remember the drum solo in one of their songs, played on a conventional rock drum kit? After you, it just seemed like it couldn't
Leslie: [with faux machismo] Well, they've got smaller sticks [laughs].
Do you have any more plans for recording in the next little bit?
Eileen: No. Well, we were commissioned to write a piece for a part
of this project called The Reena Project based in Richmond. It's a
group that is working with youth in the Richmond area and doing
live performance, theatrical performance in several different locations in Richmond in September, and all based on the issues of
bullying and violence between girls... [to band] and what else?
Elaine: It's family issues, issues of abuse, not having anything to do.
So, the first performance, though I'm not positive, is September 13th
and the audience will just go out there and they get taken from site
to site. The kids have written the different segments of the performance and our piece that we've recorded is in one segment.
Eileen: There's a link from our website to their site, so if you look on
"Upcoming," there are all the details about what days it's on and
stuff like that.
How did your first CD come about? Where did you record and are
you pleased with the results of it?
Eileen: Yes. Yes.
Leslie: Why we did it was—well, we wanted to do it—and also a lot
Loud is mass
You said at the end of your show here that you might not be playing in Vancouver for a little while after this. Is that be<
touring or are you just going to stop things for a bit?
Eileen: We're going to be in San Francisco in September working
with this dance company called Purple Moon Dance Project, and
after that, we're going to take a bit of a break from doing live gigs.
We'll still get together to jam and practice and all that stuff.
I remember reading in the DiSCORDER interview from '98 that
performance wasn't the main focus of the band at all and that it's
really what happens in the rehearsals that you're most concerned
about anyway. Is that true?
Elaine: For me, the rehearsals and the writing is the best part.
Recording is really fun, just working out the parts and all of that,
it's great. And it's also performing and getting reactions from
people. And we've done a lot of really good shows so it's not like,
you know, some bands who maybe people don't like as much. You
know, sometimes some things are a lot more fun to play than they
are to listen to, but people seem to respond well to what we do,
which is really good and really kind of reassuring because it's not an
ordinary sound—it's not something people would normally expect
Yeah, I first saw you play with Uz Jsme Doma and I had heard
you were a taiko band, but I didn't know what to expect and it
was fantastic. I have a lot of respect for that band and you seemed
to dwarf them considerably when you played. There was a
residual power left over from when you played, and that band
seemed to me so huge. You just brought so much intensity.
Leslie: Wow, that's a real compliment because they're an amazing
of people were asking. I think after our second gig, somebody
wanted to buy a CD and we had, like, two songs.
Elaine: We'd been playing together for, like, twr
Leslie: We played what, three songs probably?
Elaine: Two or three songs.
as definitely something v\
i immedia
that took awhile, and plus, we want-
e could have a substantial length CD.
Leslie: Yeah,
wanted to do.
Eileen: We had to fundraise, si
ed to write new work so that v
Elaine: What was the studio?
Eileen and Leslie: Yaletown, in Vancouver.
Elaine: We worked with Greg Reely as an engineer and co-producer
who is a fantastic engineer and has great ears and made the drums
sound probably better than quite often.
Eileen: It's really hard to record drums. They sounded awesome.
How about the drums themselves? Do you make them or do you
buy them?
Eileen: Tlie little ones, the high-pitched little ones, we bought from
Japan, but the bigger ones, I made them. When we joined the taiko
group, one of the things we had to do was drum-making workshops
so we all made drums with the groups. And then when I kind of
went off on my own, left some particular group, and was left with
no drums, I wanted to make a bunch of drums so I could keep
going, and since I knew how to do that, I just did that.
Do women traditionally play taiko music in Japan? I read on your
website that Sawagi Taiko was the first all-women taiko group in
North America when they started in 1990.
Leslie: There have always been a lot of women who have played in
But the magnitude of their music—c
shifting blend of taiko and conventioi
inevitable result of the size of their chare
ability to reconcile normally disparate ai
sentation: taiko and electricity; wic
entertainment and radicalism... they col
humility, and chi
By Steve DiPasc
16 September 2001 .01 0.02 0.03 0.04 0.05 0.06
o c a 1     music 0.01
}}}
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band
S
31 Knots
V5P1E7
The Birthday Machine
604.253.6543
Mike Hawk
DJ Nightmare
Rock from Portland.
604.253.6543
Makes birthdays.
punishthecapital@netscape.net
#2-15391 Buena Vista Avenue, White
Experimental hip hop/electronic-turtab-
info@31knots.com
askmasters@netscape.net
. Miko Hoffman
www.capitalpunishment.basepair.org
Rock, BCV4B1Y7
lism, analog synths, samples,
www.31knots.com
www.theaskmasters.com
hotlantern@hotmail.com
Chaara Season
Ph: 604.880.0327
Fax: 604.464.5700
deepish-darkish.
Jason Cushing
42
Automaton
The Black Halos
Beloved BloodLust and Trust inc.
hawkrocks@yahoo.com
2112 East 3rd Street, Vancouver, BC
Post modem fuck.
Rock from Seattle.
bmbabies@hotmail.com
chaara@hotmail.com
V5N1H8
Davey ond Troy
automaton©
www.blackhalos.com
www.angelfire.com/mt/wishes
Davey
604.291.1993
604.263.5906 (Dovey) 604.737.5906
radio-optJk.com
Frank Henville rip-off. "I'm very lonely
dinightmare@hotmail.com
(Troy)
www.radiooptik.com
tHE BUILDING pRESS
Clone
and 1 like to cry."
www.mp3.com/djnightmarez
weore42@hotmail.com
Rock from Seattle.
live noise/ambienl/drone. Dark CPU'd
604.263.5906
Bad Feng Shui
Jeff Woodke
soundscapes and eclectic remixes.
Emerald City
Allison
Genre-bending fusion of noise, hip hot
Jeff@thebuildingpress.com
#23-1195 Davie, Vancouver, BCV6B
The Deadcats
Rainy day pop experiments.
Eddie Vedder, Bilk Holiday, and origi
hardcore, and abstraction.
1N3
Canada's premier psychobilly band. Six
Brooks/Karen
nal voice.
#23-1195 Davie, Vancouver, BCV6B
Bystander
604.682.3269 ext.3249
CD albums to date.
1523 Grant Street, Vancouver, BC
Adrian du Plessis, Manager
1N3
Bruce Cockburn/Big Black.
clone@mediacore.org
Mike
604.253.1666
Box 227 Ganges PO, Salt Spr
ng Islam:
604.682.3269 ext.3249
Nick
www.mediacore.org/clone
604.298.5561
emeraldcity@37.com
BCV8K2V9
mikec@tao.ca
1795 East 37th Street, Vancouver, BC
flyingsaucer@direct.ca
management@allisoncrowe.
www.newmusiccanada.com
V5P1E7
Clover Honey
www.mp3.com/deadcats
Ryan Eugene
Ph: 250.537.1286
604.253.6543
Sweet, sultry, and sassy. Three-girl rock.
http://the-deadcats.tripod.com/psy-
Embraces elements of ska and country,
Fax: 250.537.1286
Bat Eater
punishthecapital@netscape,net
Anita Binder
chocats/
reggae and punk, blues and rock.
www.allisoncrowe.com
A noisy, droning, cloud of fog.
www.capitalpunishment.basepair.org.
604.709.3141
Ryan Eugene
B. Eater
cloverhunnie@hotmail.com
Marq De Souza
#2078-611 East 7th Avenue,
A Luna Red
604.709.9166
Catscam
www.geocites.com/cloverhunnie
Solarbaby's main man, songwriter
Vancouver, BCV5T1X8
www.thewaxmusem.bc.ca
grimmeron@hotmail.com
A unique blend of live jazz, chillout,
and hardcore electronics.
Complete
acoustic performer extraordinaire.
604.682.2860
604.876.7327
Arthur Ellis 2000
Beans
Justin
Punk rock touching on emo on Spawner
marqd@canada.com
Firstname Lastname
"New Prog." Synth based full perfor
Ihe Beans.
#401-519 Foster Avenue, Coquitlam,
Records.
www.members.home.net/solarbaby
Dark acoustic, experimental, melodic,
mance recording act.
www.ibeanstrument.com
BCV3J2L5
Spawner Records
electro, rock with a helium
Shannon H
604.761.9632
POBox 93046,19705 Fraser Highway,
Dixie's Death Pool
sidebum in a shit tooth.
604.252.8197
Bionic Systems Go!
catscam@moth.com
Langley, BC V3A 8H2
Relaxed experiment soundscape jazz
150218th Avenue, Seattle, WA 98122
grrrabbit@hotmail.com
Pop craftsmanship and melodic rock.
www.catscam2001.tripod.com
604.258.3537
country hawaiian love ballad art
206.683.7323
www.faceplant.org/ae2k
Brian Stasak
spawnerrecords@hotmail.com
noise. Oh yeah, and rock.
bastardblue@hotmail.com
5211 19th Avenue NE, Seattle, WA
Capital Punishment
www.spawnerrecords.com
Lee Hutzulak
www.mp3.com/FNLN
The Askmasters
98105
Corporate rock.
Vancouver
Classic progpunkslompjazz.
253.729.6588
Nick
The Country Club Hustlers
604.871.0939
Flying Eye Hospital
Nick or Verne
bsqmanagement@hotmail.com
1795 East 37th Street, Vancouver, BC
Local rock celebrities who drink lots.
leeh@vfs.com
Power trio fixes people '$ eyesight in the
1795 East 37th Street, Vancouver, BC
www.morganleahrecords.com
V5P1E7
Loud, fast, stoned rock 'n' roll.
www.dixiesdeathpool.com
Third World.
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Veen
photo tayna goehrin
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LeAnne, Joe, Ryan
Jerk With a Bomb
the ocean floor.
Dan/Dave/Graeme/John
PO Box 60599, Granville Park PO,
948 Keil Street, White Rock,
395 West 20th Avenue, Vancouver, BC
falsemetal@hotmail.com
Rich
leroyvinegar@hotmail.com
Vancouver, BC V6H 4B9
BC V4B 4V7
604.873.3742
thekremlin666@hotmail.com
Ph: 604.734.1421
604.538.7203
flyhospital@hotmail.com
Karen Single Band
Motor Cycle Man
Fax: 604.228.0222
Tifie millennium metal queen high ener
Lands Farther East
Red-shifting. Rave radiation. The best
admin@skepticrecords.com
Radio Berlin
Goatsblood
gy, original hard rocking female
Rock from Bellingham.
one man show.
www.thewaxmusem.bc.ca
Hatecore sludge grind from ihe Rage of
fronted band. CO: Wide Open.
landsfarthereast@hotmail.com
East Van sometimes Detroit
Payback
Achilles Records stable.
Karen Single
604.292.5189
Hardcore punk, uniquely crafted songs,
Reverberators
Mike
43201 Lougheed Highway, Deroche, BC
Little Man Syndrome
with lyrics about political and
Surf and garage sounds with the lowest
604.215.3302
Ph: 604.826.4709
A hybrid ol urban and emotional hard
Musikill
social issues.
limbo contest in town.
goatsblood@hotmail.com
Fax: 604.826.4709
core.
Musikill kills music dead.
Brian Williams
Frank
www.mp3.com/goatsblood
Karensingle_band@hotmail.com
Jacob
Mike
604.726.9258
#2-1966 York Avenue, Vancouver,
www.karensingleband.com
887 Broughton Street, Vancouver, BC
#23-1195 Davie, Vancouver,
closetpunk@tao.ca
BCV6J1E3
Hot Hot Heat
V6G2A3
BCV6B1N3
Ph: 604.737.8102
www.hothotheat.com
Klagg
604.708.0835
604.215.3302
Phoenix Wisebone
Fax: 604.738.9050
Easy to assemble musical furnishings!
bandmail@littlemansyndrome.com
info@mediacore.org
Cross-genre folk for Ihe mind and sens
(The HS)
Power blues meets white trash rock
www.littlemansyndrome.com
www.mp3.com/musikill
es. Singer-songwriter, acoustic
Roadbed
Formerly Honeysuckle Serontina
and roll.
guitarist.
Every live show is a clinic from these
Honeysuckers@telus.net
Jr Muc, The Mule, Willingdon Black
Marcos X
Nasty On
Phoenix Wisebone
Jazz pop gurus.
4348 Spruce Street, Burnaby,
Multi-instrumentalist, former
Rock in the vein of The
PO Box 60605, Granville Park PO
Shockk, Super Robertson
INSIPID
BCV5G1Y5
bandleader of Hgoma, international
Who/Replacements/Love.
Vancouver, BCV6H4B9
POBox 29144 DelamontPO,
Born out of a fusion of ska, new-wave
604.421.5757
touring
Jason Grimmer/Allen Forrister
Ph: 604.444.8232
Vancouver, BCV6J5C2
metal, and the '90s grunge sound.
klaggband@hotmail.com
experience, have vehicle, speak
604.709.9166
Fax: 604.444.8232
604.918.3118
Chad Norman
www.klagg.com
Spanish.
nasty_on@hotmail.com
firehawk@vcn.bc.ca
roadbed@hotmail.com
#1-2223 Victoria Drive, Vancouver, BC
3777 VMPO, Vancouver, BCV6B3Z1
V5N 4K7
Knox
604.918.9243
Orchards and Vines
Plan Orange
Rocket Fins
604.431.5451
Tight folk-edged rock, pop savvy lyrics,
marcosx@mailcity.com
Stratospheric rock with soaring vocals-
Punk rock.
Hot-rodded rockabilly.
crow@axion.net
clean harmonies and
featured by Napster and mp3.com.
Nick or Mike
Available for hire.
groove-driven acoustic soul.
Merlyn
Dahlia Davavich/IMU Records
604.488.1490 (Nick) 604.609.2667
Mike
Introvert
221SW 153rd Avenue Box 937,
Mind-altering interactive analog visuals
37053 Gordon Park, Vancouver, BC
(Mike)
604.298.5561
Moody semi-electronic post-post-punk-
Seattle, WA 98166
#23-1195 Davie,
Ph: 604.301.0023
planorange@thedoghousemail.com
rocketfins@hotmail.com
art-pop.
