Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-05-01

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^ \S%* F°RCES THAT CO»T»o,     mi
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MAY\                                                            ___S__S__H
5-0 presents
$5 after 10
MAY     |
UK junglist with an exclusive di set
@ Sonar advance tickets only $10
GMan & Rizk Present
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The city's premier turntabalists
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only $5 after 10
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Alternating weekly
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^Grande                   tmesna                           /tews*
n_n ..™„ _•. u„„                        Brum'n'Bass wl Andy B                             House
66 WATER ST. Club: 683.6695 Office: 683.6527 Fax: 688.2552
Sound system by:   • Turbosound     Visual styling by: URBAN
mtt Bt mm with valid smatHi in on thurs, fri _ sat
ISUBIlcr TO CAPACITY _ SPlCIAl II/INIS)                                                                                                                       <
Memberships available now       Tix available in advance
\X *^Y
STANDING -55     Seottle quartet brings rich vocals,   [
Laszfo kowcks and Todd Tomsiorrow
Austin Blest & Sipreaeo
| Twice os nice
weekly on a new night |
I Famoso 05.21 Velvet 05.29 Shazzam 06.5 & 6 Jazz Pharmacy 06.12 & 13
"9.0806 OFFICE AND BOOKING TELE.-683.6527 FAX-688.2552
i & SAT 7pm - 1:30AM / FRI 4PM - 1:30AM / SUN 8PM - 12AM
Y & SPECIAL EVENTS] ■&*W_M:kUAfA_H*l*_?_nra
Final Conflict
Tribe 8
Storm & Stress
DJ Vadim
I_ooking Back .
May, 1987
editrix: miko hoffman
art director: ken paul
ad rep: kevin pendergraft
production manager:
tristan winch
graphic design/layout:
kenny, magnetic malcom
bubble, kelly donahue
production: bryce dunn,
ann goncalves, patrick gross,
alia hussey, christa min,
stefan udell, malcolm, shane
van der meer
illustrations: jason da
silva, ted dave, richard
folgar, lori kiessling, suki
smith, patrick
contributors: barbara a,
brady c, julie c, consumer,
glenn d'c, greg e, sarah e,
sean e, anna f, noah g,
patrick g, steve g, pieter h,
Jonas, anthony k, namiko k,
meegan m, Joseph  m, janis
mck,  nardwuar, evan s, suki
s, jim v, brian w, tristan w,
Jerome y
programme guide:
namiko kunimoto
charts: julie colero
datebook: tristan
distribution: matt steffich
us distribution: tristie
publisher: linda scholten
Vancouver Special
Demo Derby
Interview Hell
Seven Inch
Printed Matters
Real Live Action
Under Review
On the Dial
May Datebook
Botched Ampallang
Good Tasty Comic
At 3 A.M., thank goodness for
cup art. Duhsign by Ken.
© "DiSCORDER" 1998 by the Student Radio Society of the
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Deadline May 15,   1998 Vancouver
springtime, my staid navy
ue '60s sedan is encrusted
ith pretty pink cherry blossoms from the tree in front of our
house, the sun is shining, and it's
warm enough to go out without a
coat. Now all you need is something good to listen to, right?
It's So Fuck'n Great to Be
(Porcelain God)
Wow! The title track, which
appears first on thi:
EP, is my favourite
local pop song of
pie and happy and squeaky-
clean sounding fun that seems
designed — and I mean this in
a good way — for commercial
radio airplay (except of course
for that "fuck," which probably
won't go over well with the music programmers). In the remaining five songs, Jungle seems to
be mining the best and (so far)
less tired nuggets from the
1970s: there's an Alex
Chilton song, which is imbued
with a joyful Iggy-esque quality, and plenty of hints of the
Stones, Bowie (from his early
days, when he used the top of
his range), and even the likes of
current revivalists like Supergrass. The singer's voice has a
way of breaking (most notably
in "Summer Heat") that's mighty
appealing, the tunes are catchy,
and the rhythm section is rock
My only quibble is with the
squealy guitar solo in the second track, "Common Blood,"
which started to give me flashbacks of some of those other
bands from the arena rock era.
Never mind — Jungle knows
how to have a good time!
The Dukes of Hemi Orange
At first I was all excited by the
references to muscle cars (well,
carburetors and mighty Mopar
motors) in the names of the band
and the CD, and even started to
wonder if The Dukes of Hemi Orange might be referring in *
way to the 1 980s XTC-< '
psychedelic band Dukes of
Stratosphere, but, well ... certainly the EP is loud, and this Vic-
i thre
good use of that huge, crunchy,
machine-gun guitar sound, but I
kept hoping for something more,
something different, maybe even
something a little tongue-in-
cheek. Nope. But I can't imagine how you could get more volume and earnestness into a little
four-song CD like this, and hey, I
bet you can skate to it.
If I call Joel Maple Ridge's answer to Billy Bragg, and if I
tell you that the first song on the
CD is called "Wankouver," will
you keep reading? Well, I hope
so, because in spite of the way it
sounds on paper, this recording
is truly worthwhile. For most of
the CD, Joel is an angry young
man with an acoustic guitar, and
often the songs are on the tuneless side, and sometimes the guitar sounds more like the percussive clicking of picks on dead
strings than any discernible
chords. But the lyrics, and the
sheer force of Joel's delivery,
make all the difference, from the
very first line of the very first
song: "What we need right now
is an earthquake to make us disappear." In the second song,
"Party Tune," he's like that scruffy,
annoying, incompetent busker
who steps right in front of you as
you come out of the liquor store
— a busker who knows just how
much you'd like to avoid listening to him: "This is the song that
does not make you care/ This is
the song that does not ever make
The CD is loaded with quotable lines (one more: "You'll run
out of bullets long before I run
out of breath," from "Hair Trigger," one of the bonus tracks),
uncomfortable scenarios, and all-
round prickliness. Eventually, toward the end of the listed 13
tracks, the songs become more
tuneful and other instruments join
in, and the five bonus tracks are
performed with a full band, but
Joel never does pull his punches,
no matter what he's singing
about or who's accompanying
him. Who is this guy, anyway?*
On Good Friday, a small
demonstration was
held in the Vancouver
rain in support of the Zapatistas
in Mexico. Demos took place on
this day in various cities throughout the world and via the internet
(called "electronic civil disobedience"). The Zapatistas and their
supporters have been struggling
for greater autonomy for indigenous groups in the southern state
of Chiapas. A speaker at the
demo described his experiences
as an international observer in
Chiapas. He talked about the
government's restrictions on foreigners in the area through the
use of "immigration check
points." He described the situation as a "low intensity war" and
said, "international observers
estimate that there are 70,000
Mexican troops in Chiapas and
they are ready to attack."
At the same time as the demonstration, the Zapatistas were
seizing land in Chiapas to create an "autonomous town." Before dawn the next day, the army
and police entered the town and
expelled the Zapatista supporters. Eight Mexicans and 12 for
eigners were arrested, including
at least two Canadians. The foreigners say they were denied the
right to contact their consulates
or have a proper hearing. Two
photojournalists say they were
attacked. Locals fear that the expulsion of foreigners and press
indicates a military crackdown is
Activist Jesse Scott was arrested at a "Hands Off Iraq" demonstration on rather suspicious
charges. He was arrested for
writing graffiti at the Student Day
of Action way back in January.
Seems the police were suddenly
reminded of his outstanding
crimes. Scott says the arrest is
meant to intimidate activists.
Students at the University of
Guelph who call themselves "the
Student Liberation Front" occupied a coffee shop in their student centre called the Daily
Grind. They presented a petition
to the University's Hospitality and
Retail Services, demanding that
they "eliminate support of companies that actively contribute to
global inequities." Guelph students are angry at the recent
that their tuition
will rise another 7.5%, adding
$270 to the existing fee of almost
$4000 a year).
At UBC, some students visited
the crowds in the popular Storm
the Wall contest, in which students run, bike, swim, and finally
scale a giant wall. In recent
years, the wall has become a
billboard, featuring the logos of
corporations such as Adidas and
McDonald's. Student activists
handed out fake coupons for free
Big Macs. A visiting group of
school children swarmed around
eagerly to get coupons. They
were disappointed to find out that
the coupons were fakes which
described McDonald's union-
busting techniques, poor nutritional value and Third World
grazing policies. Fortunately,
McDonald's representatives were
on hand to give out real Big Mac
coupons, provided that you
traded in your subversive fake
coupon. A blood-covered Ronald
McDonald look alike even made
an appearance. He tried to
"storm the wall" but was seized
violently by security guards before he got a chance.
With classes over, it leaves
the student activist with a lot of
time on his/her hands. To help
the student readjust to his/her life
off campus, I have a list of suggestions for things activists can
do on their summer vacation.
1. Go to Chiapas as an international observer. Buy sombrero
and camera and pose as a tourist.
2. E-mail Chretien, Axworthy,
Zedillo on a regular basis. Try to
find out if Jiang Zemin is online.
3. Write a manifesto.
4. Buy a suit. Infiltrate corporate
dinners and CEO meetings.
Stand on chair and yell "DOWN
5. Hack into Fraser Institute
website and replace text with Che
Guevera's diary.
6. Hang out at Spartacus books
and read Noam Chomsky's
works, volumes 1 to 44.
7. Take package bus tour to
Washington DC for the Tibetan
Freedom Concert.
8. Stock up on glass chalk if on
9. Work on giant puppets of Paul
Martin, so in case he becomes
the next Prime Minister we'll be
10. Contemplate name change
from Radical Anarcho Agit-Prop
Student Action Network to Radical Anarcho Agit-Prop Student
Action Alliance.
1 1. Apply for a visa to get into
Malaysia for APEC '98 in Kuala
Lumpur. Wait for rejection letter.
12. Suntan in Cuba." Who are you (names, ages and instruments played)?
Natasha Moledina (23): bass guitar, vocals;
Christopher Tait (22): vocals, guitars; Shawn
Mrazek: It's a mystery to me.
State your   purpose. Why did The Idols
become a group?
Chris: Guts, attitude, love, passion and hate in an
era that mocks glamour, sex appeal, confidence
and rock 'n' roll in general. We envisioned The
Idols to be a group that musically and visually
could never be dull ... and what's more, none of us
want to live in a nine to five world.
Natasha: We're more ambitious than that. It's the
same as any hope or dream, the difference being,
no one can wake us up. We want to be remem-
Are you really abandoning Vancouver in
May for London, England? Please explain.
Chris: Yes. Polygram UK has offered to advance
us a considerable amount of money in order to
coax us to go overseas to rid those Limeys of their
boredom and anxieties of unemployment. So, with
stars in our eyes, we've accepted and endorsed
this proposal, even though it means we'll probably
end up employed too.
Natasha: Now, 'abandon' seems a strong word
as nothing is forever.
Chris: We will never leave behind the soil our
mothers stained with our birth.
What bands do you see as your contemporaries?
Chris: I don't have any money to buy new music
right now. I've been given twelve doses of gamma
radiation, and if anybody makes me angry ... I
like Television.
Natasha: The Chameleons are my favourite band
in the whole wide world. I like Ultrasound, Suede,
James, Manic Street Preachers.
Shawn   I am only consumed with what we're
doing right now.
Have The Idols learned anything from
hanging out with Copyright?
Shawn  Pete Bourne has really influenced me as
Natasha: I've learned that you need to go
through the American copyright office to take care
of business because the Canadian one isn't recognized worldwide.
Chris: Well, when I'm hanging out with Tom
Anselmi and Pete Bastard, I look at Tom's ... get
embarrassed, and put mine back in my pants.
Then, Tom looks at Pete's ... gets the willies, and
puts his away. In the end, I guess Pete's the only
one hanging out teaching all of us a lesson.
You guys have painted on oily vinyl
records for gig promotion purposes, and
given away 'Heart Attack' candies. Has
this been successful?
Natasha: Of course. It was a good idea and it
stood out. People really noticed the records.
Shawn: The way I see it, the more you give, the
more you get.
Chris: Well, the reason we get to host Much West
every Tuesday at 4:30pm is because of things like
those records and candies.
While growing up in Fort Langley, did you
ever take the bus downtown and hang
out on the art gallery steps? Did the
Morrissey fans outnumber the 'punkers'
in your high school? Take us on a tour of
what it was like to be a high school Idol.
&■ may'mfs
Natasha: The Def Lepard fans outnumbered the
Morrissey fans and the punkers in my school. Chris
and I both attended the same institute. He was a
punker and I was more of a 'new waver.' Destiny
and lack of common ground between anyone else
brought us together there.
Chris: The high school years in Langley were filled
with high points and low points. My best friend, at
the time, was always in trouble and I was known
as a clown. Every morning, we would eat a pack
of Rolaids and drink a can of Pepsi ... then sleep
through our classes. I got so pessimistic during
grade 1 1 that I had stomach aches everyday. We
were the punkers then and I think we were outnumbered by the Christians. My best memories
include hanging out on the art gallery steps during
the summer of 1990. All of us, together, made up
kind of a John Hughes family.
Natasha: I wished high school would have been
like Some Kind of Wonderful.
Chris: The scene downtown got boring and filled
up with people who had no ideas.
Shawn: Well, as for me ... I went to an all boys
school where ALL the boys liked Morrissey.
Ask yourself a question and answer it.
Chris: Who cares?
Oh yes ... this is a good question. Do those big
boys on big labels care? After working your ass
off while kissing everyone else's. It's too bad your
'Auntie' isn't the A&R rep for EMI. I guess those
big boys really don't care. Could those elitists from
those closed punk rock circles care? Well, they're
the first ones to say they don't. I'll tell you, reader,
who cares. The things we turn to in order to keep
sane are music, film, television, poetry, art ... this
world is held together by the art. We all care, even
though most don't know it... we all care.
Divided We Fall (demo CD), Let's Loose Our Minds
The Idols, PO Box 1216, Fort Langley, BC, VIM
2S5/ 604-888-3803/ theidols@hotmail.com*
Who are you (names, ages, instruments
Denise: 67, drums; Marcus: 72, gutfiddle; Ryan:
13, bottom.
Name your contemporaries.
The fine singing folks at the Jesus Revival Centre,
Civic Pride, Elementary school bands.
Should every band have an experience
like playing Club Paradise in New West?
Describe what happened.
Marcus: Oh, absolutely! Sadly, it's no longer with
us. The first time we played there a couple a years
ago we were paid with two cases of beer — but we
couldn't open them before we played so these two
cases were delivered to the stage and they all had
to open for some reason. Beer goes flat in 16 minutes and we really couldn't drink 24 beers while
we played and we were the last band on. So we
were supposed to drink them quickly before we left.
After our set, a guy came into the bar, bumming
change from the patrons so he could buy a beer. So
we gave him the two cases. He was so grateful that
he basically offered us his Iwo first born.
Ryan: We played with a band called Cosmic
Dog. A punk band. Punk as a band could ever be,
I suppose. Anyhoo, we made off with their union
jack flag with 'cosmic dog' punkishly scrawled in
magic marker across it. It is now proudly displayed
jam space among the other trophies. The
Paradise was a time n
travel back to the golden
purple and gray and cc
back. I think we made foi
lot back in the '80s.
Denise: Yes, every one
ence of playing the Paradise, especially if you'i
a girl drummer. Long-haired death metal guys w
80s. A colour scheme of
nfy wicker chairs in the
r dollars — which was a
should have the experi-
come up talking to you, asking you to drum in
their bands.
When you guys played live here on
Thunderbird Radio Hell, Marcus's vocals
sounded great. But they weren't distorted as usual. Would you ever consider
ditching the distortion?
Do you really practice 'underground' on
East Hastings Street? What's the street
like? Please paint a picture for us. Is Mike
Reno of Loverboy's brother really a hot
dog vendor down there?
Marcus: Stevie Reno, the hot dog vendor — he
actually runs a platoon of hot dog vendors and he
carries little dogs around in his jacket. Actual dogs
— these tiny little Chihuahuas — tons of fun stuff on
the street. Junkies, ladies of the night. You can buy
anything for eight dollars 'cause that's what it costs
for a hit of crack.
Ryan: On the east side of the street (between
Hastings and Pender on Abbott Street), you'll find
the glorious voices of the Jesus Revival Centre
pumped out into the street through crappy speakers
and the Grand Union country bar. On the west
side there is a gay bar, a lesbian bar, and a gay
and lesbian lounge. Then the whole block is peppered with junkies and dealers.
Denise: We do practice very underground. You
can hear street noise over our heads, footsteps.
What's the street like? Short. About a hundred
meters long. They have pizza, Jesus Revival
Centre, key cutters, a pawn shop. And hot dogs.
Upon whom would you most like to exact
revenge? Why and how?
Denise: Fatso, for being an anal control freak
for four years in my lab. Every one knows where
fat comes from. I'll sterilize her in the extra big
Where does  Motorama  get all  those
sound effect tapes from?
Marcus: I bought a whole bunch of tapes from
Salvation Army. Narrated Disney stories, marketing strategies, crazy stuff. Also, I tape the Art Bell
show and dialogue from movies.
Ryan: My tape samples I record on my four-track.
A sickening blend of moaning, twisted choral
singing, farts and the static you would find on AM
radio between station broadcasts.
Denise: We leave that up to the guys.
Ask yourself two questions and answer
Why do you commit such meaningless crimes?
Denise: Because the devil hides in small details!
Ryan: Haven't found the meaningful crimes yet.
Just keep trying, I tell myself.
Marcus: For fun and profit.
What is your ideal rock moment?
Ryan: I  remember my earliest rock fantasy.
Something I was embarrassed about many years
after. But now, I triumphantly expose the truth to
you. The members of Slow and Tankhog used to
have this high school band. They played my elementary school covering DOA songs. Later that
night, I dreamt I was on stage with them. We were
all wearing these white jump suits and I was playing the saxophone. The next day I met up with
some pals, all who had that spark in their eyes
from the previous day's rock feast. We decided to
form a band called Devo II. Our only show was lip
synching 'Mongoloid' in the cafeteria. My ideal
rock fantasy would be to go back and play out this
fantasy once and for all!
Anything else?
Two demo tapes and an upcoming CD.
Marcus, 4572 Quebec St., Vancouver, BC, V5V
3L9/ 604.874.6667/ fast_7@hotmail.com
Denise, reichow@sfu.ca, 604.258.8140
Ryan, 604.874.8304*- By Suki and Jonas ♦ Photos tj Suki
On February
voyaged to that murky
Jewel   of   the    Northwest
known as Seattle to meet up with Final
Conflict. Since the mid-'80s, L.A.'s Final Conflict
have been offering up their political message
through aggressive hardcore punk on wax and on
stage. The bar was smoky, the punks were drunk
and the show was amazing. What more can you
ask for ... except maybe a T-shirt table interview.
The band: Ronnie, screams; Jeff, guitar; Ron,
drums; James, bass. Record button on I
DiSCORDER: Do you find your politics have
changed over the last ten years or so?
Any evolution in your political thought?
Ronnie: I think that in our 'old age,' we've actually
gotten more stubborn views and more determined
because we have to live with them. It's really easy
to say 'Fuck the System' when you live with your
parents and they're paying your bills and stuff.
Jeff: Unfortunately, we never had that luxury. We
used to go around with all these bands around our
area that would give us shit for playing under certain promoters, you know, and they're playin' the
same fuckin' backyard every other weekend to the
same people. I mean, we're not making any fuckin'
money, we're just reaching more people.
Ronnie: We are, or the majority of us grew up,
underclass or working-class backgrounds. All four
of us.
You weren't 'bored.'
Ronnie: I am probably the one in the band that
had it more easy than the rest, but I came from a
total working-class family. My father is retired, but
he still works mowing lawns. My mom should be
retired, but she's still working. I don't care about
what some 17 year-old college student thinks about
my band. Because I know when I go to sleep at
night, the views I had five years ago ...
Jeff: Keep in mind we've been into this thing for
15-20 years, man. All these fuckin' little two-punk
people, fly-by-night in the punk scene — they're
punk    people in the scene,
you    know   —   telling
everybody else what to do. We just
got tired trying to talk to those people, because I
know they're gonna be gone, and that their opinion doesn't mean squat. There's no commitment.
Ronnie: You look at the letters column from
Maximum Rock 'n' Roll, and I can give you an issue
from eight years ago, and it's the same fuckin' letter column. It's the same people complaining about
the same thing.
What do you think of guys like Steve
Ignorant, for example, who turn their
backs on a lot of the political beliefs they
once held and, in his case, no longer call
themselves anarchists?
Ronnie: I got the chance to hang out with those
guys and it was really refreshing to be with someone who not only was a big influence on my life ...
I think that, with a band like Crass, and even to an
extent, us, people have put these expectations on
us. We never called ourselves a Peace Punk band,
we never called ourselves a political band.
Jeff: People treat him like a martyr and when he
doesn't dish out what they expect, they cut him
down. That guy stuck to his views. There's no
fuckin' bullshit with that guy, or any of those guys.
How do you think your political and social
views translate to your audiences? Do you
think people get it, or do they just come
out to get wasted and have a good time?
Jeff: When that guy got up tonight to do that spoken word, after everyone was cheering and everything, and my friend turns to me half-way through
and says, 'I bet half those people don't think he's
talkin' about me.'
Ronnie: Ron, our drummer, just showed up. He
used to be in Antioch Arrow. Ask him any question
about emo [laughs]. He's our resident emo.
Ron: Ronnie's plenty emo. He just has this punk
rock armour. He takes it off, and then goes and
takes it off for his girlfriend.
Ronnie:   Ron   has   been   in   the   band   since
November, and has entrenched himself far deeper
than any other member we've ever had.
Do you think that has to do with playing
such  emotional  music   in  the  past?
Ronnie:    No,   it's   'cause   we're   two
Mexicans named Ron, and that's why.
Ron: The Latino connection.
What kind of a scene do you
guys      have      in      Southern
California? Do you get a pretty
broad section of people coming out or is it all the leather
jackets and studs set?
Jeff: It's a bunch of guys that tattoo themselves and  look like
they're in the Exploited, but all
those guys are totally dedicated
to punk rock.
Ronnie: They're not just these
cosmetic punker kids. They live
for fuckin' punk and love it. But
we get skater kids, metal guys,
and even straight-edge kids have
started   to   come   and   see   us
because they've realized we're not
drug users anymore and we're really into keepin' a clear head on our
Jeff: We had that whole punk rock
gang thing that was so heavy down there
and most of those guys are gone now, and
that's a great thing. The skinheads have their
own scene, and stay the fuck away from ours.
And the cops aren't botherin' the punkers like they
used to — they're so busy with the gang thing.
Ronnie: We don't make music for any certain set
of people — we make music for us and we want
everyone to hear it, so we have deliberately played
with bands like Locust. We played with Stratford
Mercenaries [Steve Ignorant's new band] and
Locust, and those guys stripped down to their bikini underwear, which was hot pink and zebra
striped women's underwear, and were stage-diving. Joey needs to shave his bikini line.
Ron: They jumped out in the slam pit where everyone was being all serious and macho, and moshing it up. There were these skinny kids in women's
underwear and it was so good.
Ronnie: It broke the testosterone level.
Jeff: There's a whole bunch of 'punk' bands out
right now that are nothin' but a bunch of fuckin'
jocks, calling themselves punk rock. .
Ron: Yeah, like that whole Victory Records thing.
Ronnie: You know the one thing that always per
plexed me about those testosterone pit guys?
They're the most homophobic guys, but I wanna
know why they would much rather be runnin'
around in a circle with a bunch of other guys rub-
bin' each other with their shirts off instead of havin'
a conversation with a beautiful girl.
Ron: And pushin' the girls out of the way, saying,
'Come on, this is a man's game, you know.'
Ronnie: I'm really into slam dancing, 'cause I think
it's like the total homo-erotic, masochistic thing. I
think it's great, but I want them to recognize that
and say, 'Hey, you know what? I like guys and I
like male bonding, and I'm into it, and I wanna
touch their weenies, and stuff,' but they won't admit
it. I can't get them to admit it. It's so frustrating. You
know everyone needs to take a dick up the ass
once in a while.
I actually read an interview in a zine
about a year ago where someone was
asking a bunch of slam dancers if they
ever got an erection while in the pit, and
they said yes.
Ronnie: That is so hot!
Has the band Final Conflict ever had any
paranormal experiences?
Ronnie: I've lived in a haunted house, but I never
believed it. Roommates would tell me these stories,
but I would never believe it [until] I experienced it.
What would happen?
Ronnie: Footsteps. I would hear it walk along my
bedroom and I knew no one was in the house. A
steady patter of footsteps and, when it would hit
the kitchen floor, it would hit the tile floor and make
that sound. It would move things once and a while,
it would lock my door to my bedroom.
Ron: I had an out of body experience when I was
at my house. I was laying down and I don't know
if I was dreaming or what, but I saw myself rise
up out of my body, and saw my body on the bed
asleep, and absorbed through the ceiling and
kept rising higher and higher, but could still see
my body.
Ronnie: Jeff was in a rainstorm on acid doing
doughnuts on the freeway when he was about 17
years old.
Jeff: New Years of 1980.
Ronnie: We are all totally drug-free now, though.
We've matured. That's why we don't play 'More
Beer' anymore. We're just tea-totallers. We have a
couple of beers and that's it.
You got a lot of Christian hardcore bands
in Southern California?
Ronnie: Yeah, lots of them. It's kind of an underground thing, but it is really huge.
Ron: I've never been to a Christian hardcore show.
I know Roadside Monument.
They're on a pro-life compilation, you
Ron: I didn't know that. I know they're on Tooth
and Nail.
There are bands that actually get down
and kneel and pray before they play.
Ron: That's bad, man. They may as well get the
Power Team out there ripping bibles up and flexing
Ronnie: We know this guy who used to be in that
big Christian band, Focused. We get him cussing
and stuff — he'll see this girl and we'll say, 'Hey
what do you think of that girl?' and he'll say, 'I'd
fuck her.'
Everyone: Ohh ...
Ronnie: Yeah, coming from a man who makes
money from Tooth and Nail records. And then he
says stuff like, 'We were never a Christian band,'
and I'm like, 'Oh, yeah.'
Are you still making shirts for Anton
Levey's Church [of Satan]?
Ronnie: I haven't made any in a while, but a certain someone [Jonas] never e-mailed me back when
he asked for one. He saw the price and he was
like, 'Ten bucks!' It was too expensive to be a
Satanist [laughs].*
7,, sIP^S^p&mj* We're off to Victoria, BC for the
<*H t JK_^ ___"«^__  '*^l_ •*_____»
National    Campus/
Community      Radio      Association
from     Jun
'- 1
If you are a local band
we can distribute your demos,
CD's, 7"s, or what have you
to the campus   and community   radio
Drop  off  up     to  25   copies  before
June 3rd at CiTR or call Linda at 822-1242
#•■■    niB <»■-*»    information.
*£# IV  *w
»      '».