Ph: 206.853.7777
Vancouver, BCV6B1N3
Fax: 604.301.0026
www.mp3.com/planorange
http://rocket-fins.tripod.com/rockabilly/
Trevor
Fax: 206.244.9929
604.682.3269 ext.3249
dahlia@imurecords.com
#151-2416 Main Street, Vancouver, BC
knoxturnal@hotmail.com
shmeek_productions@hotmail.com
www.orchardsandvines.com
Quonset
Rockin Daddys
V5T3E2
www.knoxturnal.com
www.mediacore.org/merlyn
Voiceless, noisy duo: detuned bass and
Wild rockabilly dance band.
604.875.8841
Pariah Project
nine string laced with scrapmetal
Rich Hagensen
trevthmpsn@netscape.net
The Kremlin
The MonteCarlos
Organic/electronica music project.
clang.
4337 Percival Avenue, Burnaby,
Two piece bass and drums. Songs from
We're fun.
Karen Vincent
RC Johnston/Ed Frey
BC V5G 3S4
The  Red
Light  Sting
photo dan siney } }
jerk with a bomb
photo chris frey
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photo   lori   kiessling
A Luna Red
photo chris frey 0.05
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604.298.3322
rockin_daddys@yahoo.com
http://rockin_daddys.ipfox.com
Glenn Scott
Hard electronic duo with visuals.
Glenn Scott
#201-334 East 5th Street Vancouver, BC
Ph: 604.876.8974
Fax: 604.681.9150
Second Narrows
"They are a good band."— Davey
Berks, CBC Radio Canada.
Ryder
604.215.3381
www.digitalsnakeoil.ca
Sweet raw crunchy pop trio. "From
garage to lounge."
Shannon H
604.252.8197
grrrabbit@hotmoil.com
www.music-industry.com/shrimpmeat
Submission Hold
POBox 21533,1850 Commercial
Drive, Vancouver, BC V5N 4A0
subhold_loo@yahoo.com
TBA
Half-baked ideas. Quit your day job.
Brilliance in disguise.
Christian Prohom
#29-3045 Jackson Street,
Vancouver, BC
604.215.2262
tba@prohom.net
www.prohom.net/tba
Three Inches of Blood
Unsheath your sword and raise your
chalice to classic heavy metal from
Van East!
Bobby
604.255.0907
threeinchesofblood@hotmail.com
www.geocities.com/theemoc/3iob.html
Tiefisher
Tranquil beauty, dreamy atmosphere,
and mesmerizing sonic architecture.
Full length CD out in 2002.
Glenn D'Cruze
2941 South Crest Drive, Burnaby,
BCV5A4V4
604.879.0958
tiefisher@yahoo.com
http://edie.cprost.sfu.ca/~hempell/
tiefisher/
Tim
Sometimes heavy, sometimes melodic,
punk rock with humour thrown in with
then
PO Box 93046,
Langley, BCV3A8H2
timlove5steve@hotmail.com
www.spawnerrecords.com
Tomas
Pop rock reggae. Pop dance music with
reggae and rock influence.
Red Savage
341 East 58th Avenue, Vancouver,
BCV5X1V8
604.322.7807
tomastheband@home.com
www.tomastheband.com
The Town Pants
"...songs about booze, lust, death, and
a good night out. Celtic flavoured fast-
folk."
Box #234-1641 Lonsdale Avenue,
North Vancouver, BCV7M2J5
theband@the townpants.com
www.thetownpants.com
Trail VS Russia
Instrumental rock power trio.
Chris Clifford
contact@trailvsrussia.com
Vermilion
Rock (com Everett,WA.
Eric Junge
vermilion22@hotmail.com
The Witness Protection Program
Spazz/Punk/Rock... crazy live shows.
Ryan Walter Wagner
#7-3082 Waston Street, Vancouver,
BCV5T3H6
locoirockrecords@hotmail.com
www.listen.to/wpp
P u b L  i s h e r s
and
Zines
Bonnie Day Press
Micro-press that publishes zines, comics,
and chapbooks.
Andrea Gin
bonniedaypress@hotmail.com
www.turfzine.com
Drug Book Press
Publisher of crazy shit on the intersection of drugs and electronic musk.
Grey
604.682.3269 ext. 9231
anmorelakeolbe@hotmail.com
www.crystalchildren.net
Year of the Horse Press
Small press that publishes Pony, a fiction zine. Explaining the human condition since 2001.
Doretta Lau
4649 Darwin Avenue, Burnaby,
BCV5G3E7
604.739.7391
yearofthehorseproductions@hotmail.com
www.yearofthehorseonline.com
SpedrFanzine
For difficult easy listening indie pop,
rock, post punk, wave, glitch, electro.
Hale everything else.
Bleek
2573 Oxford Street, Vancouver, BC,
V5K1M9
speckfanzine@yahoo.com
www.speckfanzine.Ocatch.com
Turf
The zine for inventors, bon vivanls, and
international playgirls.
Andrea Gin
Jurf22@hotmail.com
www.turfzine.com
Record
Labels
Deepen Discs
Vancouver based label showcasing quality underground house music.
Vernon Douglas/Chani Douglas
Ph: 604.669.8230
Fax: 604.669.8225
deependiscs@hotmail.com
www.deepen.ee
Flying Saucer Records
Rockabilly, psychobilly, and surf. Label
and distrobution. CD artwork
design, inexpensive website design and
creation, CD burning.
Mike
604.298.5561
flyingsaucer@direct.ca
http://flyingsaucer.records.tripod.com/
rockincats/
Mediacore
Active electronics.
#23-1195 Davie, Vancouver,
BCV6B1N3
604.682.3269 ext.3249
info@mediacore.org
www.mediacore.org
Nordic Trax
Amongst Canada's most notable house
labels comprising of both local and
international acts.
Luke McKeehan
#3A-34 Powell Street
604.512.6344
604.688.2552
info@nordictrax.com
www.nordictrax.com
Spawner Records
West coast's lastest growing independent record label. Bands: Tim,
Complete, Huskavarna, Burden.
Kyle Richardson
POBox 93046,19705 Fraser Highway,
Langley, BCV3A8H2
604.258.3537
spawnerrecords@hotmail.com
www.spawnerrecords.com
Stutter Records
A rock label. Acts include: Nasty On, The
Cinch, Notes from Underground,
Bat Eater.
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"The Tragically Hip"
at Ms.T's
photo by mike 0.06
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Jason Grimmer
Grrrabbit Productions
Mediacore Events
Other
ru@minotaurmedia.com
Experts in
1529 East 8th Avenue, Vancouver, BC
604.709.9166
Live show co-ordinalor and promoter.
Shannon H
Incorporating music/noise/video and a
varying degree of incoherence.
www.livingcloset.com
Id'      '       1   b'             k
nlgardenowavefolkrock.
grimmeron@hotmail.com
604.252.8197
#23-1195 Davie, Vancouver,
Mofo
The Hivers
grrrabbit@hotmail.com
BCV6B1N3
Producer, CD cover design, promo
2517 East 5th Avenue, Vancouver, BC
Vit! Vit! Records
www.faceplant.org
604.682.3269 ext.3249
material layout, also website design.
V5M1M8
Sound noise music.
info@mediacore.org
Mofo
604.873.3958
(atrina
The Hive Productions
www.mediocore.org
604.736.6503
hivestudios@home.com
<atrinanoiz@hotmail.com
Specializing in all ages rock. Both local
mclean5000@home.com
www.hivestudios.net
www.vitvitrecords.com
and touring bands. Produced
Upstream Entertainment
www.faceplant.org/mofo
Fugazi in July 2001.
Miss Terry
Bringing BC ihe finest live dance music
(improv, house, disco, funk, and
Morning Glory
Shone
Promoters
Indies create music/media products. 24
1482 East Broadway, Vancouver,
groove).
Soundsystem and lighting rental.
track A/D studios. Exposure
BCV5N1V6
604.873.3958
Derek Arrowsmith and Yani Christie.
303 East 6th Street,
Dave
604.978.8835
packages, CD/CDROM.
604.682.3269 ext. 6277
Chelliebean
hivestudios@home.com
North Vancouver, BC
www.morningglory.cjb.net
shone@vcn.bc.ca
Local promoter organizes showcases for
www.hivestudios.net
Ph: 604.904.4207
shone.xk5.org
new bands.
Fax: 604.984.3274
Bassix Records
Michelle
Honeydoo Productions/ Deepen
deke@upstreamentertainmenl.com
DJ supply/record/CD/licket shop.
UMF
chellie.bean@3web.net
Saturdays at the Lotus Sound Lounge.
Underground house music. DJs
www.upstreamentertainment.com
Tyler Stadius/Don Vincent
217 West Hastings Street
Urban Music Foundation
Helping Vancouver urban scene and
Eskimo Joe
Vernon, Tyler Stadius.
Whop!* Productions
targetcircuitry.com
Ph: 604.689.7734
artists in Canada and the world with
DIY punk/hard core shows in local
Chani
Gig production and promotion, kickin'
Online weekly real audio techno and
Fax: 604.689.7781
qualify music.
Seattle clubs. Please send demo with
Lotus Sound Lounge, 455 Abbott Street
graphic and web design and free
house show from DJs Ben Nevile,
bassix@netcom.ca
Mr. Michael "MeKey" Thompson
full contact info.
Ph: 604.669.8230
online music classifieds fun!
Tobias, and guests.
Limehouse Entertainment Group
Eskimo Joe
Fax: 604.669.8225
Danny Vachon and Doug Phillips
tobias@techno.ca
DJ Tyler "T Bone" Stadius
#118-4825 Kingsway, Burnaby,
100 Melrose Avenue East #1106,
chani@telus.net
604.326.6808
www.targetcircuitry.com
DJ
BCV5H2C9
Seattle, WA 98102-5564
www.deepen.ee
produtions@whap.ca
Tyler Stadius
604.571.0951
206.709.2420
www.whap.ca
Live Music Venue
Ph: 604.689.7734
http://BP6.tripod.com/LHEG
oeadams@uswest.net
LRGB Productions
The Living Closet
Fax: 604.689.7781
Putting together the classic '60s frat
Worldwide-domintion
Volunteer open performance/exhibition
www.djtbone.com
Manager/Agent
Faggy Kittens
party at various venues.
Worldwide is a vehicle to promote mush
floating venue. Art of all media,
technowest.org
Queer girls who put on shows,
Excellent high quality rock shows soon
and art. Our projects include shows,
genres invited. Be inspired!
DJ JIM V
West coast techno, house, and experi
Homophile Art Meet film tests and POP.
to come.
records and zines.
Rowan and Ru
Jungle
mental electronic collective representa
Lyndsay, Jen, Helen
Michael Guild
Tyler Mounteney and Alanna Scott.
1872 Grant Street, Vancouver, BC
604.633.1839
tion.
:aggykittens@hotmail.com
hawkrocks@yahoo.com
604.710.6705
604.253.5804 (Rowan)
Admin 01 + 02 = Tobias and Dave
Ph: 604.880.0327
info@worldwidedomination.org
604.253.1121 (Ru)
Studio
technowest@techno.ca
Fax: 604.464.5700
www.worldwidedomination.org
pseudo_intellect@hotmail.com,
The Hive Studios
www.technowest.org
photo by jay
douillard front/back photos and layout by lori Nortli America. I mean, tliey haven't been identified as all women,
but there have always been a lot of women playing in North
America, but in Japan, it's a little bit different. It's probably more
male-dominated than here.
Eileen: Although I think it sounds like more girls are getting
interested in playing in recent years.
Eileen: Traditionally, taiko is played by the men, and so because
there was a tradition, it took a while for women to feel accepted or
that it was acceptable for them to play.
Leslie:  Kotoh  is  really male dominated. They're this really
establisJied group that's been around, they've toured the world...
Eileen: They're really good.
Leslie: But you know, they're very male dominated and their style is
very... it requires a lot of upper body strength. You can play
e of your body and
different styles that require you to u
I think that's better for women.
Eileen: Although they're changing to
different styles in a recent concert that
Elaine: Yeah, there were women drum:
here. The first time I heard them ten
were women dancing with them, but this
four women drumming.
Leslie: Can I just clear [sometliing]? We aren't,
We're a band and we play taiko and electric guitars.
Well, I wanted to ask where your other listening interests lie, and
what other influences you may have.
; they've had
saw last year.
ing the last time they were
fifteen years ago, there
time there were three or
n't actually a taiko band.
anything like that.
Do you play typically at festivals and conferences? What sort of
situations?
Eileen: Festivals, conferences. We played in a. club in Seattle, an
all-ages club in Seattle.
Leslie: We played at the prison.
Is it quite rare that you will do a bar show? Like the show with Uz
Jsme Doma, was that quite an anomaly?
Leslie: It seems to go in phases. That one year we did a bunch of
bar shows.
Elaine: We did a couple shows at the Brickyard. That's a nice place
to play, they have a good PA and it's a nice room.
Eileen: We did the Starfish Room and the Railway Club.
So what's the ideal peformance situation for you both in terms of
who attends and the kind of venue? What makes it great when it's
great?
Eileen: Well, depending on the festival, some festivals have great
sound. Some festivals liave great sound and great technical support.
Leslie: I actually love playing at the prison. The first year we played
at the prison was amazing. So to me, it's not, like, a club, it's
just, like, wliatever you come upon. The people... if the people are
really into hearing you.
Elaine: We play for lots of different mixes of audiences—from
different types of more formal, concert-type things to a bunch of
punks and stuff. I think it's kind of the vibe. It doesn't seem to be a
particular group [of people] that makes it. It's just when you're at a
g reverb guitar grounded by a
lal drums—is really only the
cter. Their true scope lies in the
>proaches to music and its pre-
e appeal and innovation;
itain it all with enviable ease,
irisma.
uale
Elaine: I feel mostly influenced with this group, within tlie group.
Tliat's where I sort of feel the influences are. We all compose, we all
play very musically, and just sort of generate the songs from
listening to each other and by somebody Iiaving an idea, and that
idea kind of growing. And every now and then we'll just throw in
another instrument that one of us plays—'cause we all play more
than one instrument—just to see if it works.