7f%u(?    G0vo4«-    ^VLd   Tb^K
"With tender melodies and occasionally
grinding guitars, it's a sweet meditation
on the messier side effects of life/7
- f/re Village Voice
rec| http://www.caroline.(om/versus/
>o available from Versus:
Secret Swingers
a tribe called quest
<§►  in stores July 14th
treat her like a show cat
Produced by David Lowery (of Cracker)
and John Morand.
On tour with Son Volt this Spring.
•ffW^recl http://www.vernon-yard.com/seymores/ by *leegan *laultsaid
Hailing from the queer mecca of San Francisco,
Tribe 8 (Tantrum Payne: phat bass, Flipper: guitars,
ladykilla, Lynn Breedlove: vocals/strap-ons, Slade:
drums, Leslie Mah: guitars, tattooist extraordinaire! is
)ly the world's most I'm)famous queer band,
vvirn politically biting lyrics, punk riffs by the truck-
load, a live show unrivaled in the western hemi-
cnhere, support from the coolest label around
,. alternative Tentacles) and legions of devoted fans,
the band is nothing short of a cultural phenomenon.
Prior to jumping in the van to cross the US on their
ninth American tour, three Tribe 8 members (Lynn
Breedlove, Tantrum, Leslie Mah] faxed us over some
Queries  for the Gueeries."
"Vou i_anft market dykes to the mainstream. If you uarTt
fu&k it, why give it money? That's the theory in the
industry. When they say sen sells, they mean
heterosexual  sen."
DiSCORDER: What was the impetus for
starting Tribe 8? Lack of queer bands? To
empower young dykes in rural Nebraska?
To get chicks? Enlighten me.
Lynn Breedlove: Sum'pm to do with our coffee-
achiever selves. Me and Flip [guitar player] had just
got clean and slobber and we needed an outlet for
our over-active, new brain cells — all two of 'em.
Leslie Mah: I must play ...
Does the 'dyke band' label wear thin? I
mean, OK, y'all are big dykes — we all
know that — but doesn't being the centre
of 'controversy'  [during  the  Michigan
Womyn's Music Festival] over-shadow the
fact that you play good, ass kickin' punk
rock music? Does the pigeonhole got no
Lynn: We labeled ourselves. That's what we fuckin'
are. Dykes. What are they supposed to call us? I
think the fact that we're dykes makes us even more
punk to straight people 'cause we fuck shit up —
fuck with their idea of normal and even revolution
— and they like that. It's the very definition of punk.
Punk is controversy. The dyke controversy only adds
to our supreme punkdom. Peeps used to pay more
attention to our dykeness but since we learned how
to play, they can't help but notice we also rock.
Also, (was a dyke before I was a punk so I don't
give a fuck. I use the floor show to get attention
and, once we have it, they hopefully buy the record
and get the rest of the message, which is far more
complex than tits and dick.
Tantrum Payne: Any press is good press.
Leslie: I do tire of the 'rubber penis' or 'strap-on
appliance' always getting centre stage.
Is your fan base mostly dyke-driven?
When you play to an audience of, say,
your typical jocko loogans, do you feel the
need to tone down your performance or
is it business as usual?
Lynn: Half dyke, half everybody else. We turn up
the obnoxia for frat boys but turn it down for old lesbian moms at the hippie bookstore.
Tantrum: And their children.
Do you think being a dyke band has
helped or hindered your career? OK, so
you were featured in Stalling Rone — that
is very cool. However, did David Geffen
then call to explain why it would be
important to have a dyke band infiltrate
the mainstream, that he would personally
suck his own dick if he couldn't get you a
tour with Marilyn Manson? In other
words, what started as a cheeseball
'women in rock' movement fizzled out
before they got the good stuff. Opinions
on this?
Lynn: We'd get rich quicker if we were the Spice
Girls. You can't market dykes to the mainstream. If
you can't fuck it, why give it money? That's the theory in the industry. When they say sex sells, they
mean heterosexual sex. But I believe in supply side
economics. If you feed 'em het sex, they'll think they
want it. If you feed 'em dyke images, they'll think
they want that. The whole idea behind advertising
is to brainwash the market into thinking your product's cool by saturating consumers' vision with its
image. But if the men who run the show saturated
the market with dykes it would make men obsolete.
It's in men's best interest to promote male superiority, ubiquitousness, and women giving them
blowjobs, not the other way around.
I've hung out with certain members of
your band in San Francisco and I've witnessed the fame firsthand. Is it frustrating
to not be able to go out without being
mobbed? Seems in SF there's a thriving
queer punk scene. Where does Tribe 8 fit
into this?
Lynn: We are not famous. I don't know what you're
talking about, but sometimes we get in New York
clubs for free and get free coffee and beer for our
dates. That's nice. I like to stroke my ego by thinking
we jump-started the OUT dyke punk movement in
1990. But I live in the centre of the universe. I could
be wrong. CORRECT ME IF I'M WRONG. I just
didn't see it happening anywhere else.
Last time you played here [in Vancouver]
at the Under the Volcano festival, it
raised some cries [that you were] 'inappropriate' and 'unsuitable for a family-
oriented festival.' What was your sense
of the festival?
Lynn: If people don't think we're inappropriate,
we're doing sum'pm wrong. The idea is to shock
people into my reality, into the reality that their little
mainstream world isn't the only world. There's piles
of peeps out there doing things totally different than
you do. WAKE UP.
Any shouts out to bands you'd like to turn
DiSCORDER readers on to?
Lynn: Cypher in the Snow on Candy Ass Records
is seven or eight dykes, multi-racial, kickass femme
revolution ... they are unconventional and hot.
Pagan Holiday in Atlanta, Third Sex in Portland,
Wives in New York City, Better Than Your Hand in
SF, Bitchy from Montreal.
The two questions everyone needs to
know pronto, baby:
A) Who gets the most babes?
Lynn: Flipper, Tantrum, Slade. They are handsome
and flirty. They work hard for the money. Me and
Les just kick back and wait for babes to come to
us, but they never do. I think it's 'cause we are rad
and girls are intimidated by radness. Is that it or
I'm too busy writing a novel and I like being an ugly
old man. It makes me more hot when I do finally
get a fine young thang. I feel like Bukowski: disgusting. With Les, it's femme phobia. Y'all dykes
need to get over it. Chicks in dresses kick ass.
B) Other bands get skateboard or sneaker
sponsorship. Does Breedlove get dildo
Lynn: I do get free dicks from Good Vibrations,
Stormy Leather, and Vixen.
Who is your favourite superheroine of all
Lynn: Anna Joy ex-Blatz, ex-Grups, current Cypher
in the Snow singer/lyricist. She's a revolutionary
femme dyke from hell. She takes no shit and is a
genius. Also, my mom who has taken a lot of shit
and survived. And after 20 years of complaining
about my combat boots, she asked to be taken
shopping for her own pair. She's a drag queen
trapped in a straight woman's body.
Leslie: My girlfriend is my superheroine. She can
take as well as dish out anything.*
If y'all think family values are winning the war,
ya better hit the Starfish Room on Thursday,
May 21 and catch the Tribe 8 babes as they
wind their way through North America to promote their recent release Role Models for
Amerika on Alternative Tentacles Records.
Helping them fuck shit up will be guests Jody
Bleyle (of Team Dresch] and Che Chapter 127
(the band formerly known as Puncture). Tribe 8
and Che Chapter 127 also play Friday, May
22 at SubZero in Seattle and Saturday, May
23 at EJ's in Portland.
* m?&mm StOriTI dnd StreSS. Characters: Eric, Ian, and Kevin
of Storm and Stress. Setting: a restaurant. Author: Jim Van
der Meer. Photographer: Lori Kiessling. Stylist: Magnetic Bu
Eric: ... We meet
Johnny Depp at
Spago. We sit at the
bar while waiting for
a table. We order
smokes        a
Marlboro cigarette, talking about
how hard it is to live in
this city. You know,
that kind of thing?
Jim: That's what you
want me to do? Eric:
Well, I don't know ...
Do you think you can
do it? Ian: He doesn't
seem to be too comfortable with that
style. He's a Gonzo
journalist. Eric: Yeah,
do what you know.
DiScordeER: When I
bought your album
there was a giant
sticker on the cover
that said, 'Members of
Don Caballero and DJ
Spooky.' Is the Spooky
thing true? Ian: That's
true. Kevin: Micah
Gaugh plays piano on
the fourth song [on
the album, All is all].
He's on a
bunch of DJ
Spooky records.
How did you get
hooked up with him?
Kevin: I play in a jazz
band with him called
40 Stories. Improv
jazz? Kevin: Yeah.
At this point we were
offered a table and on
the way from the barstools to the booth I asked
Ian about Chicago because all of the members
of Storm and Stress have recently moved from
Philadelphia to Chicago. Upon reaching our
table Ian took the microphone and went to
work: Ian: Is this on? Yeah. Ian: OK. When
looking at the Matador and the Sub Pop large
labels which serve as an umbrella for some
smaller labels, versus the Touch and Go
umbrella of smaller, newer labels, the Touch
and Go one has been more successful because
it is not owned by a corporation. So it doesn't
have to answer to shareholders and the profit
pressures aren't there as intensely. As a result.
Touch and Go can let these smaller labels
develop without the financial demands [of] a
Matador... Ian continues for
about ten minutes, contrasting Chicago to
New York and San Francisco and covering a
wide variety of issues like size, population,
rental costs, and so on. To summarize, he basically feels that Chicago is a more sincere city
because "people actually live there" rather
than merely going there to make it big as a
musician-actor-whatever.  When  Storm and
Stress creates a piece, do you start with improvisation and work towards form or do you preplan a structurelan: We basically start with a
song and we try to forget the song. Forget how
it begins, ignore the change; however, we continue changing. It's like varying your awareness,
blurring your eyes, trying to make it shoot off
into the sky to the point where it is just barely
recognizable but it still is part-oriented. We
keep parts for the sake of tradition. Musical
tradition? Ian: Yeah. I think it's important that
we come across as a rock band with bass, guitar,
drum and vocal. By doing that we are attaching
ourselves to, I think, the mainstream and that's
what we're going to do. To me the word experimental is a powerful word that marginalizes
what you're trying to do. If someone says, 'Wait,
I don't understand what's going on here,' then
someone else can say, 'Well, it's experimental.'
Then it's like, 'OK, now I understand' and everything's fine. Whereas if it's like, 'Hey, it's rock and
roll,' then suddenly it can't be smoothed over as
easily and it has to be thought about. We are
trying to not let people use a convenient word
to think about us. How far do you let yourself
forget the original song that forms the basis of
each piece? Ian: I think it [the structural basis
for each piece] does come out. Subtleties come
across to the viewer or listener as if they have
discovered a secret and those are much sweeter and have the sensation, at least, of being
truer things. I think that we feel that this is a
more enjoyable way to go about life. Like listening more for texture than beat structure.
Ian: Texture COmeS into play over
structure and beats. As people become more
aware of the texture, it's almost as if you were
staring at a gray surface and you notice some
screws and some rivets in it but you step away
and you begin to recognize the whole object.
As you see the edges of the object you realize it
is the hull of an aircraft carrier and when you're
staring very close to it, you recognize the metal
sheen as the texture but if you really stretch
and work your eye and your mind you can actually see the edges and say, 'Oh, an aircraft carrier.' That's how the concepts of texture and
structure interplay and bounce back and forth.
And with the kind of music that we're doing
that element is at play. Have you ever had a
visual idea that you have worked into a musi
cal structure? Eric: For me, at least, the very
beginning is a blank canvas and the music
paints the picture rather than the reverse
process. Do you ever get critics calling you
self-indulgent? Ian: Occasionally I have heard
the word 'noodley' associated with what we
do, but I don't really think, if I understand
the word noodley, that it is the proper term
because noodley seems to mean lots of notes
and, melodically, we use very few notes. I
think of us more as minimal rather than maximal. It's really just about stretching and compressing simple melodies. Minimalism seems
to show restraint rather than excess. People
do talk about us in terms of excess but I do
think this is a very simple form of music.
what do you read? Kevin: I'm
reading Joyce's Portrait of
the Artist right now, which is actually a
lot like our music, in a way. Ian: In a lot of
ways that's what we're doing structurally, if
you want to relate the formal aspects of the
music to literature. Now, the conceptual element (the whole shtick of the band) in our
definition is in the name. You go from
Goethe and the days of the original expression of the subject and the beginning of the
teenage revolt in Western Culture — of the
younger generation that cannot fit into this
world — and that just translates perfectly
into the whole idea of punk rock and a
youth-based culture. And this is an attempt
to express our will, wanting and desire in
that ridiculous attempt to connect to something so old, which is, of course, a comment
on our fascination with rockabilly and all of
that stuff. Essentially, what happens is the
subject trying to express itself is frozen over
I and has no feelings left. It really just
becomes a robotic kind of New Wave
melody that we have, but it is expressed in a
very mushy, human way when we play.
There seems to be a  lot of theorizing
behind what you do.   Ian:
Unfortunately, none of us went to college. We are all high school drop-outs. Do
you think Storm and Stress will ever use electronic technology in the future to the extent
that bands like Tortoise and Trans Am have?
Kevin: I don't think so. That would take away
from the physical element of our music. Ian:
The shift has gone from the grunge guitar stack
to the idea [as expressed through computers].