Leslie: It's funny, 'cause people are always trying to say, "Okay,
what are we, post-rock? What are we, tribal beat new-age jazz?"
Whatever. All this stuff. And we don't go in with this. Like, "Today
we're gonna be post-rock." It's like, "Wow, tliat's a cool riff." And
then we take off on a cool riff.
Elaine: Just do us a favour and don't call us "taiko grunge."
Somebody called us that and it stuck for a long time.
Leslie: But it is sort of interesting that we get called all this stuff and
I think that's really good because [listeners] can't quite get it... and
that's why I think the music's really cool.
What kind of touring and performance circuit are you involved
Eileen: None! [Band laughs.]
Leslie: We go to Oppenheimer park, and r
WISE Hall.
Elaine: We go to San Francisco, we were ju
we were in Germany in March for a few days.
Eileen: People from other places, if they really want us, they just get
us there. We don't really have an agent that books gigs across tlie
country or anything like that, mostly 'cause we all have other things
we're doing and we can't really take off two weeks to tour or
n San Francisco and
gig and people are really into it, it doesn't matter who it is who's
there. You're creating this vibe all together. God, "vibe!"
I think that's an acceptable way of talking about it. I mean, what
other terms can you put it in?
Elaine: That prison gig was really cool 'cause it was this big horrible
room—it's like the worst kind of room to do a show in—but the
sound of the music bouncing off the walls was like the end of the
world. It was so great. Some of the women were running up to their
cells to see if they could hear it from the otlier end of the prison—
and they could—and then they would run back down.
Is there anything else you wanted to talk about before we wrap up?
Leslie: Well, the group has no leader. We just have to clarify that.
Why do people assume otherwise and get that wrong?
Eileen: Well, for any given gig we usually have one contact person
'cause it's easier, and whoever ends up being the contact person
often gets mistaken for the leader of tlie group.
Elaine: It could be that people are looking for a hierarchy or
something. A lot of bands do that, but we've never been in any
bands that operate that way, I don't think. It's always been a collective process with taiko and all the bands that I've been in. I mean,
you ignore somebody else's creativity and input at your peril. It just
doesn't make sense not to allow for everybody's creativity. •
Discography:
taikoelectric (1998)
ITADAK1MASU! A feast of Vancouver Taiko (compilation, 1999)
.96.2 FM World Music Spectacular III (compilation)
website: www.taikoelectric.com VIDEO   IN   STUDIOS
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DJORH
Vespertine
ves»per«tine adj]: of, relating to, or occurring in the
evening. 2 : opening or blooming in the evening.
Includes the cinematic drama of "Hidden
Place," the percolating "It's Not Up to You,"
the mysterious, atmospheric "Cocoon" and
the uuarm watercolour of "Unison."
l3"ClT
CANADA'S LARGEST AND BEST KNOWN RECORD STORK
568 SEYMOUR STREET, VANCOUVER
18 September 2001 Local Knobs Part 2: One Year Later
Since last year's heads-up on Vancouver's electronic music scene, several of the talented artists covered riglit
here in DiSCORDER have gone on to produce a volume of well received records on respected labels, and
started up their own vinyl (and CD) pressing projects. The city is bursting at the seams with producers,
which probably explains why the live scene is still quite small—everyone's at home kicking on gear and
smoking blunts instead of kicking on the dance floor and smoking blunts. In tliis respect, we are a
strange city, often pretending to be bigger than we really are. Of course, ultra-conservative liquor,
dance, and entertainment laws from the Puritans in Power certainly don't help. Good thing they
can't crack down on music distribution, for several techno and house labels have launched in the
past year which look very promising: Boomtown Records's Kris Palesch has started up Active
Pass, Nancy Kyd began Twisted Roots, Jay Tripwire has launched Northern Lights and Vernon
Douglas has already put out the first 12" on Deepen. In the club world, these producers and DJs
can be seen rotating Vernon's and Tyler Stadius's underground techno and house night
"Deepen" at the Lotus on Saturdays.
In tlie "Where Have They Gone Since Last Year?" column, of special note is minimal house producer Ben Nevile (www.saoul.com). who at this time last year had a single release on Nordic
Trax and was preparing to send out his album demo. Well, the response was enthusiastic as
labels clamored for Ben's tracks. He now has music coming out on Context, Mosaic, Telegraph,
and some compilation-, alongside geniuses like South American minimal house producer
Ricardo Villalobos. Out with a new album is Bad Feng Shui of Mediacore, whose third full
length Friendship Adventure features IDM, hip hop, hardcore, and dark ambience. Kevin
Bolster and Jay Gevoga, who played as Open at last year's Open Circuits festival at the
Sugar Refinery (put on by Industry & Agriculture), released a project called And Still on the
jects on the go, Object and 3EPKA_0, with an album and EP in the works.
Just on the periphery of Vancouver proper, Victoria has seen many of its producers record on
DJ Spencer's itiswhatitis label, including Cobblestone Jazz's Matt Johnson, whose moody,
minimal techno EP that inaugurated the label turned many ears. Steb Sly, who recently booted off to Calgary from Vancity and makes electro, has an EP coming out on the same label, as
well as the Mind Dreams EP (with Conrad Black of Vancouver on the flip side) on Swayzak's
240 Volts, the Journey EP on Dan Curtin's Metamorphic Recordings, and "Taste of the
n Nettwerk's Critical Bandwidth CD.
Holding Down The Fort: Nordic Trax keeps the pa
called "Lazy Transmissions," and Vancouver's <
Gavin Froome (Hi Gavin, I own your old efx proo
ed for September called Post & Beam. Sinusoidal
ce with a new mix CD by Luke McKeehan
.ieep house guru who took off to Boston,
essor), has a real deep, loungey release slat-
'hich has been around for many
years through the works of haitchc, Scott of the G42 Players and Jeremy of Morning Gold
Fix, has solidified a very talented lineup including Rainjacket and Caffeine Charlie's Wakeup
Service, with a compilation CD this Fall. Sinusoidal focuses on the experimental side of electro, IDM, ambient and cut-and-paste experimental CiTR-weirdness, with amazing results
(many members of the various groups were involved in the original Limp Sink show on CiTR
years back, and haitchc hosts Plutonian Nights, Thursdays on CiTR). The Sinusoidal camp is
busy, with Krisco working with Daniel Gardner of Medik Records on a new LP, haitchc is finally releasing his "AnythingLike remix" 12", and some tracks are coming from CCWS side project
31337 with a minimal electro-pop flavour. Check www.sinusoidal.com.
In the underground: NeutrixX, who has MC'd quite a few parties and moved into the dub
soundsystem style, has some material coming out on the Pound label, which from all accounts
also maintains a steady crowd at their Palladium night, covering everything from house to breaks
and techno. A new local CD just came into DiSCORDER that is impressing everyone: DJ
Nightmare is the creator, and it is a very cloudy, moody and experimental take on hip-hop.
Hopefully more will trickle in from this producer who is not afraid to get dusky and dirty. Loscil,
who performed last year at the Video-In show with Kim Cascone, sending all off into deep minimal
dub land, has two records coming out, Triple Point on Kranky and a 12" on Involve. Loscil is also a
part of the Multiplex group who do audio-visuals down at everyone's favourite local cinema, The
Blinding Light. Speaking of which, the Eye of Newt Collective continues its explorations into sound
and video, with a free Silent Film Festival at Grandview Park from September 1st to 2nd. On the TBA
tip, John Tennant—along with a whole crew of techno-trance heads including Dr. Phreak, who have
been keeping the acidic underground alive—has a new label that should be together by Christmas, but
he can't tell me the name yet. Experimenting on the fringe, industrial jazz artist din has his second
album coming out called Alissa's Wish on Akxl, and rumours are that several band-oriented projects are
also in the works. Communication has been a big key with getting many projects started, and part of tliis
has been through two Vancouver-producer-oriented email lists. Microvan, an offshoot of the international microsound list, focuses on local experimental music (hosted by vcy. .uml and the Black
Hole Club (www.blackholeciub.com) meets regularly, organizing events for its members, and is a great
place to meet, greet and learn if you're an electronic-oriented producer, band, or group. A loose affiliation of
like-minded producers and DJs continues to grow, technowest.org, administered out of Vancouver with
members up and down the coast, creating connections between previously disparate musical communities.
CBC Radio 3 has become a part of the general milieu with many artists registering their music on newmusic-
canada.com. and recordings of shows beginning to show up on justconcerts.com. Experimental audio-visual
projects are also showing up on 120seconds.com. such as Merlyn's visual projects with various Vancouver producers, and an upcoming track from Nettwerk-signed The Pariah Project.
On the experimental side, Coingutter has a new CD out called Truth Lifting Its Head Above Scandals that covers "trial
and error electro sound," and new music composer Phil Thompson continues to stun with his microsound work on
tiln.org. Cid + Eric of ambient and experimental downtempo fame have a track coming out on Orac records, and will
be performing at Refrains: Music Politics Aesthetics, which takes place Sept. 29th. Free for everyone, Refrains is an
evening of performance at Video-In and a day of conference discussions at UBC, focusing on electronic music and its
political and historical junctures. Refrains caps this year's experimental electronic music Open Circuits festival, to be
held at Video-In from Sept. 27th-28th, and hosted by Brady Cranfield of Industry & Agriculture. It's our little west-coast
version of Mutek. www.shrumtribe.com/refrajns
There's more to be said and there's more out there, but this should give you a taste of what's up in the city. So stick around for
a bit longer, put those plans to move to Montreal on hold and see what Vancouver will become—after all, history dictates that
the best music is made under some of the most oppressive conditions... • tobias v
Wm^zfrrl^ ■£-& ^^[^/
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dewed Colin Stewart in the early morning at The Hiv
recording studio. His hair was still wet, and his left eye was all
red. He said il wtis from getting shampoo in his eye. I thought
somebody gave him a right hook. But then 1 thought about it. Colin
Stewart is a gentleman. His voice is much too calm to make anyone
punch him in the head. His voice makes it east/ to listen to him talk
about him.elf. It's my fault he had lo talk about himself. I asked
DiSCORDER: Are you in a band?
Colin Stewart: No.
Why not?
Because I can't play music very well.
But you like music?
Oh yeah.
Is that why you got into recording?
Yeah. It's my way of being creative.
Have you tried playing music?
Yeah. 1 can play guitar. I've been playing guitar for about 14
Well then why aren't you in a band?
Because I suck.
You must record a lot of bands that aren't good.
Not anymore. Most of the bands I record now are good. I've
recorded a lot of bad bands, though. I've had my fair share.
How long have you been doing it?
About six years.
Do you ever listen to recordings just because you like the
way it sounds?
I can listen to something bad and go, "Yes, that's well recorded," but it doesn't mean that I like it. It usually means that I
don't. If the song is bad then I don't like it. It all comes down
to songs.
You record mostly local stuff?
Entirely local stuff. Except for Fugazi.
Can we talk about that Fugazi thing? How did you get to do
that?
My friend Terry put on the show, and I wanted to record it, so
we called them up and said we wanted to record it, and they
said, "Okay." And then they came by [to the Hive Studio] and
saw all our stuff, and they freaked out and they thought we
were going to broadcast it on the internet. Ian MacKaye was
like, "If you ever do anything with this, it's a small world,
and I will find you."
So why did they let you record it if they don't want you to
do anything with it?
I guess they trusted Terry more than anything. They said [to
her], "You're personally responsible for this." So we have to
send it to them. We're sending it to them next week.
And you've mixed it?
Yes. It sounds very good.
What did you use to record it?
I used a digital hard disk multi-track.
The Radar 24? Can you tell us about that? It's pretty new,
isn't it?
It's a third generation—you can't ask me about this machine
because I work at the company that makes it, so this is my
daily rant. This is work.
I heard that The Hive is now officially Radar 24 Central,
that people call you and ask about it.
Basically. We did the Secret Three [recording] at the Sugar
Refinery, so we're totally mobile now. We can go anywhere
we want. And The Cinch did some recording at Mushroom,
so we're going to take the Radar there and dump stuff off the
two inch machine on it, so we can mix it here.
Can you just tell us a little bit about the machine?
Well, it's a 24-track 24-bit hard disk recorder that goes up to
192 kHz. It's used by Daniel Lanois [laughs]. U2 recorded
their last album on it. George Harrison just bought one.
And it's Canadian made?
Yeah. It's made in Vancouver. It's the most professional of all
those hard disk recorders. There's a whole bunch of them.
the be
It's all digital. So explain your shirt [it says "Long Li
Analogue"].
' I like to wear it at work and torment my colleagues.
Your colleagues aren't into the analogue scene anymo:
ch, I like
No, i
all.
Even when you play them records that you've recorded on
analogue equipment?
Well, they don't like the music I record.
Like we were saying earlier, can't they just appreciate the
way it's recorded?
Well, sometimes, but they don't really like the way it's recorded either.
Let's talk about Trebas because I know you went there.
Oh God.
This is what I picture when I think of Trebas. I picture a lot
of bad equipment with people in a room with some guy that
has no hair and a ponytail who tells you how to do things
badly. And you pay a lot of money to learn how to do things
badly.
Yes, that's about right. My instructor didn't know how to
But you finished at Trebas. Tell me about it.
I got the highest grade in the class.
What did they teach you there? Did they teach you how to
record so it sounds like The Beatles?
They really didn't teach me anything, to be honest. They
show you how to plug stuff in. It's just a way to meet people
more than anything. If you don't know anyone in the music
scene, it's actually not a bad idea to take a course because you
meet other people who like what you like.
How did you get to be involved at The Hive?
Through Trebas, actually. One of my instructors was recording Terry Miles from Ashley Park and Saturnhead, and I met
him, and through him I met a couple of my studio partners.
We got together, and we all liked Pavement, so...
What's your role at The Hive? Do you just use the equipment when you need to, or are you actually a part owner?
Yeah, I'm a third owner of everything here. There's three of
us. There's me, and Travis, and Rob, and although I'm the one
who uses the studio the most it's probably not their choice.
If they could, they would. I've been lucky enough to record
some bands that manage to get a little bit of attention. Other
bands usually call me. But Rob and Travis are very good at
what they do as well.