It's a lot about Kurt Cobain jumping into a
drum set in that docu-drama and of course
after that, and the success of all that, it's been
very hard. The problem with playing loud guitar rock right now is that unless you have a
bunch of A & R people courting you when
you're playing in a small club, you've automatically become either a failure or dubbed an
amateur because suddenly the realm of loud
guitar rock has become MTV and Bush playing
in front of millions of people. So the problem
with playing loud guitar rock in a small club
right now, if you'd like to consider yourself as
somehow underground, is that you are instantly relegated to the status of failure or amateur
— 'just having fun' — whereas punk rock in
1980 wasn't really considered a 'hobby' or'having fun.' It at least pretended to have something behind it.*
Thurston 5
IV /I AV  /-x+h. with SP60'0' Quests from Los Angeles   m
with special guest
David Garza
mrl-" mid
MAl/Cn        FRIDAY MAY 15th
fp^AOdAtgA bate
The lea Party             The Watchm
Green Da>                 Creed
Foo Fighters             Killjoys
Sloan "                        Matthew Go
Econoiine Crush       Holly McNa
July 11
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^A                OF THE SUMMER
7 AM TO 10 PM
9 AM TO 8 PM
THE      _!Pe N
THE STUDENT UNION BUILDING • 6138 SUB BLVD. DJ Vadim bylhe Love Sucks boys, Brady, Joseph and Anthorr
'atrick Gross
fiere is something about being very outside any
style<ulture that really makes it seem like overt and
self<onscious dress-up games. It can be both eerie
and silly. Yet I'm not totally oblivious, obviously. I
understand the fun performative aspect of clothing,
body language, technology use, etc. But for the
night of Ninjatune 5, Sonar attendees did seem a
little gratuitous to me, if only because ofthe almost
heavy-handed currency of it all (both meanings
intended here). Whatever. Anyhow, I do really
enjoy DJ Vadim's first Ninja Tune album, 1996's
U.S.S.R. Repertoire. // is a wonderful and spooky,
deconstructive take on hip hop, still sounding fresh
and inventive amidst prevalent big-name hubbub. It
is a welcome departure from most tried and true
aspects of the genre, while not being too excessively or unnecessarily experimental. However, as I
was reminded of in conducting this interview, sometimes the split between the artist and the work can
be significant. Maybe my expectations were just
disproportionate; he wasn't like I thought he'd be.
Then again, maybe there it was just a big cultural
difference, and thus we were sometimes on different wavelengths. DJ Vadim was affable enough,
although in a kindof "arms-length" way. Maybe it
was because his set was a little mediocre (no doubt
a result of an apparently injured "Buddha" finger).
To interview, he was occasionally confusing and
self<ontradictory; oscillating between beting starry-
eyed and cynical; almost embarrassingly dispensing stock pop platitudes; andjmen repeating a
hyped-up, UK magazine-type^version of hip hop
history, influence and potential. All this is not
that he didn't know \yftof he was talking about
He's just an opinionated guy, which is fine. It rea
ly wasn't such a bad time or interview. In attendance were me, Brady Love Sucks, my so-called
posse of Joseph Love Sucks and Anthony High Hat,
plus the twofmembers of Chocolate Weasel —
Mark T-Power and the other guy — and, of course,
DJ Vadim. Enjoy.
DiSCORDER: Was the set you did tonight
representative of the way you normally
like to perform?
Uh, well, I hurt my finger. I don't know how. I did it
in the last two days. So I found it quite hard to do
any scratching. I can't really use the other fingers to
scratch, just this finger. It's kind of hard to write my
name with a pen, or anything. It's very hard to grip
something. I think it's just bruised. Maybe I just slept
badly, or something.
I meant more in terms of the sound and
general quality. Was it what you feel comfortable with?
Yeah, It was okay.
Do you have any idea how your record —
U.S.S.R. Repertoire — has been received
in the hip hop community in North
Not at all. Ninja Tune is not really a label known
for hip hop stuff. So, not at all. But, on my second
album for Ninja Tune, I'm collaborating with quite
a lot of rap groups and stuff from here, and Europe,
Spain and Japan. The new album is called U.S.S.R.
Life On The Other Side. We haven't arranged the
running order, but there's 1 2 rap tracks, about six
poetry trad^aijd-abgij^^instrumentals. They'n
all full-length
What is the process like >
working with these other people? D
come up with your tracks or a foundation
for your tracks first?
Well, the album isn't finished yet. But what I've
done is written maybe 80 beat tracks. I send out
different tracks to different rappers and crews, and
they choose the track they want. I send them the
ADAT, they send it back, and I finish it off at home.
I do all the instrumental stuff at home and I'm working with lots of djs, and stuff. I also just finished my
first mix tape, Architects of the Great, with DJ Prime
Cuts, the UK DMC champion from '96. As far as I
see, there's lots of people out there, like the Scratch
Pickles, the Beat Junkies and the X-Men, who've got
scratching and turntablism down to a T. And then
there's other people, like DJ Primer and DJ Krush,
who've got production down to a T. But what I want
to do is bring good production, good MCing and
good scratching all together.
Can you say something about your opinion
against the R&B influence within hip hop?
Well, I just feel that the way things are going now,
R&B is watering down the music form. I feel that
the media, or how people outside the art-form,
perceive the art-form, by its biggest selling performers — famous people, like Foxy Brown, Puff
Daddy or Tupac. And it has gotten to a point
where the big artists are sampling three minutes of
the Police, or whatever ...
You have a problem with that [laughs].
I think for me, even when djs were just cutting up
records, before sampling, hip hop was about
manipulating a break. And you never heard, back
in the day, Africa Bambata playing 64 bar breaks.
It's all fast breaks. One bar here, one bar there,
chop, chop, chop. It's always about manipulating
the break. As soon as you start sampling three minutes of Sade and rapping on top of it, it's going in
the wrong direction. People who are coming up
within the art-form are seeing people like Puff
Daddy and are getting influenced by that. And
more and more people are going away from making music as an art-form, as opposed to making it
for money. And that's why I'm against R&B.
Wasn't it Africa Bambata who said that
more progressive stuff is coming out of
the UK?
Well, he was there from the beginning of hip hop,
so I can't really say anything about him. But I think
■j Bambata has always had very eclectic
> said that, back in the day, when he was
>n the street, he used to go record shop-
ping-3|tad buy doubles of everything. One time, he
went iro|j(yome classical shop and bought two
jtethoven, or something. And people
were followingJiim around buying whatever he
bought. And thekthis kid was also buying two
copies of Beethoven copying him. I thought, how
sad, this guys going %go home and hate it.
But doesn't the North American hip hop
community seem comparatively closed or
They are, but there is one thing to remember. In
America, the community is so large, whereas,
maybe in England or Europe, it is so much smaller,
and with maybe less choice. But in America, you
might have a million people doing it, and of those
million people doing it, maybe a hundred crews
are actually any good. It's a very small percentage,
but if you dig beneath the surface, there's people
like Company Flow or the Invisible Scratch Pickles.
There's some very good stuff coming out of
America. As well as good stuff coming out of
England, France, Germany and Sweden.
But to a large extent, the independent
side of the market is still really under-recognized.
Well, I heard that last year was the first year in 25
years that independent records out-sold major label
Of course, in the UK, an independent record is
much different that an independent record over
here. For them, Blur might be indie, for example.
Keep this in mind, dear readers.
I -was thinking of Master P, who has a gold
record based mainly on sales from within
his home city, and then he received major-
label interest. Stuff like this, and even lesser known stuff, deserves to get more
attention in the popular press. Why not?
And it is beginning to. Particularly in
Option and Alternative Press [I can't speak
about the hip hop-centered magazines,
however], where a lot of the bands that
you've mentioned are getting more attention. But they're still 'side-bar' items in
Rolling Stone, as opposed to Puff Daddy.
I think the problem now is that, as opposed to making music 10-15 years ago, people are doing it for
a job. It's a living. And kids see this, and they
wanna rap because they wanna have a Lexus or a
Beamer, or whatever. Fifteen years ago, people
wanted to be doctors or astronauts, to make something of their life. Music was just a hobby. It was a
passion. They lived, they worked and they did their
day-job so that they could afford to go out in the
evening, so they could go to a party and hear the
latest whatever. It was more of a passion, and I think
that passion has, to a certain extent, been lost.
Do you get a sense of that in Vancouver, that
it might be culture off the shelf, so to speak?
12 may IViS This is only the second time I've been here. But of all the
North American cities to dj, Vancouver's very good. Last
time was very good, tonight seems pretty cool as well.
We're djing in 22 cities and there will be some dodgy ones.
Probably Houston or Dallas, or something. I wouldn't know
how closed or open-minded the people are here in
Vancouver. You go to places like New York where they're
very close minded.
Yes, very. One of the good things about England is that a lot
of music forms have integrated and co-existed. Eight or ten
years ago, you'd go to a party and hear a kind of hard-core
hip hop and some hard house at the same time. You would
hear things like A Guy Called Gerald and The Strings of
Life next to the latest Big Daddy Kane record. I don't know
if you have that here. In England, it just seems like black
forms of music. Todd Terry is just as high as Mantronix. From
that, in England, people have taken both music forms and
created a kind of hard-core and then jungle, or what have
you. Whereas, my impression of New York is that, you're
either into country and rock or black music — which is
swing beat, or the Puff Daddy kind of thing.
Do you have any interaction in New York with
the illbient crowd?
Well, I know Skiz Hernandez from WordSound really well;
I've done a track for them.
They seem to be working in the same direction
as you: towards some form of experimental hip
Some of that I do like, but some of it I think is a very poor
take of what is happening in England. A lot of people in
America have said, why the hell do they wanna hear British
hip hop when they've got American stuff? In England, we've
got the same mentality. You've rejected British hip hop, so
we don't want to hear American jungle. Because it's trash.
The American illbient scene in nonexistent in England.
People like Spooky, or whatever.
What about DJ Shadow?
Shadow is an interesting case. He's signed to Mo Wax and
stuff. In England, they've really invested a lot of money and
sold a hell of a lot of records. I know someone at the label
and I know they're trying to push him towards more of this
guitar-based stuff, like with High Noon. That got into the top-
ten of the national pop-charts in England. All the kids are
into Oasis and Blur. And these indie bands and fans are getting into Shadow. I just think this is record label business.
What about the popularity of Goldie and Roni
Well, Shadow's not quite the same as Goldie, Roni Size or
Tricky. But I think Mo Wax is pushing him onto the front
pages of magazines. A big media kinda thing. I think people know Goldie more for his face and his mouth than for
his music, because his music isn't really saying too much.
The first disc from his new release is quite unintentionally funny. How do you feel about Goldie
working with KRS-One?
Well, there's quite a few producers out there, at the moment,
who don't produce. They're just a face that fronts the music.
Goldie being one. He doesn't even write his own music. He
gets other people to program it, and stuff like that. There's
lots of other groups who do that as well.
Come on, name some names. This is Canada, it's
safe territory. We're no longer a colony, and we
don't have that close of a relationship with the
I'm trying to be politically correct here [laughs].
It's pop culture, there's no politics.
They're just the pop face of the music, the acceptable face
of what's happening. Jungle isn't about what Goldie is. If
you dig beneath the surface, there are people making good
jungle music. Creditably doing it themselves, not paying
someone down the road ten-grand to do a tune for you.
What about Squarepusher? If he indeed does do
his own programming.
Well, on the other hand, the way music is being done now,
things are becoming so eclectic that we are in a situation
where anything goes. I see similar parallels to art. Someone
could just get a brush and flick it against a canvas, and
say: that's it, that's my masterpiece. The same thing is happening in music. You can have a sample for one day, and
just use the recycle program. You can buy a sample CD of
James Brown breaks, stick it in there, and recycle it 20
times, and then stick a drone on top, and say: that's my
masterpiece. Squarepusher, I think he's a good bass-player,
but his music is abominable. I think he's been hyped up into
this kind of super, rebel jungle-guy. I think his drum programming is absolutely atrocious. He turns on the sampler,
presses the recycle button, goes outside and has a cup of
tea, comes back in, and goes: that sounds all right for my
next track. It's just a mess.
Because all this music relies so much on high-
technology to make, do you feel that it becomes
unnecessarily mysterious for fans?
There's new technology all the time and I don't think it has
necessarily improved music; all these super Macs, and 500
zillibite disc-drives, or whatever. But it's what you actually
write that matters.
Turntables are becoming more commonplace in
other types of pop music. Beck is an obvious
I watch MTV and videos by rock groups have got break-
dancers in them. Maybe there is a renaissance of hip hop in
America, the same way as in England.
Or maybe there is also just the same-old taking
advantage of what appears to be popular to
make more money. This returns me to ask about
the influence of people such as Goldie or Roni
Size becoming so huge, and generally being recognized for this music. How is this changing the
creative atmosphere for people at the Ninja Tune
Well, I'm not in the jungle scene, or the breakbeat scene, so
I can't say what Goldie or Roni Size have done. They're
two very different characters. It's like comparing Madonna
to Julio Iglesias.
Sure. But when you get to magazine covers over
here in North America, they become very similar, like icons.
They're totally different. One of the good things about jungle, for England, is that it's highlighted or brought attention
— to people outside of England — [to] good music in
England, and that there are people creating music outside of
America. I think, for one reason or another, American people are in general very blinkered in what they want. They
only listen to American stuff. And now there is music coming
out from the rest of the world and it's getting attention here,
in North America. Obviously, one way or another, the
Chemical Brothers or the Prodigy doing well in America will
trickle its way down to Ninja Tune doing better.
Mark T-Power, from the back of the room, joins in.
Mark: Do you really think so, eh?
DJ Vadim: Well, people see the Prodigy and the Chemical
Brothers as this breakbeat kind of thing.
Mark: I think that it could be equally as damaging. It could
tarnish or totally change the meaning, what with Keith's face
representing it. It's rock for the 21 st century. It could become
the total opposite of what we're trying to do: to be faceless. But, sorry, this is your interview.