What have you been doing lately?
I just recorded The Secret Three, just finished the P:ano
album. I'm supposed to do Citroen next month as well as the
new A Luna Red, the new Jerk With a Bomb. I did the Beans'
48 hour show.
Did you do that on the Radar 24?
Yes I did. All 48 hours.
How does it sound?
It sounds pretty good. But the thing is that it's going to take
a year to go through that stuff because they're so slow at what
they do. Crane Wars was recorded three years ago. We recorded the next album last fall; that's still not done.
What would you do with 48 hours of tape?
The idea is to take the best three minutes or so, well that was
the original idea, of each hour, and then cross-fade them all,
blend them all, and make a double CD out of it. I think it
would be amazing if we managed to do that.
Were you actually there for all 48 hours?
I was there for about 20 something.
That's not even half, Colin.
But I can listen to it any time I want. I've heard all 48.
What's your favourite stuff that you've done in the past six
years that you really are proud of?
That would be The Beans. Jerk With a Bomb The Old Noise.
The new P:ano album is probably going to be very good.
There's a whole bunch of stuff. There's lots of bands I love
working with. I love working with Radio Berlin. ' like every
thing I do, even if I doi
ing with people.
I'm wondering how hard it is for you. It's not easy for a
band to record, and I'd guess that every band that you've
recorded, someone started crying during the recording. Is
this true?
No, not at all. I think I've been lucky there. Have you heard
other stories? It's usually not my fault that the people start
crying.
Do people yell at you?
I've had people from Team Dresch yell at me.
Why's that?
Oh, because they were just really cranky. I didn't like them at
all. Except for Donna Dresch. She was cool.
Let's talk about your recording style. Is there anything that
sets you apart? Why, for instance, do your colleagues at
work not like the way your recordings sound?
Because they're not heavily processed. I try to make it sound
like it does. I try to make a band sound like a band and not
like Britney Spears.
Compression. Using a compressor is not how a band
sounds.
Sometimes you want an effect on one instrument, but not on
all the instruments. I find that I only use a compressor if the
sound sounds bad otherwise.
Do you feel that's like lying?
No, not nearly as much as say, auto-tuning a vocal or something like that. I think using compressors is okay. There are
certain limits. There are some engineers that I know who
compress the crap out of everything, and you can hear it. In a
way, I guess it sounds good, but I don't like to do it myself. I
like heavily processed recordings, I like computer recordings,
but I don't like to do them myself.
Most of the stuff you've done has been with bands with
instruments—guitars, drums. Would you feel comfortable
recording something purely electronic?
Maybe an electroacoustic band. I think the closest I got to
doing an electronic band was with Circlesquare. That was
fun. Actually, I find that most electronic acts have no need for
an external studio because they'll spend days just moving
things around on the computer screen, and you can't really
be involved with something like that.
What techniques do you have that are specific to you? What
about the hall mic? I've heard a lot about the hall mic.
I like to use ambient microphones, stick mics down halls
because I don't like using reverb. I like real reverb, real
acoustics because the brain can hear the difference.
What's your favourite recording?
My favourite album of all time is Smog, Red Apple Falls. For
me that is the pinnacle of recording. It was done by Jim
O'Rourke. He's awesome. I mean, I like Steve Albini a lot, of
course, but sometimes I find his stuff to be a little bit harsh.
Harsh?
It's very mid-rangey. He likes to make things very thin. But
not always, like Labradford. He's done lots of great recordings that sound really warm.
Say that you really wanted to make me go poo. What would
you make me listen to?
Twelve Hz. Very loud.
Is this true?
Yes, it's true. You would lose all control over your bowels.
You would need a speaker about six feet wide to be able to
reproduce that sort of frequency. And if you played seven Hz
then you would die.
I would die?
Yes.
Would everyone die?
Yes because it would rupture your organs. That's the oscillating frequency of the planet earth. So we're fully tuned in to
that frequency.
See what Colin has d
I'.hivestudios.,
20 September 2001 ; in the
recorded media
STEFFEN BASHO-JUNGHANS
(Strange Attractors/ Audio
House)
In the tradition of solo acoustic
guitar experimentalists such as
John Fahey, Loren Mazzacane
Connors, Steve Tibbetts, and
Robbie Robinson, comes this
new recording from German
guitarist Steffen Basho-Junghans.
Unlike Fahey and Connors,
Basho-Junghans eschews any
blues references in favour of a
more Asian flavour. This comes
largely as result of using a series
of "hammer on/off" techniques
and repeating motifs that suggests  unusual-sounding  har-
The effect is a hypnotic, raga-
like feel which is all the more
impressive when you consider
that the pieces contained within
are all done without overdubs
and can last anywhere from five
to twenty minutes. To Basho-
Junghans's credit, he carries this
off without ever losing the focus
of the various pieces presented
Introspective in nature, this
recording is for those who like
their trance music experiences
un-plugged.
Paul Clarke
ANNA FRIZ AND RICHARD
WILLIAMS
There's A Risk Of Arrest If You
Turn Right
(Kuntsradio)
Anna Friz, former Program
Coordinator at CiTR and audio
artist, teams up with Richard
Williams in an emotional and
startling piece recorded live in
Quebec City during the FTAA
summit. As the piece's introduction states, many rhythmic textures are discovered among the
protesters, from the peaceful
"carnivalesque" gatherings to
the militant and heated confrontations with the tear-gas
lobbing and often violent police.
As an exploration of sound and
recording, it brings you directly
to a world of languages—slogans shouted in French,
Spanish, and English predominate—and noises, or what is
usually construed as nonsense.
But the nonsense takes on new
forms that create meanings wlrich,
although I cannot place them
directly in a meaningful context,
take on an atmosphere that provokes a bodily reaction—my
head tingles as 1 hear French
yelled over screaming protesters, and I imagine May '68... I
hear kazoos, and I feel a silly
hope, hope in the face of violent
State repression... when I look
back at pictures of old
protests—APEC 1997, for example, and May '68, I see what can
only be understood through
sound. There is something
about a drummer beating out
marching rhythms that invokes
a call, a head turning in a crowd.
And then, the choppers overhead... the screams as teargas is
lobbed, and the heavy breathing
ning...
excel-
lent piece. You can hear it on
www.kunstradio.at; just search
HOT WATER MUSIC
A Flight And A Crash
(Epitaph)
From now on, I'm going to pick
up an Epitaph CD every time
I'm at DiSCORDER and review
it in penitence for the years I
gave to the label. I gave Epitaph
the best years of my life and
how do they repay me? With a
Pennywise song on the radio
called "Fuck Authority," that's
how. Didn't they used to be
more clever than that? Even a
little bit? If they weren't, at least
they seemed so when I was 15.
I'm going to say right off the bat
that the new Hot Water Music
reminds me so much of Face to
Face that I caught myself downloading "Disconnected" just to
get it out of my head.
Apparently, this band is supposed to be known for their
trade-off vocals, but all of the
singing sounds the same to me.
Imagine someone singing lines
lash out/because 1 don't see
much reason now;" that's what
this album sounds like. Of
course, being one step closer to
the edge and subsequently
breaking don't a Hot Water
Music make; they also growl
pressing rhetorical questions
like "Do you know what you're
fighting for?" and "Have you
found what you're looking for?"
I'm not so sure that these lines
are particularly central to the
album, but the band felt it necessary to print them on the
inside of the CD tray, so I figured I'd include them in the
review. To be honest, when I
picked up this CD, I was expecting an emo cry-fest and I quite
prefer this gnashed-teeth, pick-
scraping flood of power chords
and tattoos. The only thing is
that, behind the standard
Epitaph production, all of the
anger and full-scale political
change that the singer(s) bark(s)
about sound like nothing more
than, well, pick scrapes and tattoos. Not something many of us
need too much more of.
godfrey j. Leung, esq.
THE JOEL PLASKETT EMERGENCY
Down At The Khyber
(Brobdingnagian Records)
So I walk into the record store,
aimlessly wandering. Head
cocked to the side looking for
anything of interest that day. I
saw the cover of an album, with
Joel Plaskett looking in a mirror,
overtook me. It bitch-slapped
me, this Curiosity. It said,
"Listen you shit, buy the album,
and get the hell home." I was
never fortunate enough to see
Thrush Hermit perform live,
but always admired their affinity for making ass-shaking rock
records. This album is a hard
night of mixing drinks, heading
for a moment of clarity so serene
it screams. A Rock and
Canadiana world of lover's
lanes, sock hops, and babies
with three eyes. Because of this I
got homesick and fell in love
with the city again. The speakers flirted with my sense of
place and time, and it felt nice to
slip away. The title track,
"Down At The Khyber," begins
with the line "I've been away,
and I've been travelling" and
right away you can tell this
music lends itself to moving on.
It's not really transient but more
like in a form of transition. I
think Joel has found something
very unique in this country, and
he wants to take you along. Buy
the ticket and take the ride,
folks. Grab the rail and shake
your ass, 'cause The Joel
Plaskett Emergency have
turned the siren and flashing
red lights on, and it's definitely
gonna take you somewhere.
Sterling Riots
CEVIN KEY
The Ghost of Each Room
(Metropolis)
Industrial music is checked at
the door and subjected to a cavity search in this haunting
album that traverses styles and
genres like a cop fucking a
corpse. Moving from beat-oriented and driving to abstract
IDM and more traditional
industrial scapes, cEvin opens
the crypts of his Vancouver past,
with Ogre of Skinny Puppy
fame dropping lungs on
"Frozen Sky," Phil Western
doing synth work on "Sklang"
(also of SP), and Ryan Moore
plucking jazz bass on "Certain
Stuuckey." You never know
what to expect when you are
digging in a graveyard, and
such is the case with this album,
produced everywhere from
Hollywood to the Netherlands
and Jamaica. Unlike Phil
Western or Download, cEvin
maintains that psychotic edge,
the paranoia in the closet that
defines industrial music. What
has changed is the response to
fear: no longer does industrial
claw back with bloodlusting
screams and purifying fire,
choosing, willingly or not, to
give itself to the dark underworld, engaging in a little necromancy with the cavernous edge
of the void that usually only
Lustmord approaches. Embracing
world of digital production and
laptop beats, cEvin moves in
different directions than other
artists working with the same
equipment. Unlike the current
crop of laptop warriors and
their techno predecessors or the
avant-garde of microsound,
cEvin comes from an industrial
music background that approached
technology in more daring and
strict rules of the dance floor for
through destruction, and experimentation that challenges not
the limits of the sound experience itself but rather the limits
of your mental and emotional
response. That said, Christa
thinks it's cheesy, but I think it
MAYOR McCA
Me Is He
(Sonic Unyon)
So, did you ever run for Mayor
in Hamilton, Ontario? Did you
lose because no one appreciated
your:
if hum
ml? Rest ;
you n
e. Kudos to the
good folks at Sonic Unyon for
steering this wonderful freak
into musical light. And kudos
for the all the gutsy folks who
voted for Mayor McCA in the
last mayoral elections in
Hamilton. He lost, of course, but
the result was this release.
Where to begin? The guy "raps,
slaps, claps, and taps" all while
playing the guitar, harmonica,
and piano (with his toes, apparently). Not to mention the lyrics:
when wintertime goes and all
the girls start taking off their
clothes/Now why would I
wanna get into a fight, when I
can have some sugar by the end
of the night?" Priceless. It's too
bad he lost, really. We definitely
need funnier politicians in this
country. Oh well, we still have
Stockwell Day.
LUKE MCKEEHAN
Lazy Transmissions
(Nordic Trax)
Vancouver's premier house
label returns with a discerning
mix to compliment DJ Tyler
Stadius's incredible underground mix of house and techno, Necessary Pieces 2. Whereas
Tyler is a long and smooth
mixer, moving through minimalist-influenced house and
techno from funky to hard (yet
never dissonant), Luke
McKeehan drops tracks in a far
more disco fashion, focusing on
the complex rhythms of fully
developed house, and timing
the drop of the next track with
utmost precision. Vancouver's
Gavin Froome makes two
appearances with tracks from
his Skunks EP, alongside
Calgary's Jon Delerious, and
Vancouver up-and-comer
Shawn Ward, who works with
Peter Hecher on a track called
"Daydreaming." Not to mention
Joshua Michael's remix of Luke
McKeehan's "Take Control" as
The New CPU Experience. But
enough about the innards: what
is great is the stringing of the
entrails, as one house track
moves through the next in a
very precise manner, blood and
guts, drum machines, synths
and all, showcasing not only the
talents of a proficient DJ but also
the roster of a well-respected —
and deserving of every inch—
Vancouver record label.
(K)
Under the influence of suggestion, it would be easy to make
up a good story to explain how
a small coastal town in
Washington State managed to
end up with a name like
Anacortes. Those who have
never visited might look at the
map and notice the nearby
Straight of Juan de Fuca (or Juan
the Fucker) and suspect some
sort of Spanish influence left
over from the days of exploration and be able to reason that
some navigator or settler, perhaps even a governor could
have christened the pla
someone sound Spanish on one
song, Canadian on another, and
Neutral Milk Hotel-like on the
next? This is the work of a man
from a town with a peculiar
name. This album, accompanied
by the requisite pictures and
SOMETHING ABOUT REPTILES
From Instanbul to OrangeVille
(Independent)
Gypsy music is synonymous
with passion, no? Of course.
Local five piece gypsy fusionists
Something About Reptiles will
sweep you away with diasporic
melodies that are plenty passionate without going over the
top. From sardonic sarcasm to
sensual coaxing, vocalist and
clothing magnate Burcu
Ozdemir proves herself to be an
original and elegant vocalist,
even when drawling "I don't
give a fuck" over and over. The
!. This
Mild   11
e the
at the end of a geographical linguist's long list ot
grievous misappropriations.
However, if you ask any local—
say, a fifth-grade student at Mt.
Erie Elementary School—the
truth about the town's origins
reveals itself: it was christened
Anacortes in 1877 by a pioneering postal worker named Amos
V,o\
who 1
:   after
vife,   Annie
Apparently, Bowman was
an amateur speculator who got
the growing town all hopped-
up over the prospect of becoming the western terminus for the
railroad. It never happened.
Anacortes sunk into a depression in the 1890s, reemerging
later as a fishing port and logging hub. Call it an industrial
tragedy, but it never grew into a
Seattle. Instead, it grew into a
ferry dock flanked by geophysical conditions that Anacortite
Phil Evrum seems to go on
about on The Glow, PL 2. The
Microphones have released five
albums in the last two years.
This one has 20 songs. While
they have all been subjected to
extremely crass and crafty production, these numbers remain
unpasteurized, replete with
moldy bits of HUGE percussion,
surges of aging analog keyboards and bacterial cultures of
icky
hint
es that
trabass, accordion, clarinet, and
various guitars ensconsed in a
warm analogue vibe and is
rhythmically powerful enough
that I didn't mourn the absence
of drums. What I'm assuming to
be the band's debut disc was
"recorded live off the floor in 11
hours" at Studiojellyfish on
Gabriola Island last October,
and the songs have the deep
warmth and familiarity that
accompanies much "folk"
music, yet the Reptiles retain an
experimental feel by including
giddy outtakes, maniacal moaning, and the like. Don't miss the
Reptiles live Sept. 8 at Cafe
Deux Soleil.
Hancunt
ZEN GUERILLA
Shadozvs On Tlie Sun
(Sub Pop)
"I thought I heard the people
shouting/I thought I heard the
people scream..." wails Marcus
Durant, the lungs behind
"Inferno" on this San Francisco
group's latest testimonial.
Treating us to a less-effects laid
version of rockin' gospel than
Trance States In Tongues,
Durant's voice still pierces the
smoky air left by the sizzling
guitar work of Rich Millman
like needles piercing a junkie's
veins. The rush is fast and furious over the first six songs, then
spirals down into "Subway
Transmission," a song that
reflects on the feeling von get
when you watch the cars of a
everything begins to blur before
your eyes^ Then you're quickly
"Dirtv Mile" kicks in, hands in
Anacortes History Museui
around the corner. By album's
that it might educate peopl
eon
end, a hair-raising-on-the-back-
how perverting that town r
nist
of-vour-neck tribute to Marvin
be. How else could some
one
Gave's   "Fingers,"   your   sms
record such obscure and int
contemporary folk songs v\
ith-
now know you've been touched
out hesitation? How else c
>uld
by Zen Guerrilla. Amen.
lyrics be so strewn with s
ind
Bryce Dunn
electric heaters? How else a
2^^&summ MUDHONEY
THE EVAPORATORS
Saturday, July 28
Starfish Room
To paraphrase a line from The
Barracudas: "I wish it could be
1991 again!" This sentiment was
shared by the near sold-out
crowd on hand to witness the
only band to survive the
"Selling Of Seattle" back in the
year previously mentioned, and
they've weathered that storm
quite nicely, thank you.
Although the flannel was only
flying half-mast, the sight of so
many varieties of Mudhoney
garb was cool to see. Musically,
we were treated to some of the
best tunes the band had to offer,
even if the show got off to a
shaky start, it fuelled the crowd
even more for what was to be
an evening full of superfuzz
guitar, bigmuff bass and
skintight drumming. Thev
pulled out all the stops, hitting
us early with "In and Out Of
Grace," "Touch Me I'm Sick,"
"If I Think," then later, the silent
but deadly "When Tomorrow
Hits," "Who You Drivin'
Now?" (the only song they did
from Every Good Boy Deserves
Fudge), "Suck You Dry," and the
hits kept a-comin' with the
band showing no signs of stop-
pin'. (Although they came dangerously close when singer/
Iggy's younger twin Mark Arm
got a mouthful of microphone
not once, but twice due to
overzealous moshing in the
front row). However, the finale
that had the entire room shouting along was their encore of
The Dicks classic "Hate The
Police"(and had they coupled
that with their version of The
Angry Samoans "You Stupid
Asshole" I think the kids would
have went berserk), which left
us all hot and bothered, but
glad we witnessed true Seattle
legends.
The Evaporators were the
perfect openers for the night,
and who doesn't get a kick out
of watching Nardwuar fly the
friendly skies with keyboard in
tow, making complete strangers
join hands and running circles
around each other, and otherwise entertaining the hell out us
while sporting the best band
while? And for crying out loud
people, when Nardwuar tells
you to crouch, just do it all
right? You face public humilia-
madman dressed in a Michael
Jackson vest if you don't.
Bryce Dunn
BOCEPHUS KING
Friday, August 3
Arts Club Backstage Lounge
The best place to see Bocephus
King live is within the
cramped, semi-seedy confines
of the Railway Club. This
22 September 2001
Granville Island watering hole
close second. More Emily
Carr
loodler
wannabes in the Arts Club
crowd, but BK succeeded, as
usual, in getting a hot sweaty
ball-o'-dancers to pack the
dance floor.
Just back from successful
gigs at folk fests in Winnipeg
and Calgary, the band was
lookin' feisty, no doubt aided by
the delayed start due to a late-
running play next door. Lead
guitarist and band cornerstone
Paul "check out my whammy
bar" Rigby was in particularly
fine form, throwing tasty rawk-
star licks into the BK roots-
blm
ul
Mr.
Bocephus King was also in high
spirits and threw his lanky
frame around to tried-and-true
faves like "Think About You"
and "Mess of Love." He test-
drove some great new material
as well...something about
rebels? This was around the
time my companion delivered
Jack shots to the dance floor,
which may explain my memory lapse. Also noteworthy was a
stunning extended-play mix of
"Papa Was A Rolling Stone."
BK's band line-up has
undergone big changes lately
and now includes members
from Bughouse Five and Veda
Hille's Skilled and Devoted
Band. They've gelled well as a
unit, but my sole beef is that
Barry Mirochnik, fine rock
drummer that he is, still hasn't
got the light snare touch needed for the New Orleans-
flavoured material.
BK proved once again that
he and his band have the power
to strip cool reserved Lotus-landers down to our liquor-guz-
zlin', freaky-dancin' basics.
And, as we witnessed, he can
even make the wheelchair-
bound rise up and walk.
If you haven't yet caught
up with this band, whose buzz
is now spreading bad and
nationwide, don't miss the next
chance to catch 'em live at the
Railway on September 21.
Val Cormier
THE ICARUS LINE
ALL STATE CHAMPION
Sunday, August 5
Picadiily Pub
It was like gospel emo. The
Icarus  Line  wore  the  same
thing, red ties and black. No
though. Couldn't hear the guitars or the bass or the drums or
the vocals or the keyboards. But
it was loud.
If you are actually crazy,
you will start bleeding. You
won't be able to play your part.
You will jump when you feel
like it and wipe the blood on
the carpet as you roll around on
stage. Buddy/ playing guitar on
the left, jumped around a lot.
But he always landed in time to
hit one of his rainbow Boss pedals. He kind of did headstands.
He kicked over his speaker at
the end. Clap clap clap.
After the show, we stood
outside because my friend
wanted to talk to Buddy. I don't
know his real name, but he does
that Fred Durst obsessed emo
website, buddyhead.com,
where he writes mean record
reviews. The Icarus Line's from
LA. Buddy started telling us
about how these kids from LA
were in Vancouver on vacation
with their parents, and how
they really wanted to see the
show, but they were only 14
and they wouldn't be allowed
in the bar. I saw them. I remember those kids. I saw them in
LA, front row and centre at The
Knitting Factory, white Ink and
Dagger T-shirts, freshly cut
bowls, waiting for Shellac.
Buddy said he felt bad, he
wished they could've seen the
show. Buddy wasn't crazy like
he was on stage. He was really
nice. I stood a few feet away
from him and his fans because I
didn't want to have to say anything to him, to this nice, little
man. I didn't want to have to lie
and say that I liked his band
and that they were really good
because lying is bad. So I stood
far away and looked at my
shoes, pretending that I couldn't speak English. I just didn't
say anything at all. But I wrote
this. Still, it's a lot less mean
than the record reviews that
Buddy writes.
Christa Min
PEACHES
TAYLOR SAVVY
CANNED HAMM
Monday, August 6
The Starfish Room
As Canned Hamm started their
set, I was standing on the stairs,
waiting to be let in. Two guys
who looked like they would be
more comfortable at a Blink 182
show came down the stairs
muttering, "Whoa, this sucks."
But if anyone sucked, it was
them and not Canned Hamm.
Big Hamm and Little Hamm
put on an entertaining show.
Sporting little gold shorts, serenading a girl from the crowd,
wearing crazy wigs, parading
around in bathrobes: they did it
all. My friend Sarah noted that
Big Hamm looked a little like
porn star Ron Jeremy. After she
made this comment, Little
Hamm sat in Big Hamm's lap
for a song. Images of Annabel
Chong's gangbang, which finished with Ron Jeremy as man
number 351, flashed through
my head. It was slightly
unpleasant, and slightly amusing. There was nothing sexy
about it though. Anyhow,
Canned Hamm had a couple of
technical problems, but I could
n't tell whether they
scripted problems with their
minidisc or just crappy wiring.
When I cheered for them, I
Next was Taylor Savvy. I'd
never heard his music before
and someone said he sounded
like a male Peaches. Alas, this
was not to be. Though Savvy
had his moments, he failed to
hold my interest. His shtick
wasn't hot and though it wanted to be, it wasn't sexy either.
His repetitive lyrics weren't
particularly inventive or funny.
I didn't want him to go on
about ladies lovely ladies anymore. I wanted Peaches to
swing things over for the girls,
to chant repeatedly "Only double A, thinking triple X" and
sing dirty songs about boys. I
clapped politely at the end of
Taylor Savvy's set.
Peaches. Ah Peaches. Hot.
Sexy. Oh yeah. More than one
person said, "Oh, I thought
she'd be hot, but she's not."
Fuck that. She had a for real
curly mullet, aviator sunglasses,
unshaved armpits and pubic
hair (since I'm short, I didn't see
this, but taller members of the
crowd pointed this out post-
show) coming out of her little
red hot pants. At one point, she
even put a little porn star moustache over her lip. She was the
embodiment of all that's sublime: repulsive and attractive at
the same time. So glorious that
it hurt. I had a girl next to me
shout "Peaches! Peaches!" over
and over, like she was in pain.
Peachesmania anyone?
Okay, yeah, the music was
great too. I was wondering
what she'd sound like live,
because the songs on The
Teaches of Peaches are pretty
structured, but it went over
well. Taylor Savvy redeemed
himself at the end with a
duet/fake blood spitting medley with Peaches. The crowd
was dancing like a bunch of
happy fools. It was good stuff.
Doretta Lau
(NOT) SQUAREPUSHER
PLAID
MYRA CALIX
Tuesday August 7
Sonar was packed, despite the
fact that either 1. Tom
Jenkinson, aka Squarepusher,
had gone insane and was wondering around London where
no one could find him or 2. He
had missed his flight. Whatever
the case, the man was not there,
were soiling themselves to see
Squareguy drop. Word from
Down Under (Australia) was
that he had stunned audiences
by playing sets of noise, ambient and breakcore—much to the
barstars' confused and addled
brains, but supra good for the
discerning heads who lost their
shit screaming into the bass-
Plaid, however, made up
for the loss with an incredible
set, but not before Myra Calix
spun some Warp-ed vinyl and
tracks from her new album. But
the crowd was there for the two
lovable and rhythmic Scots who
preceded to drop track after
track of grooving space funk.
For what else can it be called?
Playing from two laptops, a
rack of effects processors and
samplers, Plaid recreated many
of the smash tracks from Double
Figure, their latest album that
goes out of its way to reinject
the funk—via basslines and
harmonies—back into complex
and broken electro beats. But
unlike a funky house or even
techno that takes its cues from
disco, Plaid jump from where
Sun Ra and George Clinton left
off—into the universe of funk,
funk as more than a bassline but
an entire feeling that overtakes
the music note by note in a
sweaty groove. Everyone was
getting down, and for the first
time in a long time Sonar
sounded good, with the
Turbosound speakers in the
long-throw position, making for
a pleasant, loud, yet not ear-
splitting or headache-inducing
experience.
Furthering the night's trip
was the most insane visuals,
which by all accounts and reputable sources looked to be the
work of the Designer's
Republic. Not since Process's
visuals at Mutek in Montreal
have I seen such incredible
designs and complicated movements of geometry and repre-
Every once in a while there
is a show in Vancouver that
makes it all worthwhile, with
good music, good sound, good
people and good visuals, and
this was one of them.
THE BEANS 48 HOUR
SHOW
Friday, August 10-Sunday
August 12
Sugar Refinery
A woman walks into a bar. The
i the floor have
been performing for twenty-
two hours straight. The guitarist is so decimated by stress
that he has gone home sick. The
bass player is asleep on a mattress behind the stage. The
pianist/accordionist has a wild,
panicked look on her face; her
braids have erupted into frizzy
flowers. The music is still holding together, following deep
curves that the casual listener
can only glimpse out of the corner of one temporal eye.
The woman in the bar
keeps thinking about how
funny it is that she chose this
event of sublime suffering as
the background to "a couple of
beers," some petty conversation, an opportunity to show off
her new shoes. When she listens
to the band, it's with her eyes.
She imagines that they look like
saints about to fall apart on the
wheel. Their intimacy and discomfort barely make a dent in
the bar's otherwise bustling
patronage; it feels like she's
watching them from across a
market square. People drink,
talk, money changes hands. If
people are listening, it's hard to
tell. A few faces wear the same
look of exhausted care as the
musicians—they've probably
been there since the beginning
.r close
t. The re
obe
tourists, passing interested but
objective  glimpses  over  the
A woman watches for two
hours, gets bored, and goes
home. A few weeks later she 's
trying to finish making a magazine in the middle of the night
and thinks about the pure,
Christian love that has inspired
so many self-inflicted injuries,
so many trials of endurance.
She wonders if she's giving The
Beans too much credit.