DiSCORDER: Jump in.
limit [to Mark T-Power, amidst laughter] •
13 wm&mm& 1P»*EHP<WWWPPE^^
"Thif ir quitat- fvtvr'iSr* tkat really doer ro»*-*d like
- David Fridte, Roltte-j JW, Apt-it '11
Dr.e of "IS Mort Anticipated Recordr
of W8"
- Alternative Pi-ei***, JfewW-y 'U
""S-      U {tore; "fre/day, May 5      /^.
libido   I
r featuring the singles "Supersonic Daydream" and "Overthrown"
"...Killing Some Dead Time", it would be fair to
say, is not a bundle of laughs. It is, however,
among the best collection of heart-on-sleeve,
emotion-wracked, guitar-fuelled missives
you're likely to hear all year..."
featuring theifegte "Do The De*B"
"Combine the raw wild
showmanship from the e<
Rock 'n* RoH with the faster inspirit of punk rock."     VELVEL *98
^    inure hjk tuuk iiiviitzy
O&C) sound 7
Into the  waves!
A skull-faced spider illustrates Love is Everywhere
SUZUKI. I've come to appreciate spiders, and their fewer-legged counterparts of the insect
world, quite a bit in the past couple of years. It isn't anything as
significant as totem animals or
familiars or such things; they just
look cool. The Mooney Suzuki
sound like they might look cool,
too — shards of strut disguised
behind a wall of "ba-ba-bas" (on
the title cut); silly lyrics about love
decorating dirty guitar pop;
pleasant posturing and, yeah, the
whole male uptown underground
feel. The Mooney Suzuki aren't
particularly brilliant, but they
have enough charisma to
vince otherwise. (Sonic Unyon,
PO Box 57347 Jackson Stati
Hamilton, ON, L8P 4X2)
TRACK STAR stroke their instruments lovingly ... er, hold <
that sounds vaguely pori
graphic ... what I meant to say is
that, on "Removable Parts," Track
Star caress every note and then
erupt... waita second, wait wait
wait, okay ... Track Star entice
the listener with tingling guitar
notes and breathy boy voices.
"Sometimes," coos the singer of
"The View From Space," "I think
about my funeral and who's
gonna be there." Well, who
doesn't, agrees the listener. Such
an elegant, melancholy seduction
from the type of young men the
Invisible Claire would probably
enjoy storing in the basement for
use at a later date. (Suicide
Squeeze, 4505 University Way
NE, Box 434, Seattle, WA,
PECOLA's half of the new
Teenage USA split 7", entitled
"Satan Exists In The Groins Of All
Those Who Walk The Earth," is
a raunchy rawk swagger through
a supermarket filled with promises of sin through consumption.
Rebellion, however, isn't really
my bag these days — I get off on
misery and the musical demonstration thereof. Thus,
SMALLMOUTH s "Week," sung
off-key over a barely audible (use
headphones!) pastiche of ghost
voices and accented with staticky
gobs of guitar, is more suited to
the current aura of lethargic
dread I paint around my person.
(Teenage USA, 689 Queen Street
West, Box 91, Toronto, ON, M6J
world of funky whitebread cardigan pop, warbling suavely about
money and vanity and love's ability to conquer both. Yuppie love
songs? Sweet heavens above, the
Blowin' Up single is
unapologetically bourgeois pop,
admiring itself in the rearview of
a BMW before driving off, perfect orthodontic smile glinting at
the camera's lens. (Sealed Fate,
PO Box 9183 #120, Cambridge, MA, 021 39)
This edition of the column was
started with as open a mind as I
usually achieve. As DiSCORD-
ER's gracious readers may or may
not have noticed, last month's edition of the Seven Inch column was
a particularly uninspired and unhappy one, due to reasons of
stress and an especially powerful episode of the perennial emotional/identity crisis which embellishes my otherwise unspectacular
life. This month, I made it through
four releases without irritation —
a remarkable achievement! However, the fifth example of conventional boys-only guitar pop (in the
form of JR. HIGH's "Walk Like
A Man"/"Mouthful of the Past"
single), despite its sensitive approach to the manly creed, is still
that: conventional pop. The vocals, like all vocals of the genre,
have that whiny quality which
apparently signifies, "I have feelings. What's more, I have this
great vintage sweater!" and
which reminds me of a million
other examples of indie rock, the
most easily identifiable musical
cliche in our little underground
world. My bitterness is not towards Jr. High, who do what they
do well enough, but towards the
entire form and the fact that it has
produced an unspeakable
number of tiresome, spotty clones
moaning about their disjointed
thumbs and tripping over the guitar cable. Fuck that, man. The alternative is probably worse, but
fuck that. (eMpTy, PO Box
12034, Seattle, WA, 98102)
DYNAMIXION hook up the
electronics. Dynamixion dial the
telephone. Dynamixion fluctuate
. Dynamix
ble and drone. Dynamixion mix
and match, sample and patch.
Dynamixion thrust and parry with
their little gadgets and sounds,
turning pop into pop?!? A gimmick is not the same as an idea;
nevertheless, "The Critic's Dar-
"???," and "l-Man Transport"
stubbly examples of what a love
of collage can achieve. Wimp-
hop? Yes indeedy. (Room Tone,
PO Box 747 Murray Hill Station,
New York, NY, 10156)
erant and the "fashionoids"). So
get sloshed and tear shit up.
(East Bay Menace,  PO Box
3313, Oakland, CA, 94609)
JUMPROPE's sweet, naive
exterior hides surprising depth:
the Pensive EP features excellent,
heavy bass lines and skilled vocal harmonies. Even the boy
drummer sings passably well.
"That's the Way It Is" may even
(my shocked little ears!) have a
political message behind it! Oo-
la-la.(Motorway, 3-2-1 8-2C
Shioyaki Ichikawa Chiba,
27201, Japan)
ICU have taken an undeveloped idea and presented it as final product on despite the smell
of colors... vol. I. That is their prerogative, I suppose, but it does
not make for enjoyable listening.
"Do the twist" seems to be little
but a seriously repetitive drum line
and some slaughtered bass
s. You o
>uld not call it
Cajun drunk punks ONE
COMMON VOICE holler Freedom Not Fascism's four songs
into the blood-soaked ground.
"Badge of Impunity" deals with
police corruption; "Silence" with
class warfare; "Bad Blood" with
the (I'm sure) pressing issue of
punk/skinhead unity. This is a
world that most of us see only disjointed fragments of — what I'd
call "street punk" and what One
Common Voice would probably
call "real punk." Their message
seems to be one of drunken tolerance of everyone (save the intol-
least, not a good one. "Russian
Rhapsody" is slightly more entertaining, but only because you can
play it at either speed with
equally grating results. Put it at
thirty-three-and-a-third for a hiphop feel, or at forty-five for that
annoying but strangely popular
"digital hardcore" (note my
sneer) sound. This is a cluttery
mess and, though it is inspiring
(note larger
Records jumping o
bandwagon, I wouldn't recommend it. (N.E.W. Recordings, PO
Box 2827 Olympia, WA,
98507) •
The Queers
"Everything's O.K."
m Soon-to-be classics
^ HRB31-cds/7"
Hopelessly Devoted To You Too
New Sampler cd, ZT songs in all.  -—
Fingers Louie, AAA, Digger, DIMm
We, Mustard Hug, Nobodys, and The Queers
Montreal,   qjM
(Quebec City,   Q,UE
Eglise St.
Jean Baptiste
17th Ottawa, ONT
18th Toronto, ONT
19th London, ONT
SAW Gallery
Club Shanghai
Call The Office
All prices postage paid in the US, add 25% for foreign orders, All Prices in US funds
is tm&zmm Kinetoscope
1   .-.«s:fff::"     I
Pacific Cinematheque
January, 1998
The Vancouver Writers' Festival,
in conjunction with the Pacific
Cinematheque, put on Poetry
Picks and Silent Flicks, an event
which testified to just how different
(and exciting) the experience of film
— and for that matter, poetry —
can be when it is brought into contact/collision with other media. The
performance showcased newly-
commissioned works by four of
British Columbia's most accomplished poets played off and
against four silent films. Kicking
off the show, Bill Richardson
wisely chose to try and match the
spontaneity, irreverence, and
humour of Rene Clair's Entr'acte
(1924) with his own brand: a
salacious Eric Satie (Satie scored
Entr'acte and is featured in an
early scene) poem called "Je Te
Veux," an Edith Sitwell poem
composed for Robbie Burns,
whose tempo and fever (as performed by Richardson) was an
excellent accompaniment to the
film's rollercoaster sequences; an
eruption of organized, cacophonous    chaos    (courtesy    of
noisemakers distributed throughout the audience) as Entr'acte's
funeral sequence disintegrates into
Bill Bissett, on the other hand,
showed little attachment to
George Melies' landmark A Trip
to the Moon (1902) and seemed
to be just barely prepared for his
"performance," which basically
amounted to wisecracking in reaction to the images on screen,
and frequent (and irritating) punning on the word "lunacy" (get it?).
Alice Tepexcuintle chose to
keep her piece anchored to her
filmic text — Maya Deren's exquisite Meshes of the Afternoon
(1943) — more than any of the
night's performers. Basically, her
segment amounted to a poetic re-
interpretation of a poetic and
mysterious film/meditation on
reverie, identity and desire —
one that's as fascinating today
for its adherence to "Hollywood"
film practice (i.e., its MGM-style
glamour shots) as it is for its attempt to break with the American
mainstream and develop a new,
experimental film language.
Finally, Michael Turner closed
the evening with what was certainly the most audacious choice
of film material: an untitled,
anonymous, ultra-low budget,
hardcore American porn film of
the 1960s. The film, something
Turner found "in his travels," is a
bizarre example of underground
porn practice from a period just
prior to the explosion of the porn
industry. It is a film composed
almost entirely of extreme close-
ups of body parts "in action,"
giving the images an almost clinical feel (with the exception of the
one-two "ecstasy pans" and the
film's slapdash "narrative structure" [highway — pan right to exterior of apartment building — sex
sequences — apartment building
exterior — pan left to highway]).
Turner's piece was a provocative
rumination on the film's production, drawing attention to the very
strangeness of an industry whose
outer limits would produce such a
document. All in all, Poetry Picks
and Silent Flicks was a success, further testament to the idea that the
arts must become less rigidly isolated and much more playful in
relation to one another.*
On Saturday, April 18th
I attended the pre-re
lease CD party for PHIL
WESTERN at Stratosphere on Hamilton Street. Phil's CD The Escapist
(Map Records) is available as of April
27th at your local record store. A bt
of who's who were there, from
Nettwerk Records reps to rave promoters to other local artists who are
involved in some way or another with
the electronic music scene. The music
was provided by Robert Shea,
founder of Map, as well as a brief
live performance by Phil himself. It
was great to see the amount of support for Phil. Vte are lucky to have
the talent of people like him, as well
as the marketing and management
know how of people like Robert, all
here in Vancouver. Next monlh, I'll
have a review of Phil's CD for you,
but for now, some quick reviews.
UMCs fulHength CD UMO 2
(Caiparinha Productions/
www.caiparinha.com) is electronic
lechnopop from some of Europe's
foremost talent. Unidentified Musical Objects are Adel Dior,
Jammin' Unit (Cem Oral), Khan,
Terrible (Berlin DJ) and Kerosene
(Zulutronic). This CD is layer after layer of fresh beats and complex rhythms. There are no builds,
no two minute scratches and no
synths all pounded out by techno
On the other side of the coin
German bom Norman Feller and his
CD Chocolate Chords (Plastic Cily
America) has been racing up charts
all over North America. This is his
second album and it explores ihe gray
area between house and lechno,
sometimes referred to as lechhouse.
There are vocals on some of the Iracks
wilh a hint of 303 thrown in to "keep
the crowd pumpin."
What's up with SARAH
McLACHUN? Her single "Sweet
Surrender" (Nettwerk Records) is
doing quite well on the pop and rock
charts, so why bring in Roni Size and
Uberzone to remix the song? She's
no stranger to the dance remix world
("Possession" was remixed by Rabbit In The Moon) and, with Roni
Size riding a wave of popularity,
Sarah's music and voice will reach
a larger number of people. All I can
say is buy it! Her voice gives me chills
and adding Roni Size's expertise transr
forms ihe song into a drum 'n' bass
work of art.
RONI SIZE has his own track
out right now that's receiving a lot of
accolades. It's called "Brown Paper
Bag" (Mercury Records) and is from
the album New Forms. While
Photek and Takemura have provided remixes, the original is alive with
a vibrant bassline and simple beat
structure. I am as much a fan of low
frequency bass as the next person,
but you just can't beat the warmth of
a pure unaltered bassline. This one
will mix well wilh both drum 'n' bass
and jazzstep.
When GOLDIE s first album
came out it was hailed as a breakthrough album created by a musical
genius. Now comes Saturnzreturn
(FFRR), a complete turnaround from
Timeless. It's boring, lifeless and disappointing. He uses overiy-sampled
drum loops lhat go nowhere to create songs that seem to just drone on.
The only breath of fresh air is "Dragonfly," the last song on ihe album.
Even ihe infusion of Noel Gallagher's
(Oasis) guitar playing on
"Tempertemper" can't inspire Goldie.
Last up is MATERIAL'S The Road
to the Western Lands (Triloka/
www.triloka.com). This album is a
collection of mix translations from their
album Seven Souls. Spring Heel
Jack, Bill Laswell, Talvin Singh
and DJ Soul Slinger are the top-
notch artists that put their twist on this
dedication to William S.