Helene Apropos
THE STROKES
Sunday, August 12
Starfish Room
So this is the band that everyone's (okay, maybe just the
NME and teenage girls) drooling over right now. Well, I
found myself bopping my head
and tapping my feet like the
faithful standing front and center, but were they deserving of
the hype? Not exactly. Sure,
they play an infectious brand of
Velvet Underground-inspired
pop, but will I drop everything
to buy their record? Probably
not. I find it strange that a band
can have this much appeal,
when they have us wait 45 minutes before they play, then give
us only a half-hour set, charge
20 bucks for their t-shirts and
look depressed and unresponsive on stage? What seals the
deal for me is that they're from
New York, yet have no clue
who The Devil Dogs are (only
one the best rock and roll bands
on the planet).
We'll see how people feel
about them in a year—for right
now, colour me indifferent.
Bryce Dunn September Long Vinyl
September Short Vinyl        September Indie Home Jobs
1 monstre
2 plaid
3 twilight circus dub..
4 eric's trip
5 dj serious
6 murder city devils
7 the fain!
8 new town animals
9 peaches
10 arling & cameron
11 stereolab
12 therondelles
13 the beta band
14 the hissyfits
15 dj krush
16 veda hille
17 zen guerilla
18 built to spill
19 fantastic plastic...
20 the dirtmitts
21 the beans
22 the poets of rhythm
23 station a
24 squarepusher
25 lesser
26 dimitri from paris
27 cevin key
28 tomas jirku
29 beefhumper
30 canned hamm
31 v/a
32 duotang
33 fuzzer
34 fantomas
35 praga khan
sucre3
double figure
volcanic dub
the eric's trip she
dim sum
thelema
danse macabre
is your radio active?
the teaches of peaches
we are a & c empe
sound dust
shined nickels...
hot shots 2
letters from frank    top qi
teenage usa
sound king
sub pop
saddle creek
mint
s kitty-yo
iperor norton
field study independent
shadows on the sun sub pop
ancient melodies... warner
beautiful emperor norton
s/t
discern/define
the wasp factory
go plastic
mensa dance squad
rewind
the ghost of each...
imaterial
mp3.com
karazma
bombay 2: electric v
the bright side
detached retina
the director's cut
nixed
up
sonic unyon
zum media
quannum
f.flyer
warp
matador
dmc
metropolis
subtractif
independent
independent
ndaloo motel
mint
independent
ipecac
antler subway
1 the evaporators honk the horn
2 red hot lovers s/t
3 les sexareenos ruby d
4 the vultures alcoholic lady
5 the exploders what's what and...
6 tijuana bibles mexican courage
7 sunset valley parade on my rain
8 new town animals      lose that girl
9 the pinkos to my valentine
10 planet smashers inflate to 45rpm
11 andy votel girl on a go-ped
12 hot dog city citiwoman
13 the pattern feverish
14 the malcontents liquor store ep
15 removal/joey shithead 3 of 10
16 five eight/clemente      the kids...
17 hacksaw she's got my back
18 stepsister shoeshine
19 the el caminos electric city
20 l°st sounds 1+ 1-(-nothing
nardwuar
redline
dirtnap
trophy
sea level
empty
jump start
twisted nerve
gsl
skull
removalmusic
mood swing
independent
red hour
static
empty
1 three inches of blood
2 six block radius
3 the lollies
4 pet fairies
5 mc potbelly
6 Vancouver's shame
7 the switch
8 red hot lovers
9 solasis
10 joel
11 victorian pork
12 hummer
13 a girl named sue
14 xeroxed brother
15 amarillo stars
16 garnet sweatshirt
17 the metrics
18 closer than kin
19 coupon
20 girl nobody
s/t
kill to hide
be my bad boyfriend
boner for berty
horizontal
what's for dinner
las vegas laser child
fuck or fight
digiworld
heartx50'woman
i just wanna beer
latest thing
odd
fragmented
s/t
american woman
sand crawler
stand up
2001
alone
HOW THE CHARTS WORK)
The monthly charts are compiled based on the number of times a CD/LP
("long vinyl"), 7" ("short vinyl"), or demo tape/ CD ("indie home jobs") on
CiTR's playlist was played by our djs during the previous month (ie, "September" charts reflect airplay over August). Weekly charts can be received
via email. Send mail to "majordomo@unixg.ubaca" with the command:
"subscribe citr-charts" •
23E_%5S©SB SUBMISSIONS TO DATEBOOK ARE FREE.
FOR THE OCTOBER ISSUE,
THE DEADLINE IS SEPTEMBER 25.
FAX LISTINGS IN TO 604.822.9364 OR EMAIL
<DISCORDER@CLUB.AMS.UBC.CA>
FRI AUGUST 31
mint records' 10th anniversary bash featuring the new
pornographers, the smugglers, evaporators, i am spoonben-
der, new town animals@commodore; curtis salgado@taste of
Vancouver; todd tomorrow presents sidewalk surfrng@blind-
ing light!!; 4 dex and no brains@sugar refinery
SAT SEPTEMBER 1
poolskating: fruit of the v/ne@blinding light!!; sean macdon-
ald@sugar refinery
SUN 2
hershe bar (flygirl party)@sonar; ; want it that way: the backdoor boys@blinding light!!; recidivist, paloma, trail vs. rus-
sia@graceland (seattle)
MON 3
herbert@sonar; tony romano and tyler brett@sugar refinery
TUES 4
the dirtmitts, american analog set, jerk with a bomb@starfish
room; propagandhi, randy, the first day@grandview auditorium; gaygore! feat, fucked in the face, chopstick bloody
chopsf/clc@blinding light!!; parallela tuesdays@sugar refinery
WED 5
nina    hynes@railway   club;    69   duster,    ride,    ether's
void ©starfish room; gaygore! feat, fucked in the face, chop-
stick bloody chopsf/c/c@blinding light!!; smoke rings@sugar
refinery
THUR 6
coast 2 coast: a cycle against child abuse fundraiser featuring dj leanne, luke mckeehan, dj rico and yann solo@sonar;
teamlounge djs@element sound lounge (801 w. georgia);
martyr, lummox, zuckuss, myopia@starfish room;
byo8@blinding light!!; joel with chad macquarrie@sugar
refinery
FRI 7
susie arioli swing band@vancouver east cultural centre; conquering redlion sound system@nyala; dj dan@commodore;
new york ska jazz ensemble, two & a half white guys, the
mad bomber society@maritime labour hall (1880 triumph);
radiohead vs. the mafn'x@blinding light!!; jt king@sugar refinery
SAT 8
susie arioli swing band@vancouver east cultural centre; something about reptiles@cafe deux soleils; daytime or nighttime?
featuring cold cows, le matin, alphadog, etc.©blinding
light!!; anna lumiere@sugar refinery; empire burlesque fol-
lies@russian hall (2 1 1 4 w. 4th)
SUN 9
fantomas, chicks on speed@showbox (seattle); superstar: the
karen carpenter sfory@blinding light!!; dj smallfish@sugar
MON 10
TUES 11
moev@purple onion cabaret; acts of vision and the rapture of
space@blinding light!!; parallela tuesdays@sugar refinery
WED 12
acfs of vision and the rapture of space@blinding light!!
THUR 13
CiTR PRESENTS BELLE AND SEBASTIAN@ORPHEUM;
paul walker, kenny glasgow@sonar; substate reactor, hid-
den@ms. t's cabaret; nav@element sound lounge; monochrome, exit this side, naked for jesus@starfish room; an
incredible s/'mu/afion@blinding light!!
FRI 14
conquering redlion sound system@nyala; an incredible sim-
u/afion@blinding light!!; jazzmatic@sugar refinery
24 September 2001
SAT 15
tatts getcha sex art opening@tart gallery; big John bates, billy-
bill midnite, i, braineater@railway club; dj krush, suspence,
k.o.@i-spy (seattle); art damaged cabaret #2 featuring dura-
son, i kill my conscience at times, satina saturnine, evil stevil,
the three bitches@ms. t's cabaret; something about
reptiles@legion; an incredible s/mu/af/on@blinding light!!;
springer and ducommon@sugar refinery
SUN 16
vrca   record   fair@croatian   cultural   centre   (1 1-5);   veda
hille@western front; mike watt@starfish room; an incredible sim-
u/af/on@blinding light!!; unrefined@sugar refinery
MON 17
hot little rocket@sugar refinery
TUES 18
max graham@sonar; zen guerilla, hot wire@starfish room; 100
years of cinema,   100 years of sodomy@blinding light!!; parallela tuesdays@sugar refinery
WED 19
freight train /anc/@western front; hot topic (7:30)@blinding
light!!; animania (9:30)@blinding light!!; mike
zachernuk@sugar refinery
THUR 20
dj krush@sonar; freight train /and@western front; brassy, the
pinehurst kids@starfish room; warren sondbert remembered
and   revisited   (7:30)@blinding   light!!;   punks   not  bored
(9:30)@blinding light!!; baron samedi@sugar refinery
FRI 21
conquering redlion sound system@nyala; ming and fs@sonar
marques wyatt, kevin yost, dj moses, quazar@i-spy (seattle),
the damned@commodore; freight train /and@western front;
megalopolis (7:00)@blinding light!!; cinesonic (9:30)@blind-
ing light!!; skye brooks, pete schmidt, karma soehn@sugar
refinery
SAT 22
chris simmonds@sonar; the nylons@orpheum; from her to eter-
nify (7:00)@blinding light!!; pure protein (9:30)@blinding light
SUN 23
toilet boys,  flash  bastard@starfish  room;  strobing  super-
stars@blinding light!!; rollerball, ovo@sugar refinery
MON 24
nick cave and the bad seeds@seattle center opera house (seat-
tie, duh); beat poetry reading@sugar refinery
TUES 25
rock opera@blinding light!!; to rococo rot, marumari, plastiq
phantom orchestra@i-spy (seattle); parallela tuesdays@sugar
refinery
WED 26
rock opera screening@anza club; love as laughter, visqueen,
ursula and the androids@i-spy (seattle); speaking of heroes, gg
dartray, aveo@starfish room; disclosures@blinding light!!; mar
macdonald book launch for home@sugar refinery
THUR 27
hard rubber orchestra: a big night at the cultch with a w.i.s.e.
ending@vancouver east cultural centre; ex-girl@starfish room;
guy debord's society of the spectac/e@blinding light!!
FRI 28
xiu xiu, the birthday machine@sugar refinery; conquering
redlion soundsystem@nyala; John renbourn@rogue folk club;
film fest stuff@blinding light!!
SAT 29
wake the town and tell the people: dancehall culture in Jamaica
featuring norman stolzoff with dj soulsistah and peter wil-
iams@cafe deux soleils; the building press, vermilion, trail vs.
russia@cobalt; film fest stuff@blinding light!!
Special Events
SPEND,  SPEND, SPEND
YOU'VE (WELL, I'VE) JUST BLOWN FIVE
HUNDRED DOLLARS ON TEXTBOOKS AND
UPWARDS OF ONE THOUSAND DOLLARS
ON TUITION FEES TOWARDS A DEGREE IN
AN ARCANE DISCIPLINE MADE LARGELY
OBSOLETE BY THE DIRECTION OF MODERN
CULTURE. LUCKILY FOR ME, THE VANCOUVER RECORD COLLECTORS' ASSOCIATION'S BIANNUAL RECORD FAIR IS
COMING UP, AND I CAN THROW SOME OF
MY HARD-EARNED CASH AWAY ON THE
THINGS THAT REALLY MATTER, LIKE FIRST
PRESSINGS OF KRAUTROCK OPUSES
(OPI?). I'LL SEE YOU AT THE CROATIAN
CULTURAL CENTRE ON SUNDAY, SEPTEMBER 16 FROM 1 1-5.
ART DAMAGED CABARET #2
BLOW SOME BRAIN CELLS ON SATURDAY,
SEPTEMBER 15 AT MS. T'S CABARET WITH
DURASON, I KILL MY CONSCIENCE AT
TIMES, SATINA SATURNINA, EVIL STEVIL,
AND THE THREE BITCHES. APPARENTLY IT'LL
BE LIKE "CABARET VOLTAIRE MEETS AN
EARLY EIGHTIES NEW YORK PUNK CLUB"
WHICH SOUNDS PRETTY FUCKING COOL
TO ME.
THEATRE OF SOUND
DAVID YONGE WILL BE DOING A "HEAVYWEIGHT SOUND INSTALLATION" AT VIDEO-
IN STUDIOS ON FRIDAY, SEPTEMBER 14.
OTHER ARTISTS PRESENTING SIMILAR
SOUND WORKS WILL BE SHAWN BRISTOW,
NICOLE DALE, AND MEXICAN MICROPHONE WRESTLER.
HIP HOP OPERA AT THE
WESTERN FRONT!
EAST SIDE ETERNTIY AND THE WESTERN
FRONT PRESENTS FREIGHT TRAIN LAND, A
HIP HOP OPERA. WEDNESDAY, SEPTEMBER
19-21,8PM. WWW.FRONT.BC.CA BHifr%
SEPTEMBER LINEUP !!
1 lth Three Inches of Blood
Colour Thief
Quonset
18th The Organ
Bionic Systems Go
Elemeno
25th Shrimpmeat
Restore
verticalsmile
We are still accepting demos!!
O    Q
0.    <
SHINDIG! runs every Tuesday at the Railway
Club, starting September 11th and sprinting hard
to the marathon finals on December 5th.
THANKS TO OUR SPONSORS!
»».* chart fflcgg? SQWM
nane jg^
northbynortheast
THEHIVE
y*i avolle
==-—I avotteUrums.com
HhWM'ill
Not Just Another Music Shop       Hm'FElWffl
MUSHROOM STUDIOS
Seaside Studios Beatstreef   Di^ORDEE
TICKETS
turntables needles slipmats
headphones cases/bags
house club downtempo
breakbeat progressive
drum'n'bass trance
techno breaks & beats
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tickets mirror balls
videos gift certificates
q™™ Technics Orfufon Numnrk
SONY shure        ^Vestax        STaNTon
217 w. bastings st [at cambie]
Vancouver, be, Canada
O604j68a7734 fx. 604.689.7781
mail orders available,
ejnail: bassix@netcomxa
25E_?g2tlESa SUNDAY
ARE YOU SERIOUS? MUSIC
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
BLOOD    ON    THE    SADDLE
3:00-5:00PM Realcowshit
caughl-in-yer-boots country.