Burroughs, who died on August
2nd, 1997. This album is dub, drum
'n bass, ambient and spoken word.*
Expostulation, n. One of the many methods by
which fools prefer to lose their friends. (Ambrose
Bierce, The Devil's Dictionary [Dover])
The first on the queue is
and Truthful Ignorance
(Duke University Press),
which is simply about that. After delving through several enormous piles of 16th-century documents in an attempt to find materials on the Native Americans
of the Colca valley of Peru, they
found something very interesting. It was a case of transatlantic bigamy concerning one Francisco Noguerol de Ulloa, conquistador and wily politician,
his wife — or maybe not —
Beatriz de Villasur (from whom
he snuck off to Peru), and his
new wife Catalina de Vegara.
Now, poor Beatriz is left —
quite well off — in Spain while
the young Francisco trots off to
Peru to try his luck in the fervent hunt for gold, er, I mean
converting the awful heathens
to Christianity.
Somehow throughout the
political turmoil in Peru, he survives to brown-nose and parlay
his way into a large
encomienda. Despite difficulties, he manages to increase
both the size of this plot and the
Natives to act as serfs. Then,
as if by an act of God, just before he would be obliged by
royal ordinance to bring to Peru
his wife, whom he married under maternal duress so many
years ago, he receives word
that the dreaded Beatriz has
died of stomach complaints.
Spain still wants happy families,
however. Again fortune favours
him when he contracts a marriage with the beautiful,
wealthy, and ladylike Dona
Catalina de Vegara.
And here's where the problem starts. Dona Catalina desires to return to Spain. Francisco isn't adverse to this, especially as another civil war
looms. But as they take the boat
to Panama he discovers he
might have some trouble after
all. Dona Beatriz is quite alive,
and suing. Don Francisco decides to countersue arguing he
never married her and certainly
ne* 3r consummated the marriage. Taken before the Council of the Indies, ecclesiastical
courts, and whomever else
might be interested, this case
goes to the King.
A most bizarre and true tale
expertly recounted by very capable historians who, in spite
of their distaste for Spain's questionable conquests in the Americas, deliver an even-handed
portrayal sympathetic to all participants. It is work such as this
that enables history to progress
Continuing along Spanish
lines, we come to FELIX DE
AZU A's Diary of a Humiliated Man (Lumpen, imprint
of Brookline) The protagonist,
a Catalonian bourgeois louche,
first seeks to live a banal life
through extreme poverty and
drunken depravity. Eventually, the
booze gets the better
of him and
drink,     disease,     and
hunger undermine his already fragile
hold on sanity.
Luckily, his underworld contact saves him
from a  brutal
police beating
to install him in
a country house.
tially takes the tone of Breton:
the bourgeois revolutionary
against the world. As a wiser
intellectual, chiefly Hannah
Arendt, would note, revolutions by the well-off only succeed in undermining their best
interests (given that a conservative revolution is com
monly considered reaction).
So there goes the link between
surrealism and communism by
direct Marxist refutation. Azua
saves his work from utter contempt by placing his character within his true surroundings: country house, nothing
to do but debauch and relax,
the truly banal existence. He
reveals that, despite the dogmatic borrowings, Azua's surrealist follows the Dali line living for his own sake. This
seemingly childish solution —
to do whatever the hell you
want — is actually
more mature as it
episodes with
rats, the protagonist's peculiar interpretation of Roman Catholicism, and his fascination with
corpses, this exploration into
banality and nihilism at its
best equals that of
Dostoevsky's Notes from
Underground. At its worst, it
is merely as facetious as the
society it lampoons.*
the Spinsters
trie Cannonballers
who tied in fhe
MYUBL for first
place (by beating
team by a measely
1 Opts) this year at
the Commodore
Bowling Lanes.
Ifc may VVIB Real Live
Friday, March 13
Starfish Room
I'd been wanting to see The
Sadies for nearly two years. I'd
been waiting and waiting, waiting and waiting until — praise
the Lord! Neko Case, angel-
come-from-heaven that she is,
had the goodwill to make 'em
her band. I made it in and
pushed my way through the
swarms of 30-somethings and
industry jerks (oftentimes one
and the same) just in time to see
them Sadies take the stage ever
so debonairly. The brothers
cooked! Soundtracks to Westerns unfilmed, chicken-fried barn
burners, surf numbers from/for
the prairies, and a whole slew
of covers ("O Death," "Jesus Met
the Woman at the Well," etc.);
The Sadies have a full palette
and they're generous with it.
They'd already earned their
keep after that first set, but Neko,
stern taskmaster that she is,
made 'em come out and give us
"seconds," and I'll be hog-tied
if they didn't come out and raise
some hell all over again. I got
the feeling that Neko and the
Sadies are still in that "getting-
to-know-you" phase, still in the
process of finding out what
they're capable of as a unit, but,
hell, they're already lethal
'cause Neko's got pipes-to-die-
for — the ability to belt 'em out
and yodel like the best of 'em -
- and she works well with the
boys and the boys work well
with her (sometimes giving her
"punch," <_ther times giving her
"feeling" (dig that tasty fiddle!).
Plus, they all look so goddamned
cute! If they aren't quite ready
for the Grand Ole Opry, they
sure as hell are ready for the
Louisiana Hayride.
Saturday, March 21
Starfish Room
I waited impatiently for the show
to start and then some guy came
on stage, strapped on a guitar,
and introduced himself as Bob
Kemmis. He proceeded to play
to the 1 2 people who were actually listening. Steel lap guitar
player John Wood added some
depth to Kemmis' simple tunes.
Kemmis is a little more talented
than your guitar playing boyfriend, but he has enough charisma to get a few laughs and
to get a few people to buy his
When Ron Sexsmith appeared, the crowd immediately
responded. It was the beginning
of what would be the best display of singing and songwriting
that I have ever witnessed.
Sexsmith was introverted, hiding
behind his angelic haircut, but
he gave out some Elvis Presley
style hip thrusts and "Thank You
Very Much"s.
I was too young to realize
why the crowd was so amused
when the band played a song I
had never heard before. I later
found out that it was an ABBA
cover. ABBA who?
Sexsmith's unlikely, but satisfying chord sequences were supported by a strong five-string bass
and rhythm. The skills of the cello-
playing, back-up singing, velvet
pant wearing drummer Don Kerr
were especially impressive.
Sexsmith's sad, optimistic
voice filled the room, hanging
around the "right" notes, spending little time actually on them. This
is Sexsmith's perfection. A song
or two midway through the set
were sung a little less perfectly,
eliciting an apology from Ron. No
apology was needed; his overall
performance was unearthly.
A scratchy throat, a neck
live show gave the opportunity
for the audience to see more
than just a couple of guys turn
knobs in front of a spectacular light show, while the music
itself was full of the kind of
bass hooks and strange
sounds backed by insane
rhythms that drum V bass fans
After a 40-minute set,
Propellerheads left the stage
saying that they were going to
take a short break and that they
would be back in a few minutes.
Except they never reappeared.
So how do you rate an abbreviated show? The criticism
should lie fully on the shoulders
of Sonar, who were obviously
interested only in having the
show end so that their own
house dj could start spinning an
obnoxious mix of stale techno.
If it wasn't obvious at that point
that the crowd was there to see
live drum 'n' bass and not to
see some average DJ play top
40 club music, perhaps Sonar
were decked out in their hip-
pest duds, but all the stripes
may have been disappointed
by a predominance of hip hop
instead of drum V bass. DJ
Vadim started off the night
with some excellent scratchy
tracks (Jurassic 5, X-men).
Unfortunately, when Vadim finally did decide to DJ (as opposed to just putting on
records and looking cool), we
wished he had held back.
Later, in an interview, DJ
Vadim   was   lamenting   his
finger" which may be some
sort of excuse for his lack of
rhythmic sense.
Neotropic was more
stimulating, but didn't offer
any sort of visual performance. She started things off
very slow, very ambient and
gradually worked into more
beat-based stuff. More annoying was the fact that, from my
position, I could see how the
other Ninja-tune boys repeatedly walked around on stage
and got in the way while she
> trying to perform. Down
vith  lai
of electronic and every-
thing else.
Animals on Wheels
were good. Chocolate Weasel played lots of old school
cramp and three encores later,
we still wanted more.
Christa Min
Friday, March 27
After a DJ warmed up the
crowd with a solid set of mixed
breakbeats and drum 'n' bass,
Propellerheads took to the
stage. Casting their unique
blend of drum V bass, they
hypnotized the audience with
a combination of competent
djing, live drums and bass,
and looped samples. The mix
of electronic and live instrumentation was entertaining
and skillfully orchestrated; the
will never learn. The only reason anyone stayed any longer
than a few minutes after the end
of the set was to see if the
Propellerheads would come out
s ap
parent that they weren't
to, the club emptied out in a
split-second. The Propellerheads
get two thumbs up. Sonar get
two thumbs down.
Patrick Cross
DJ Vadim, Neotropic, Animals on Wheels, Chocolate
Monday, March 30
On this special night, all the kids
Tuesday, March 31
Starfish Room
"No, you suck," is what I
should've said to the loser jock-
boy with bad hair who decided
to go up to the front of the stage,
stick his face in Stephen Pastel's
and tell him what he thought of
them. Contrary to jock-boy's
opinion, The Pastels (from
Glasgow, Scotland. Been
around for more than 15 years.
Heard of 'em?) did nof suck. In
fact, they played the kind of
show that reminded me why I
like music in the first place.
Theirs is not so much a show as
it is an invitation. They invite you
to listen to their music and be a
part of their world, which is so
comfy and inspiring, that I would
if I could.
Playing tracks mostly from
their wonderful new album Illumination and a few from their
wonderful next-to-new one, Mobile Safari, The Pastels played
a too-short set which was ended
with possibly their catchiest —
and one of their oldest — songs,
"Nothing to be Done." To see
Stephen joyously strumming
away on a guitar that I could
hardly hear, Aggi hiding behind
her hair, and Katrina successfully
singing whilst keeping her complicated beats, made me so ecstatic that I had to leave before
anything could pollute my
cleansed ears.
Mya Low
Tuesday, March 31
Starfish Room
I missed the Delta 72 once,
when they played with
Man...Or Astroman? in the
fall, and I wasn't about to make
that mistake again. The performance was pure adrenaline from
the start — lots of rock, with a
little bit of soul and gospel for
good measure. It was like The
Make-Up but with less
"Baaaaby, yeah!"s. Many a
scissor-kick was provided by the
lead singer, who was all cute
and lambchopped and looking
as good as any respectable
rock star knows he should. It
made me happy when they lit
a keyboard on fire and when
they did other neat stuff. They
kept the audience interested
from start to finish, as I'm sure
most everyone has heard, by
now. And so, the message to
you kids out there is ...never
miss a Delta 72 show! Ever! Or
you'll be sad! And be nice to
the Pastels, or you stink.
Julie Colero
Thursday, April 2
W.I.S.E. Hall
Guy Davis is a story-tellin',
wise-crackin', harp-honkin',
geetar-pickin', old-time-tune-
singin' genius. No two ways
about it. Never mind that the
only black person in the room
was on-stage that night; Davis
got our white feet stomping and
our hands clapping and our
voices singing along. All of us
listening easy to the sound of
that acoustic guitar resonating
off the wooden floor and ceiling. Living country blues aren't
just for the old folks at home;
the down home sound swings
House Records that very night),
Davis played two sets packed
with finger-picking, slide and
harmonica. In between songs,
he paused to re-tune and tell tall
99 year old grandma. A few
numbers by Rev. Gary Davis,
Blind Willie McTell and
Robert Johnson rounded out
(maybe especially in the city).
Reminds me of a gig I stumbled
upon one New Year's Eve in
Smithers in a hotel lounge: one
man playing and a tight, little
crowd not letting him stop. Difference is, Guy Davis filled the
W.I.S.E. Hall.
Culling tunes from his two
previous albums and a brand
new one [You Don't Know My
Mind, hot off the press from Red
tales about hobos versus giant
mosquitoes, or stories about his
the e
still hur
one of his harmonica stamper
pieces, "New Shoes," written for
"when you fucked up so bad you
better dig a deep hole and get
in it and cover yourself with dirt
and shut up." Between the two
sets, Davis was out rubbing
shoulders with the crowd, hearing a few stories in return. Is he
in love with what he does for a
living? You bet.
Anna Friz
Thursday, April 2
Starfish Room
Where was everybody? And
why did nobody who was there
give this girl the time of day? I
feel the need to tell all of you,
being the fine music consuming
public that you are, that you
were all CRAZY for missing this
show. Princess Superstar was
amazing! She performed her little bad-ass NYC heart out to a
largely unresponsive audience.
Why? Because she's good at it.
This girl gave us a bit of freestyle breakdancing, some
goofiness, a whole lotta rap with
attitude, and even some flesh for
the boys. I cannot believe that
Vancouver could be so sucky as
to let this show pass by largely
unnoticed and unattended.
Shame on you!
Julie Colero
Friday, April 3
Press Club
In the effort to increase efficiency, I've condensed the following review into easily digestible quotes that capture the
mood of The Plantains' April
3rd performance. This will also
facilitate things for the bands,
who can more easily lift out
phrases for their bios.
"The Plantains carpetbomb
all the major continents of indie
rock, mixing the sounds of your
guitar rock heroes into one
power packed performance.
"Ryan S. Bigg's long, arachnid legs spellbindedly kept the
beat — they were encased in
shiny blue plether that went on
"Although hardly original,
The Plantains combine the influences of Pavement and
Superchunk into a pleasantly
melodic hybrid.
"Ryan S. Bigg's powerful
voice and rock moves show he
is well schooled in classic rock
imagery, and of course the accompanying irony.