CHIPS WITH EVERYTHING
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!
xual, a
6:00-8:00PM
lo the gay, lesbiai
Vancouver and li
tened to by everyone. Lots c
human interest features, back-
great music.
HELLO INDIA 8:00-10:00PM
Hello   India  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-
1 2:00AM Strictly Hip Hop-
Strictly Underground-Strictly
Vinyl. With your hosts Mr.
Rumble, and J Swing on the 1 & 2's.
FILL-IN 12:00-2:00AM
FILL-IN 2:00-6:00AM
MONDAY
SALARIO MINIMO
8:00AM Spanish re
techno, and alternate
porque no todo en est
the minuses with the occasional
interview with your host Chris.
STAND AND BE CUNTED
3:00-4:0OPM
DJ Hancunt wants you to put
your fist to the wrist—you know
EVIL VS. GOOD 4:00-5:00PM
Who will triumph? Hardcore/punk
from beyond the grave.
WENER'S BARBEQUE  5:00-
6:00PM Join   the sports dept.
' >r their coverage of the T-Birds
vida e
"salsa
BREAKFAST       WITH       THE
BROWNS   8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
Tune in and enjoy each weekly
brown plate special.
Instrumental, trance, lounge, and
LOUD,   FAST,   AND   AGING
RAPIDLY       alt.       1 1:00-
1:00PM
GIRLFOOD alt. 11:00-l :00PM
PARTS    UNKNOWN     1:00-
3:00PM Underground pop for
e other
aways, and gab.
LA BOMBA alt. 6:00-7:30PM
(Starts Sept.24)
REEL   TO    REEL   alt.    6:00-
6:30PM
Movie reviews and criticism.
CONTEMPORARY alt. 6:30-
7:30PM Words and music for
jackasses.
WIGFLUX      RADIO      7:30-
9:00PM
radio. Our blurb, but our show
don't. Tune into Wigflux Radio
with your hosts Vyb and
Krystabelle.
THE JAZZ SHOW 9:00PM-
12:00AM Vancouver's longest
running prime time jazz pro
gram. Hosted by the ever-suave
Gavin Walker. Features at 1 J.
Sept.3 The great tenor saxophone team of Eddie "Lockjaw"
Davis and Johnny Grifin in their
last get-together..."Tough Tenors
Back Again."
Sept. 10: Jazz education time...
back to class with Julian
"Cannonball" Adderley as your
teacher, narrating "An
Introduction To Jazz."
Sept. 1 7: The education continues
with Leonard Bernsten's "What
Is Jazz?"
Sept.24: "Monk In Tokyo," thee
great pianist/composer and his
quartet with Charlie Rouse's
smokin' tenor and Monk's hard
driving rhythm section of "Butch"
Warren on bass and Frankie
Dunlop on drums.
VENGEANCE IS MINE 12:00-
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
PSYCHEDELIC AIRWAVES
3:00-6:30AM
PACIFIC PICKIN' 6:30-8:00AM
derivatives with Arthur and "The
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM
9:30-11:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier
than the most dangerous criminal!
<3rdxcharm@home.com>
BLUE MONDAY alt. 11:30AM-
1:00PM   Vancouver's      only
industrial-electronic-retro-goth
program. Music to schtomp to,
hosted by Coreen.(She's back!)
ELECTROMAGNETIC PULSES
alt. 11:30AM-1:00PM(DJ
Psionic back in action!)
PARTICLE 1:00-2:00PM
Incorporated into the soul are
the remnants of digital sound.
Unleashed, cryptic economies
accelerate the sound particles
through states of Becoming,
breaking the flesh, whirling,
hydra-head, rhizomatic sky.
www.shrumtribe.com
CPR 2:00-3:30PM
buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
THE CUTE   N' CUDDLY SHOW
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
REGGAE LINKUP
ARE YOU
SERIOUS?
MUSIC
ROCKERS
SHOW
BLOOD ON THE
SADDLE
I Rts I
«3L—| T
QUEER FM
HELLO {____
INDIA
FILL-IN
SALARIO MINIMO
BREAKFAST L
WITH
THE BROWNS
0
GIRLFOOD
B
LOUD
FAST,
AND AGING
RAPIDLY
PARTS     l:
UNKNOWN
STAND AND BE CUNTED(CF)
EVIL VS. GOOD
T3
WIGFLUX RADIO
THE
JAZZ
SHOW
VENGEANCE
IS MINE!
PSYCHEDELIC
AIRWAVES
PACIFIC PICKIN'
WORLD HEATL
THIRD TIMES
THE CHARM
T£J
wEJJT"
BLUE    ,-l-,   electro
MAGNETC
1     PULSES
H
CPR
CUTE'ISLCUDDLY L
FLEX YOUR
HEAD
VENUS"
FLYTRAP
soulI—
SONIC
WANDERLUST
AURAL
TENTACLES
BBC WORLD SERVICE
SUBURBAN JUNGLE
FOOL'S PARADISE L
THE NORTHERN WISH
ANOIZE      ___
RADIO FREE PRESS [__
-g
MOTORDADDY
m
RACHEL'S SONG
STRAIGHT OUTTA lWo
JALLUNDHAR
HANS KLOSS'
MISERY HOUR
~H
FIRST FLOOR
SOUND SYSTEM
BBC WORLD SERVICE
END OF THE
WORLD NEWS
m
PLANET LOVETRON1
CANADIAN    \E
LUNCH
-ra
RHYMES &
REASONS
| Hh
OUT FOR KICKS L
ON AIR       EJ
WITH GREASED HAIR
LIVE FROM...    '—I
THUNDERBIRD HELL
HIGHBRED VOICES
PLUTONIAN
NIGHTS
BBC WORLD
SERVICE
CAUGHT IN
THE RED
SKA-T'S      L
SCENIC DRIVE
THESE ARE THE
BREAKS
| Hh j
LEO RAMIREZ SHO1
Iris
NARDWUAR  ____
PRESENTS
NOOZE & ARTS (Tk)
FAREASTSIDE|
SOUNDS
AFRICAN
RYTHMS
BREAKING     [_
WAVES IN YOUR
HEAD
BBC WORLD L
SERVICE
THE
SATURDAY
EDGE
SOULSISTAH RADIOL!
POWERCHORD
CODE BLUE
RADIO FREE
AMERICA
SYNAPTIC
SANDWICH
SOUL
TREE
PIPE
DREAMS
|Hh/Dc
EARWAX
REGGAE LINKUP
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po=
• Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world
• Hk= Hans Kloss *Ki=Kids Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots
= ska
26 September 2001 3:30-4:30PM Christina returns
with a show for the little listeners
out there-kid's songs, stories, special guests and more.
THE MEAT-EATING VEGAN
4:30-5:00PM
10,000 VOICES 5:00-6:00PM
Poetry, spoken word, performances, etc.
FLEX YOUR HEAD 6:00-
8:00PM
Punk>Hardcore>Metal>Bandana-
thrash>Fastcore>Straightedge as
fuck.      Since       1989,      yo'.
http://flexyourhead.vancouver-
hardco
ANNABOUBOULA (formerly
Radio Ellenikathiko) 8:00-
9:00PM Greek        radio.
www.angelfire.com/atr/annabou
<annabouboula@angelfire.com>
A WALK ABOUT THE WORLD
9:00-10:00PM
VENUS FLYTRAP'S LOVE DEN
alt.        10:00PM-12:00AM
<loveden@hotmail.com>
SOULSONIC      WANDERLUST
alt. 10:00PM-12:00AM Phat
platter, slim chatter.
AURAL    TENTACLES     12:00-
6:00AM Ambient, ethnic, funk,
pop, dance, punk, electronic, and
WEDNESDAY
BBC  WORLD  SERVICE   6:00-
7:00AM
THE SUBURBAN JUNGLE  7:00-
9:00AM   Bringing you an enter
ing a
jclectic
and old music live from the Jungle
Room with your irreverent hosts
Jack Velvet and Nick The Greek.
R&B, disco, techno, soundtracks,
Americana, Latin jazz, news, and
gossip. A real gem!
<suburbanjungle@channel88.com>
FOOL'S PARADISE 9:00-
10:00AM Japanese music and
talk.
THE NORTHERN WISH
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local artists.
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended  for  the  strong.
THE SHAKE 1:00-2:00PM The
manatee is my spirit animal. Me
RADIO FREE PRESS 2:00-
3:00PM Zines are dead! Long
live the zine show! Bleek presents
the underground press with articles from zines from around the
MOTORDADDY   3:00-5:00PM
"Eat,    sleep,    ride,    listen    to
Motordaddy, repeat."
RACHEL'S SONG 5:00-6:30PM
Socio-political, environmentally
activist news and spoken word
<rachelssong@lycos.com>
Sept.5: Vandava Shiva, on
"Jaundice Rice And Patenting Of
Life," plus an interview with Dr.
Shiva and an intro by Nandita
Sharma of the Basmati Action
Sept. 12: David Orchard on
"What Is Globalization All About-
A Canadian Perspective."
Sept. 19: John Raulston Saul on
"Rights And Responsibilties."
Sept. 26: John Raulston Saul Part
POP GOES THE WEASEL 6c3O7:30PM
AND SOMETIMES WHY alt.
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things. (First
Wednesday of every month.)
REPLICA   REJECT   alt.   7:30-
9:00PM Indie, new wave, punk,
noise, and other.
FOLK OASIS   9:00- 10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-song-
writers.worldbeat, alt. country
and more. Not a mirage!
<folkoasis@canada.com>
STRAIGHT OUTTA JALLUND-
HAR 10:30PM-12:00AM Let
DJs Jindwa and Bindwa i
you
radio
Bhun
"Chakkh de phutay."
HANS KLOSS' MISERY HOUR
1 2:00-3:00AM   Mix of most
depressing, unheard and unlis-
tenable melodies, tunes and voices.
FIRST FLOOR SOUND SYSTEM
3:00-6:00AM
THURSDAY
BBC WORLD SERVICE 6:00-
8:00AM
END OF THE WORLD NEWS
8:00-10:00AM
PLANET LOVETRON 10:00-
11:30AM Music inspired by
Chocolate Thunder, Robert Robot
drops electro past and present,
hip hop and intergalactic
funkmanship.
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander,
Baffin Island to Portage La Prairie.
The all-Canadian soundtrack for
your midday snack!
STEVE AND MIKE 1:00-
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow. Listen to it, baby
(hardcore).
THE ONOMATOPOEIA SHOW
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
RHYMES AND REASONS 3:00-
5:00PM Back in full effect, Jan-9
and DJ Hedspin.
LEGALLY HIP alt. 5:00-6:00PM
PEDAL REVOLUTIONARY alt.
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! http://www.sus-
tainobility.com/dinos/radio
OUT FOR KICKS 6:00-7:30PM
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
ON AIR WITH GREASED HAIR
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1 942-1 962 with your snap-
pily-attired host Gary Olsen.
<ripitup55@aol.com>
LIVE FROM THUNDERBIRD
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11.
HIGHBRED VOICES 11:00PM-
1:00AM
PLUTONIAN NIGHTS 1:00-
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
http://plutonia.org
FRIDAYS
BBC  WORLD   SERVICE  6:00-
8:00AM
CAUGHT IN THE  RED  8:00-
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
SKAT'S     SCENE-IK     DRIVEI
10:00AM-12:00PM
Email requests to <djska_t@hot-
THESE ARE THE BREAKS
12:00-2:00PM Top notch crate
diggers DJ Avi Shack, DJ Splice,
and Promo mix the underground
hip hop, old school classics and
original breaks. Fresh tracks,
funky beats.
THE LEO RAMIREZ SHOW 2:00-
3:30PM
NARDWUAR THE HUMAN
SERVIETTE PRESENTS...
3:30-5:00PM Please keep on
rawkin' in the free world and
have a good breakfast. Rock on,
Nardwuar and Cleopatra Von
Flufflestein.
CITR NOOZE AND ARTS 5:00-
6:00PM
FAR EAST SIDE SOUNDS alt.
6:00-9:00PM
AFRICAN RHYTHMS alt. 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.
HOMEBASS 9:00PM-12:00AM
Hosted by DJ Noah: techno, but
etc. Guest DJs, interviews, retrospectives, giveaways, and rr
SATURDAY
FILL-IN 2:0O-6:00AM
BBC WORLD SERVICE 6:00-
8:00 AM
THE SATURDAY EDGE 8:00AM-
12:00PM Studio guests, new
releases, British comedy sketches,
folk music calendar, and ticket
8-9AM: African/World roots.
9AM-12PM: Celtic music and
SOULSISTAH   RADIO   12:00-
1:00PM
POWERCHORD   1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
damage.
CODE BLUE 3:00-5:00PM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
ELECTROLUX HOUR 5:00-
6:00PM
RADIO FREE AMERICA 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.
(Welcome back Michael!)
PIPEDREAMS alt. 10:00-
1:00 AM
THE RED EYE alt. 1:00-4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out-
REGGAE LINKUP 4:30-9:00AM
Hardcore dancehall reggae that
will make your mitochondria
quake. Hosted by Sister B.
SCfck l^^gf^
Sct\H?V.A-
SlpWrtW loo\ ■
listen to us on your
little computer at
www.citr.ca
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27 u^ssmm Dffr we£.k>Wr LjnV\l \i(\r\^Wxt)o.  ArJl™U\o*\<\MtS 1/nlUfW (*&%« jo 75 (\du.       On&.bc.ca.
28 September 2001 ^DESCENDENTS
H   B0C3QD8LIVE DISC INCLUDED VANCOUVER INTERNATIONAL
IN PARTNERSHIP WITH:
I rCSl   I VAL    AIR CANADA     f L\^ J
SEPT 27 TO OCT 12,2001
ViSA
MUSIC FILMS
Lilith on Top (Canada, too min.)
Lynne Stopkewich's (Kissed, VIFF 96) d>
portrait of Sarah  McLachlan's
Lilith Fair tour. Featuring the creme de la creme of
cinematic equivalent of the concert tour it chroni-
■ocative and enormously fun.
A Skin Too Few (Netherlands.