"It would be refreshing to see
bands like The Plantains try to
push the envelope a little further,
but until the whole paradigm is
shattered, The Plantains make
for a solidly entertaining
17' m^mmm Under
Tiger Beat
(Kill Rock Stars)
Hello Daddy, Hello Mom ... I'm
your ch-ch-ch-cherry bomb! This
band rocks out in classic Joan
Jett-style, baby! Bangs are the
newest Kill Rock Stars find and I
bet they'd take out The Donnas
in a tag-team wrestling match of
rock 'n' roll any day. Sarah Utter
and Maggie Vail (related to another famous hard rocking girl,
perhaps?) manage to emit
crunchy sounds from their
stringed instruments and yell real
loud while Jesse Fox provides the
beats to back it all up. This is
nonstop loud, brash music that
makes you proud to be a girl.
Julie Colero
Transaction de Novo
(Trance Syndicate)
Pavement once sang that Texas
never whispers and the
Bedhead of late have proven
no exception. The Austin four-
piece, largely known for slow
and sleepy melodies, have discovered their morning coffee and
upped the musical tempo. The
cowboy lullabies are still here, but
the nine songs of Transaction de
Novo display a marked evolution
in breadth of style — including a
couple of forays into novo wave
guitar riffage.
New Rock
(Grand Royal)
Buffalo Daughter's latest is not
a monumental rehaul of rock 'n'
roll, but it is a fun album in a non-
absorbing sort of way. In fact,
some of the samples sound a
little too housy, reminiscent of
your average "hott traxx nite"
at Celebrities or something.
"Great Five Lakes" is pretty
catchy  and,   in   "No   New
Rock," this Japanese trio gets
down and funky   Overall, it is
probably worth inclusion in the
Lady D
full service no waiting
Former Plimsouls leader Peter
Case's only crime is that he isn't
sexy radio-fodder. Consistently
releasing quality workingman's
alterna-folk, Case has built a cult
following. Neglected and
underappreciated, he has nevertheless released albums that parallel Springsteen at his introspective best. As with Faulkner,
Case is capable of transmitting
sweat on the brow of the working class.
Never one to grasp for fhe big
lyrical picture, he spins trustworthy words backed by common
sense melodies. Expect few
adornments; full service no waiting is a simple document of tales
that are easily identifiable: relationships gone sour, the itch of a
pot of gold around the corner. Life
is best explained as a "Crooked
Mile" or by a "Drunkard's Harmony." Case is a troubadour at
ease with his muse.
With full service no waiting,
he adds another chapter in his
road novel. If the art of the song
is ever in need of a few small repairs, Case is the engineer with
the right tools to tighten a loose
bolt or replace a damaged pipe
like few tunesmiths can.
Pieter Hofmann
While everyone is wetting themselves over the latest albums on
Thrill Jockey, this San Franciscan
trio remains temporarily overlooked by the hipster masses. By
melding near Iron Maiden
metal and retro-chic electronics,
The Champs (actually
C4AM95 now, due to legalities)
definitely prove whot I already
knew ... that Trans Am are an
overhyped, underjuiced boogie
rock/electro fusion. Never mind
Tortoise's blatant thievery and
fuzak. Uh, don't fear the Maiden
reference, reactionaries, as only
two tracks on the entire double
album sport vocals, neither of
which will put Bruce Dickinson
out of business.
With the smarts, power, energy, humour and skill for the elitist mafia as well as the hardcore
and metal crowds, /// has the consumer crossover potential ad men
dream about. But I know what the
kids want ... the sort of validation that only namedropping can
bring. Not only does this album
contain Tim Green, formerly of
the incredible Nation of
Ulysses, but one Steve Malkmus
of Pavement listed this as a top
album of '97. If you walk out of
the store with the new you-know-
who, or Shellac, or weak modern h.c, or half-baked Albini,
Slint or Slayer imposter record
and not this one ... well, you're
making at least one mistake.
Sean Elliott
(Ninja Tune)
What can be said about these
masters of strange sounds?
Spaghettification is a beautifully
disjointed album filled with odd,
slow percussion and an enormous array of samples and programming. The jazzy synth
lines on "Coda" and the'80s-
esque drum line on "Zen
Method" are totally contradictory, yet fit perfectly together.
The most noticeably consistent
sound on the album is not the
percussion or the melody lines,
but rather the types of samples
used on each track. This obscure
method of creating a cohesive set
of tracks is both annoying and
I highly recommend this album to anyone who is looking for
intellectual music that doesn't
involve lyrics about nuclear
Patrick Gross
Ciao Bella
1973 didn't necessarily have to
die an untimely musical death. It
could have set a new direction
in music, if only commercial radio programmers' tastes had supported the development of the
kind of refined pop music played
by bands like Big Star.
Out to prove the last quarter
century wrong, California's Ciao
Bella revive an aged but ageless sound, with the energy of
The Yardbirds and the melodic
sensibilities of The Beatles. Big
Star did it first, Teenage
Fanclub and The Posies tried
to revive it, but I've never heard
any group more accurately reconstruct the sound that Alex Chilton
and Chris Bell trademarked a
quarter century ago. This is not
to say this band's laurels rest entirely on a deliberate imitation of
songs per se; perhaps it would
be more accurate to describe this
as a record that Big Star would
have liked to have made, but
never did.
From the shimmering primary
colour swoosh on the CD cover
to the sheer 100% pop bliss of
the 14 songs contained within,
Ciao Bella's debut fulHength recording is almost good enough
to make you forget they were ever
inspired by anyone at all.
Brian Wieser
Gently Down the Stream
Come's latest release jumps to
the forefront in the rock album of
the year category, even leaping
ahead of Van Helen's new ///
album. This Boston-based band,
led by guitarists/vocalists Thalia
Zadek and Chris Brokaw and
rounded out by the powerful
rhythm section of Winston
Bramen and Daniel Coughlin,
unveils 65 minutes of beautiful,
dissonant music. This is a loud,
angry, and intelligent record of
shimmering guitars and passionate lyrics that hopefully
won't be overlooked by the
general populace.
Steve Guimond
Come Clean
Only the third release from
Curve, this album has been eagerly awaited by many fans. After a mountain of EPs and two
albums, Curve had apparently
disbanded. And then, out of nowhere, Toni Halliday and Dean
Garcia decided to start making
music again. First a single appeared, apparently as a one shot
deal before permanently disbanding. Then, almost a year
later, an EP was released. Three
months later, the album Come
Clean has finally been released,
crammed full of new material as
well as a B-side, the single "Chinese Burn."
So what exactly is Curve for
the inexperienced listener? They
are a band that sits somewhere
between electronic, ambient and
dance music. Live bass and guitar are paired with spaced and
altered vocals over top of both
live and programmed percussion
and an accumulation of samples.
The exact combination of parts
creates a sound that is indescribable in definite terms and needs
to be heard to be fully understood. As a complete album,
Come Clean is somewhat more
abrasive than earlier albums like
Cuckoo and Doppelganger, but
there are still several soft songs
on here. "Alligators Getting up"
This is an excellent album with
many endearing qualities. However, for the new listener, Cuckoo
is a much more accessible album
and would probably be a better
introduction to their world.
Patrick Gross
Say Codeine were still around
today and got themselves a four-
track multi-tracker ... well, they
might sound something like
Duster. Sombre, repetitive
drones with occasionally
skronking guitars and minor-key
melodies, this record is a great
soundtrack to someone's de-
This duo, primarily playing
guitar and bass with lush, distorted keyboard sounds as well
subtle percussion,
make mood the focus of this
record. From the starkness of the
cover art to the bleakness of the
songs, they maintain their focus
throughout 17 tracks. Minimal
treatment of vocals combined
with almost anonymous acknowledgement of the band itself on
the liner notes further adds to this
aura which surrounds the music.
Stratosphere is an excellent
record. It's not exactly upbeat, but
if you like the rest of the Up
Records line-up (especially 764-
Hero), chances are pretty good
that you'll like this band too.
Brian Wieser
Sea Change
The great thing about bands with
three singers is that occasionally
you are lucky enough to get three
bands for the price of one. Drummer Tricky Bill holds this foursome
together, providing slow grooves
and occasional rock beats for
Ken Beattie, surreal punk-folk
weirdness thumps for Miliski and
jazzy/bluesy swings for Randy
I wonder if Mike needed lyrics for his song "Vespertine" and
decided to search the dictionary
for a cool word and went with it
("opening or flowering in the
evening as the night blooming"
— Cereus-Winston Dictionary): "I
want to decorate this with the lazy
contentment of a temporary secretary." Brilliant. "Adelaide" and
"Sweetie" were fighting for my
favourite song on this long player
until I read Mike's lyrics. I love
every musical note Randy
Forrester ever made. I'd die to see
Randy sing all night and raunch
out at least somewhere in every
song. "Dead E" recalls the last,
great exploit of the now legendary Coquitlam Hockey Card
thieves. I love how the guitars get
louder in the chorus of "Without
a Sound." "Half Cut" is a great
instrumental guitar piece by
Randy that would make Jimmy
Page proud.
Sometimes I am having trouble understanding these lyrics
and I'm afraid I haven't been to
Margaret Atwood class lately, but
I keep thinking that there's something brilliant trying to make like
the Vespertine, but it's summer in
the arctic. Excellent vocal interplay in "Hockey Heads" which
advertising thafs
built to last
5017 (ext.3) for lii?o
Iflmay l<i<ifl might be about how hairstyles are
more diversified than they were
in my day when everyone except
me had long hair. Finally, the arctic air turns cold, so to speak, and
we get to "take me to the sea."
Poetry, tunefulness and background vocals. "Sand through my
fingers, my troubles in grains/
Cry me a sea while the river remains/ Sing me sad song with
the waves as the bars/ The
doesn't whistle, the stars are guitars/ Please take me to the
me.'" All  right I'm  bawling,
how about you?
Evan Symons
(Drag City)
Easy Listening? Well, perhaps
easier than before. David
Grubbs and Jim O'Rourke
take unconventional steps towards the conventional on the
new Camoufleur. The latest montage sees the incorporation of the
prescriptive pop song: putting a
little Chicago in the Chicago
sound. That might sound like a
bad thing, but in the able hands
of these artists, it results in the
(typical?) Gastr Del Sol sound
seamlessly meshing with new
found harmony.
Trust me, it sounds good.
Back porch guitars, studio sound
drones, field DAT, and parade
horns form the most pleasantly
weird, avant-garde Americana
I've heard yet.
Here is a Picture (Songs for
When Veda Hille's first record
came out a few years ago, the
song "Precious Heart" got a lot
of airplay on CiTR. I liked the
song, but unfortunately, it led me
to conclude that she was, at best,
a local version of Tori Amos,
perhaps with a little less whine.
In retrospect, the instrumentation
of that song — honest, pleading
vocals with grand piano accompaniment — was perhaps the
only thing Hille and Amos have
in common.
Now, having listened to Here
is a Picture, I have a more complete picture of Veda Hille, and it
is a creative, compelling one.
With a full band throughout the
record (and arrangements not too
dissimilar, ironically, to The
Rheostatics' 1996 release, Music Inspired by the Group of 7),
featuring a myriad guitars and
musicians including organist
Ford Pier and cellist Peggy
Lee. These carefully crafted
songs are self-contained stories,
which draw the listening ear close
for their detailed sounds. This
record is as refreshing and creative as the artistic works that inspired them.
Brian Wieser
Neuken In De Denken
(Pleasant Street)
The Holiday Snaps are a young
east-coast band that plays a
harmless, almost 1970s or '80s
British brand of pop music, as
heard through the vocals and
guitars especially, with the lead
singer sounding eerily like Tim
Booth of James on certain
tracks. A Maritime quirkiness is
displayed in the group's interesting instrumentation and arrangements, but this is hindered by
weak lyrics and bland songs. The
record lays an interesting foundation for future endeavours, contingent on the band's musical
Steve Guimond
Motor Like A Mother
(Yo Yo)
One listen to this album reveals
how much having a child can
influence your life; Mary Water's
son Random seems to be the topic
of nearly every one of her songs
on this album. Songs about dryers, cars, dirty diapers ... it's all
very personal, but it's also amazingly catchy!
Teamed up with Pat Maley,
Mr. Yo Yo Records himself, Mary
makes good pop tunes with a
whole lotta soul. Her voice does
tricks that make you go all
smushy, and the guitar hooks
keep you coming back for more.
You learn a lot about Mary from
listening to this record, and she
seems like quite the powerhouse.
When she sings "I'm a teenage
welfare mother, and I'll have
more babies if I want to," you just
want to cheer really loud that
someone's got the strength to
voice their opinions, opinions
which are largely ignored in
music and in society today. This
album shows girls out there that
having babies doesn't mark
the end of a fruitful musical
career — it provides new inspiration. The music's great
and the message is, too!
Julie Colero
This Land Is Your Land
(Teenage USA)
This release by the former drummer of the now-defunct Super
Friendz sees him fully recovered
from the break-up and at the helm
of an album in which he wrote
all the music and lyrics, and
played almost all the instruments.
Perhaps this explains why the
songs sound far too alike and
fairly monotonous. Nevertheless,
this late-night feeling, country-
tinged folk-pop-rock record is a
solid debut.
Steve Guimond
Formica Blues
Pleasantly haunting is how I
would describe Mono. This is
programmed music I actually
admit to liking because of its atmospheric effect — listeners will
feel like they're being whisked
away to another world, or at least
to another state of mind. Surprisingly or not, Mono consists of
only two individuals, Martin
Virgo and Siobhan de Mare, assisted by additional musicians.
Virgo is largely responsible for
programming; he mixes elec
tronic beats and instrumenta
notes together to create a magi
cal blend of sounds. Siobhan de
Mare's voice is captivating right
from the start: from the opening
lines ofthe single "Life in Mono"
to the end of the disc, her voice
is ironically plain and monotonous, yet contains a certain
sweetness and hypnotic power.