Jeroen Berkvens' impressior
tiche - combining music, inte
footage - captures the esser
The American Astronaut (USA, 92 ,
Even though the twisted rockabilly surrealism of
Cory McAbee may elicit memories of David
Lynch and John Waters, this outrageous,
and-white space western musical comedy
fact, unlike anything you'
The Legend of Teddy Edwards (USA, 85 m
Don McGlynn's loving portrait of neglected, jazz
great Teddy Edwards, the L.A. bandleader who
recorded the first tenor s;.x bebop solo, fills in
one of the most glaring gaps in Ken Burns' PBS
series dazz by giving fuller recognition to the
vibrant West Coast jazz 3
the fast
Portland
Kinnie Starr
Outrageous
ichy. wry and in-your-face tale of
of an all-girl, four-piece
band,  The  Paper  Dolls,
ind features some kick-ass tunes,
and  funny,   like  an  underground
Land of Look Behind (USA/Jamaica, 90 min.)
One part of our 20th anniversary celebrations
VIFF to ct
personal fave from our past. Jim Jarmusch has
big crowd pleaser from VIFF 84.
i to significantly add to our knowl-
the  The
Harder They Come" - L.A. Times
*    J**-   —-   t- wi
ilon. the propriet
Everybody Says I'm Fine (India,
At Xen's, Bombay's chicest hair se
coiff and colour your hair. He'll dig down under your roots ai
read your mind. Bollywood idol Rahul Bose's (Split Wide Open,
VIFF 99) funny and sharp-edged directorial debut, which one
:ritic has described as Shampoo meets Life is Beautiful,
added bonus: a soundtrack by Shakti's Zakir Hussain,
itle track by Carlos Santana.
A Huey P. Newton Story (USA, 90 min )
Based on his one-man stage play, Roger Guenveur Smith gives
an explosive performance as the chain-smoking co-founder of
the Black Panthers. From the inside of his jail cell, where
Newton earned a Ph.D., the late radical free-associates a rapid-
fire monologue on the struggles faced by the black community
over the last 50 years. Directed by Spike Lee.
He Died with a Felafel in His Hand (Australia. 102 min.)
Deadpan throughout. Noah Taylor stars as a peripatetic house-
hopper in Richard Lowenstein's wryly sardonic but perceptive
grasp of the almost-30 Zeitgeist in three vastly different settings
-Brisbane, Melbourne and Sydney. Lowenstein captures the
anarchic, reign-of-chaos comic spirit of John Birmingham's classic contemporary novel.
Resin (USA. 87 min.)
Winner of the Audience Award at Chicago's edgy Underground
Film Festival, Steve Sobel's riveting feature uses the principles
of the Dogma 95 manifesto - natural lighting, improvised acting,
and digicam cinematography - to create a verite-style drama
about a small-time marijuana dealer victimized by California's
Mirror Image (Taiwan. 72 min.)
A perfectly bizarre love triangle: a young man minding a pawnshop on behalf of his hospitalized father, the young woman who
adores him. and the woman customer he chases to escape from
his girlfriend. Hsiao Ya-Chuan's debut feature is cool, modern
and very original. Dragons & Tigers Award nominee. With Lee-
Sung Hee-ll's latest short Good Romance (South Korea, 28
min.). She's middle-aged and lonely. He's a high-school boy. Can
they get along?
Culturejam: Hijacking Commercial Culture (Canada. 58 min.)
Jill Sharpe's smart, witty documentary follows the exploits of
pranksters and artists who express their anti-corporate frustration, not with the violence that has marred worldwide protests,
but with a slyer and arguably more subversive approach - culture jamming. With a series of shorts that each jam on culture in
their own unique ways, including David Weir's If Canadian
History Was Airports (British Columbia, 3 min.), written by
Douglas Coupland.
«€?##
Ball Mobility
I The\AncouverSin
Drivers wanted, (m)        *f" '/J *"
RD
[ Brad Birarda| cBc*fcradi_W_:
aw*1""1".:
041*
kOX  TRIkkkk C8C_# Television
IFC
Fedix
3 Telefilm Canada
Important Dates:
Sept, 6:    Free 32-page C8C-TV Festival Guide available around town.
Sept. 8:    All Box Offices open (tickets & passes). VISA sales only til Sept. 15.
Bell Info Line opens: 604-683-FILM (3456) 9am - 9pm
Sept. 15: Cash sales begin. Souvenir Programs available. Box Offices   (open n<
Web site: www.viff.org (24 hrs./day)
VISA Charge-by-Phone line: 604-685-8297
Rogers Video (Broadway & Arbutus)
n - 7pm)        Pacific Centre Kiosk (Georgia & Granville)
SAME    PLANET.      DIFFERENT    WORLDS
Bell
info
683 FILM mzmm*mMmm   Our Spectacular 2001 Fall Line Up
w
Come Move oil fye fctffi
Sat. Sept. 1st on the Abitibi
(Located @ the foot of Burrard next to Canada Place)
Loads @ 6pm    Departs @ 7pm
A New Orleans Dance Party Sept. 2nd The Boot Pub in Whistler
QOOOQBOQDQOc
October 23rd The Orpheum Theatre Efe?.';:^^!
The Upstream Jam Pack qddbb&qbbbb
CONCERTS
CANADA
Saturday Sept. 22nd
f
iiny universe
with guests
garai mahal
BQ06
Too big to miss
Oct. 3rd
r
y      ^^^ ''Collaborative sound sculpting
and hypnotic beat science"
Nov- 1st The Starfish Room
Buy the Upstream Jam Pack, All three shows for $50
At www.upstreamentertainment.com or
Individual Tix @ Highlife, Zulu, Black Swan, Ticketmaster 604 250 4444
Tix 8c info www.upstreamentertainment.com or 604 904 4207 IN LIVING STEREO
SEPTEMBER SOUND ORGANISMS AT ZULU
>■-**"*'■■'
SIGURR0S&
HILMARORN
HILMARSSON
Angels of the
Universe CD
What do we know
about Iceland? With an area ot 103.000 sq
km, this little island is just south ot the Arctic
Circle. Much of its icy and volcanic landis unpopulated, with the majority of people living close to the
capital city, Reykjavik. Yet, due to the North Atlantic
Drift, Iceland's climate is kept surprisingly equable.
Like many Europeans, the Icelandic people are well
educated, and enjoy the benefits of a state funded
social security and health insurance system. Sadly,
however, Icelandic nights sometimes last nearly all
day long. Brrr. In any case, this beautiful soundtrack, to a film by thor Fridriksson, features two
tracks showcasing the also beautiful SIGUR ROS.
See them live October 1st at Andrews Wesley
Church A VAIL. SEPT 11 TH.
CD 24.98
SPARKLE-
HORSE
It's A
Wonderful
Life CD
The left side of your
brain has been hijacked by the F
while the right is held hostage by the mavericks
that haunt the Giant Sand desert rock pueblos.
Stumbling into the hostelry, you nod to the group
of insects occupying the corner booth. Man, those
insects look like Tom Waits! At the piano is your
surprisingly talented stunt double, tinkling out
songs fromthe Beatles records you didn't own.
Sadly, you know that it is only a matter of time
before someone smashes a candy glass bottle of
Sarsaparilla juice over his head. Ah, It's A
Wonderful Life reach for those Zuzu's Petals and
QUASI
The Sword of
GodCD/2LP
CD 19.98
ALSO IN STOCK:
HOWE GELB - Lull Some Piano CD - Howe finds time away from
Giant Sand to coax these precious notes out of his piano!
PULLMAN - Viewfinder CD/LP - Chris Brokaw (Come, New Year)
curates this fragile acoustics album featuring other Chi-town luminaries!
PRESTON SCHOOL OF INDUSTRY - All this Gas CD/LP
Scott's post-Pavement solo debut. Grand.
THE DAMNED - Grave Disorder CD/LP - Their first studio album
since lastcentury.
AMERICAN ANALOG SET - Know By Heart CD/LP  Soon
appearing at the Starfish — come see what the fuss is about.
Various - TRAMPS, TRAITORS AND LITTLE DEVILS CD/LP
- Drag City spotlights the collective talents of Smog, Neil Haggerty, and
Edith Frost!
On the surface,
Coomes and Janet
Weiss seem like total
bastards, quick to cynically dismiss any hopeful sentiment as inexorably doomed. A source of private
ment, this sour attitude is the basis for the
darkly humorous tales of human woe that
fill their songs. Yet, Coomes and Weiss'
unabashed negativity is oddly well complemented by some of the bounciest and
catchiest pop music we've heard, all
jingle-jangle and buzzing thump. This
latest album, and their first for Touch
& Go, generously proves what
we're talking about. Although the
lyrics may make you frown or
even cry, the music will make you
dance and jiggle - such is the paradox of America.
CD 19.98    2LP 19.98
BOXHEAD
ENSEMBLE
Two Brothers CD
One might think that with no
film to accompany, the
BOXHEAD ENSEMBLE may well
justifiably disband, as loose
and changing a grouping as it has been. Thankfully,
ever, the ENSEMBLE has taken on a life independent of
Braden King's solemn documentary,
becoming a self-functioning project under the direction of Michael Krassner. Now exploring new conceptual ground, Two Brothers is informed by
the American Civil War's troubled aesthetic, a
significant turning point in America's development. Part hopeful, part melancholic and
always exquisitely recorded, this is perhaps
the strongest BOXHEAD ENSEMBLE recording so far. Featuring a distinguished list of
musicians, including, Jeff Parker, Mick Turner,
Jeff Tweedy and Jim White
CD 19.98
VARIOUS
ARTISTS
TEAM MINT
VOLUME 2 CD
Just in time for their big \
tenth birthday bashes
with the cream of their roster all playing, comes
this, the latest sampler from local indie label,
Mint Records. Featuring tracks culled from
some five year's worth of albums, Team Mint
Volume 2 is a musical potpourri that includes
such mainstays as Neko Case, the New
si Am
the Smugglers, and more!
CD 5.98
RICHIE HAWTIN
Closer To The Edit Minus CD
Interpolating the practice of DJing into the digital
realm, RICHIE HAWTIN s latest is a dense recombination of over 900 finely edited loops, some as short a
one note long. Ostensibly a fantastic dance-
A friendly mix, the result of H
0** careful work also o
the idea of DJ collage as
merely a collection of references linking surfaces
surfaces to be
catalogued and n
checked. Instead, HAWTIN
reworks his sources into a new
artifact - one still immanently
bound to its original material but
now able to stand independently of
an accumulation of pop cultural
proof for value and affirmation. The
final test, of course, is that it rocks the
house AVAIL. SEPT11TH.
CD 19.98
STEREOLAB - Sound Dust CD/LP   Play this album
to your friends so that they may understand you.
Various - HI FIDELITY LOUNGE 3 CD/2LP   Reserve y<
copy of the latesti nstallment of this electronica series.
JOHN ZORN - In The Mirror Of Maya Deren CD
Orchestrated jazz to accompany this surrealists' dreamy short
films!
THE REAL MCKENZIES - Loch's and Loaded CD  Now
on Honest Don's Records! Hometown punks.
SCHLAMMPEITZIGER - Collected Simplesongs CD
collection of fascinating Neu-esque tracks. On Thrill Jockey!
the
VARIOUS ARTISTS
BOMBAY: ELECTRIC
VINDALOO CD/2LP
At last, the encore release to Motel 6
Records Bombay The Hard Way!
This is a tasty 17-track masala mix of
Bollywood sounds including remixes
from Kid Koala, Ursula 1000, Mixmaster Mike and more Now,
all you've got to do is convince Monsoon or Clove to deliver
some sustenance to fuel your trip through these sultry scores!
PS, You can't select the spice level on this mix - Electric
Vindaloo is only served hot! AVAIL. SEPT4TH.
CD 16.98    2LP 20.98
SUPER FURRY ANIMALS
Drawing Rings Around
The World CD
Wherein the Welsh hit-makers take on a grandiose voyage,
from the melancholy bedroom to the swingin' lounge
experimental lab and back again. One of the UK's biggest critical
hits of the year, this incredible journey isalready capturing the collective imagination of Vancouver's Britpop loyalists. Prepare yourselves for a psyche-pop circumnavigation of exceptional ambition.
CD 19.98
UP BUSTLE
AND OUT
Master Sessions 2:
Calle 23 Havana Cuba
CD/2LP
Rarely are the worlds of electronic
and live music fused so seamlessly as on this, the second
installment of UP, BUSTLE AND OUT s Rebel Radio series
Again traveling to Havana to collaborate with Richard Egues
and his Cuban orchestra then editing and expanding on the
fruits of those sessions back home in Bristol, this album is a
never less than compelling rhythmic and sonic journey. A must
for lovers of human sounding stuff that you can shake your
moneymaker to.
CD 16.98    2LP 20.98
VARIOUS ARTISTS
Factory Seconds CD
A good-as-new compilation from Peanuts and Corn, the unusu-
/"Vally self-effacing local hip-hop label, that gave you slightly-
damaged LPs from Park Like Setting. Moves and Pip Skid A
100 per cent Canadian Content bargain bin with a free bonus CD
ROM video track to boot. Featuring the aforementioned Mr Skid
plus John Smith and Anticon pin-up Josh Martinez Get it while
its going cheap!
CD 16.98
PIANO MAGIC
Son De Mar CD
Embarking on their career with 4AD Records, London's sublimely talented PIANO MAGIC give us their first transcendent
soundtrack work. Accompanying Bigas Luna's yet-to-be-domestically-viewed film, these quiet, untitled compositions find the
group embracing the orchestrated beauty that made last year's
Artists' Rifles a Zulu fave. Introspective and meditative, here's a
nice listen for the autumn evenings fast approaching - times
when the cascading lights beyond your curtains narrate their
own surreal fictions! AVAIL. SEPT4TH.
Ifocu- S£uuvi*ty at:
JZ69
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%u*ui. 'tit Sefitemfet f2*
Jjfyext S6*& (ofie*t4. SetiwicUcf Sept.   W,7-tOfi*tt,):
7<ztt& 0>e£c&tf& Sex
CD 16.98
Zulu Records
1972 W 4th Ave
Vancouver. BC
tel 738.3232
www.zulurecords.com

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