The catchiest tune on the CD
would have to be "High Life,"
which makes use of a whole assortment of instruments, including
trumpet, sax, trombone, piano
and guitar. Mono's music is soothing, and in the words of Ritchie
Po, can be described as "gothic
meets electronic."
Jerome Yang
Captain Mark Nelson welcomes
you aboard Pan-American. We'll
soon be distributing headphones
for the enjoyment of the in-flight
music program, which includes
selections of dub-bass, down
tempo beats, warm synth, and
soothing guitars. You may experience temporary delayed whispers, but these transmissions
should not interfere with your listening pleasure. Our journey will
take us over such major hubs as
Labradford and Bowery
Electric, and we can assure
you'll be typically Kranky upon
arrival. (OK, enough ...)
jmMMMWHMg   hatred nave
Double Live
They've been rockin' it out better
on stage than on Memorex for
years and, realizing this, they've
put out a double live album. With
this compiled live performance,
you get all the, umm, hits: "
"Claire," "The Ballad of Wendel
Clark, Parts 1 & 2," "Record
Body Count" and the inevitable
"The Wreck of the Edmund
You get it all! Even a reference
to Martin's smoking on stage:
"You're a good Canadian/ You
let the new law slip right in/ And
now you're smoking in a parking lot."
It's not as fantastic as Melville
and the Blue Hysteria; however,
it is a keeper. Guaranteed to
make you bob your head and
sing along on car trips (which
should suit your fancy because,
like their shows, this album is
But hey, watch the foot,
sonny! This ain't the autobahn!
Doug PPP
Feeling Strangely Fine
Feeling Strangely Fine is this Minnesota three-piece's second full-
length release and the follow-up
to 1996's The Great Divide.
While it's not a drastic musical
departure for them, it is definitely
more calculated. It's very apparent that this is Semisonic's attempt to reach the masses. The
production is slicker, the guitars
are louder, and the songs seem
targeted directly at modern rock
radio. The album was mixed by
Bob Clearmountain who, it
seems, has mixed for practically every major top 40 artist. Yup, it's certainly their stab
at stardom.
Semisonic play a '60s
retro-tinged brand of guitar-
oriented pop with a lot of falsetto and harmony vocals.
They're at their best on tunes
like "Never You Mind" (reminiscent of The Beatles in
their psychedelic phase, complete with fuzzy guitars, swirling harmonies, and trippy effects), "Singing in my Sleep"
(as straightforward a pop song
as you'll ever hear), "This Will
Be My Year" (brings to mind
Matthew Sweet), and
"Gone to the Movies" (mostly
just solo acoustic guitar and
voice with some strings). But the
production is distracting and
threatens to overshadow the
songs themselves. I often find
myself listening to the big drum
sounds, the delays, and the
flanges, rather than the songs.
So will this effort bring them
fame and fortune? Are they the
next "big thing?" I don't know.
Wait and see.
Fred derF
Late Night Thinkin'
(Sealed Fate)
This boy-girl-boy trio offers up
standard bass-drum-guitar-occa
sional keyboard indie rock-pop,
which, though blessed by solid
musicianship, is fairly run-of-the-
mill. I wanted to like this album,
having heard good things about
the band, but nothing really
grabbed my attention. Maybe
next time.
Steve Guimond
Honest Don's  Welcome
(Honest Don's)
Honest Don's Welcome Wagon
is quite the pleasant mix, consisting of tracks that fall predominantly in the punk-ska realm of
music. This is not surprising in
the least, considering the CD
was being handed out at the
February NOFX concert.
Among the best tracks is Teen
Idols' "Lovely Day," a feelgood song appropriate for the
has been experiencing from
time to time. Immediately following is "Punk Rock 101" by
Diesel Boy — this track is
highly aggressive, filled with
distortion guitar and high
speed drumming. Mad Caddies and Dance Hall
Crashers add a happy-sounding ska touch to the CD, with
their songs, "Distress" and
"Pick Up Lines," characterized
by bright brass instrument sections. J Church's "Alone
When She Dies" contains more
of a rock 'n' roll feel, while Limp
provides a Green  Day-ish
sound that the younger teens will
certainly enjoy. The worst track
of the whole album has to be
"Sissy Made For You," by
Submissives; this is punk
rock at its worst. However, the
musical integrity of the album
is restored by Me First and
The Gimme Gimmes, who
round out the CD with "Rocket
Man." I can honestly say this
is a compilation worth check
ing out.
Jerome Yang
Random (02): Mixes of
Gary Numan
(Beggars Banquet)
The fact that this album even exists is a testament to the creativity and innovation of electro-
pop genius Gary Numan.
Random (02j is the second album on Beggars Banquet to
feature remixes of Numan
songs by other electronic artists. Each artist tries to mold
the song into something their
own without losing the distant,
and distinct, Numanesque
quality. Some transform the
subtle tracks to loud, pounding
assaults: Robert Armani takes
the distorted organ of "Metal"
and puts it to a hard trance beat.
Others smooth the sounds out
melody. Num
where should give this album a
listen. Heck! You might even recognize a few of your favourites.
Shane Vander Meer
19   ®L£§S0SiS®
,i   H On The Dia
12:00PM All ol time is measured by
its art. This show presents the most
recent new music from around the
world. Ears open.
Reggae inna all styles and fashion.
5:00PM Real cowshit caught in yer
boots country.
QUEER FM 6-00-8.-OOPM Dedicated
to the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened to by
everyone. Lots of human interest
features, background on current
issues and great music from musicians
of all sexual preferences and gender
GEETANJAU      9:00-10:00PM
Geetanjali features a wide range of
music from India, including classical
music, both Hindustani and Carnatic,
popular music from Indian movies from
the 1930'stothe 1990's, Semklassical
music such as Ghazals and Bhajans,
and also Quawwalis, Folk Songs, etc.
Strictly Hip Hop — Strictly
Undergound — Strictly Vinyl With
your hosts Mr. Checka, Flip Out & J
Swing on the 1 & 2's.
12:00-4:OOAM Drop yer gear and
stay up late. Naked radio for naked
people. Get bent. Love Dave. Eclectic
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 ambience.
1:00 PM Playing a spectrum of music
from Garage Band to Big Band acoustic
to electric.
Mismatched flop rock, a. quick ride
downtown. Don't miss the Snow White
Float. I love the Snow White Float. .
4:00PM I endeavour to feature dead air,
verbal flatulence (onfy when I speak), a
work of music by a twentiethcentury
composer—can you say minimalist? —
and whatever else appeals to me. Fag
and dyke positive. Mail in your requests,
because I am not a humanonswering
will triumph? Hardcore/punk from
beyond the grave.
BIRDWATCHERS 5:30-6:00PM Join the
Spoils department for heir eye on ihe T-birds.
6*00-7*00PM Mixofmostdepressing,
unheard and untenable melodies, tunes
and voices.
7:00PM Join Library queens Helen G.
and Kim on their info quests set to only
the best music.
Vancouver's longest running prime time
jazz program. Hosted by the ever-suave
Gavin Walker. Features at 11.
May 4: Guitar great Grant Green and
the Latin Bit.
Mayll:  Canadian  born     jazz
iconoclast, Paul Bleyand" footloose. "
May 18: In honour of Jackie McLean's
May 19 birthday, "Fire and Love."
May25: Today is Miles Davis' birthday
live recording of '60s quintet, "no
Blues." Underrated trombone master
Eddie Bert plays tonight.
DRUM W SPACE   12:00-4:00AM
Vancouver's only drum 'n' bass show.
Futuristic urban breakbeatat 160bpm.
Japanese early morning imports!
music for your morning drive.
11:30AM  Torrid trash-rock, sleazy
surf and pulsatin' punkprovide ihe perfect
scissor kick to your head every Tuesday
mom. There's no second chance when
Kungf u is used for evil with drunken fist
Bryce. Kilfyaalll!
1:00PM "Have a rock Y roll
McDonald's far lunch today!"
POLYFUlfR 2K>0-3:30PM
5:00PM Power to ihe people! Feminist
news, hiphop tracks, lesbionic rock and
sushi galore!
NOOZE 5:00-5:30PM On vacation
until September.
RADIO ACTIVE 5:30-6K)0PM Social
justice issues, Amnesty International
updates, activism and fucking up the evil
corporate powers lhat be!!!
Underground hip hop music. Live on-air
mixing by DJ Flipout. Old school to next
school tracks. Chew on lhat shit.
9:00PM Meat the unherd where
the unheard and the hordes of hardly
herd are heard, courtesy of host and
demo director Dale Sawyer. Herd
up! New music, independent bands.
RITMO LATINO 9:00-10:00PM Gel
on board Vancouver's only tropical
fiesta express with your loco hosts
Rolando, Romy, and Paulo as they
shake it and wiggle it to the latest in
Salsa, Merengue, Cumbia and other
fiery fiesta favourites. Latin music so
hot it'll give you a tan! jjRADIO
10:O0PM-12:OOAM Listen far all
Canadian, mostly independent lunes.
j      P      °      P
The Arrho
caught in the red
are you
with the
around the
middle east
Mary Tyler
Moore Show
t he  last  desk
• Elytrap's
Love Den
third time's
the charm
msic f oc foeotr/
These are the
Colonel Sander's
Steve and Mike
Sugarcube Factory
Justin's  time
Meat-Eatin* Vc«n
n o  i   *z
evil vs. good
fiiicrin         E'SmiJiiiM BmiiiiiiTB                                SmstwJ                                 Im.,,.,*
ratio bi** Warsaw
digestive tracks;
Out For Kicks
Far East
•hide 'bounds/
African RHytnms
Flip hop havoc
and sometimes
on air with
greased hair
HeUo India
Folk Oasis
Canuck Stops Here/
strfl outta
at the
Slippery Slot /
open *5€A*on
Filet     of
ZD/nay }MBq 10:00PM-12:00AM Noise,
ambient, electronic, hip hop, free jazz,
christian better living Ip's, the occasional
amateur radio play, whatever.
LATE Warning: This show is moody
and unpredictable. It encourages
insomnia and may prove to be hazardous to your health. Listener discretion is
advised. Ambient, ethnic, funk, pop,
dance, punk, electronic, synth, blues,
and unusual rock.
Some cheese for your morning bagel
10:00AM Girl music of all shapes and
10:00AM-12:00PM electronic.
LOVESUCKS 12:0O-2:0OPM Muse at
work. (Cut up mixed genres — eclectic,
electric included but not mandatory).
Remember: Always wear your
protective eyewear! May is
motorcycle awareness month! Drive
On vacation.
RACHEL'S SONG 5:30-6:O0PM Info
on health and the environment, wilh a
focus on Vancouver. Topics ranging
from recycling and conservation projects
to diet, health, and consuption and
sustainability in the urban context.
Comments and ideas are welcome.
ESOTERIK alt.6K)0-7:30PMAmbient/
experimental music for those of us who
know about the illilhids.
SOLID STATE alt. 6:00-7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
9:00PM cherry ice cream smile,
icu, longstocking... these are a few
of our fave-oh-writ things, la la la!
show that's not afraid to call itself
folk. Featuring the best in local and
international acoustic-roots music:
Singer-songwwriters, cajun, celtic and
and Bindwa immerse you in radioactive Bhungral "Chakkh de phutay."
Listen to all our favourite Punjabi
tunes — remixes and originals Brraaaah!
OPEN SEASON 12:00- 4:00AM
Mixed bag of suprises coming your
8:30AM Bringing you the best in west
coast rap.
THE LAST DESK 8:30-10:00AM Listen
carefully as Johnny B brings you
CiTR's classical  music  show.
Featuring Canadian composers,
amateur hour & more. Radio con
fuoco, for the masses.
FlUBUSTERalt. 10:00-11:30AM From
accordian to the backwoodsvia swingin'
lounge sounds... this show is a genre
free zone.
MUSIC FOR ROBOTS alt. 10:00-
11:30AM Viva La Robotica Revolution.
Electronica... noiz... new wave, no wave.
lKJOPM From Tofino b Gander, Baffin
bland to Portage La Prairie. The dfCanadbn
soundtrack for your midday snack!
SIEVE&MKE 1KW-2KWPM Crashing the
boys' dub in the pit. Hard and fast, heavy
and slow. Listen to it, baby, (hardcore).
JUSTIN'S TIME 2:O0-3*O0PM Serving
up your weekly dose of Shirley Horn and
other jazz-filled confections.
Hardcore and Punk rock since 1989.
6:00PM Movie reviews and criticism.
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.
9:00PM Roots of rock & roll.
HELL 9*00-1 1:00PM Local muzak
from 9. Live bandz from 10-11.
Farm animals, plush toys and Napalm
Death. These are a few of my favourite
things. It's all about shootin' the shit and
rock n' roll, baby.
garage rock and other things.
10:00AM Join Greg in the love den
for a cocktail. We'll hear retro stuff,
groovy jazz, and thicker stuff too.
See you here ... and bring some ice.
12:00PM Scotty and Julie, playing
the music that gets them dancing and
singing in the DJ booth... (no, really!)
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NOIZ 4.*00-5KXH>M seMed.
NOOZE 5*00-5:30PM On vacation.
9:00PM Sounds of the transpacific
underground, from west Java to east Detroit.
Sound system operator, Don Chw.
9:00PM David "Love" Jones brings
you the best new and old Jazz, soul,
latin, samba, bossa & African Music
around the world.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc. Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
UMP SINK 12:00-6:30AM The show
that does not hate you. Lullabies for
the chriskhild with Mister G42 and
the late Postman Pat. (Industrial-
gothic- complete with a German-
English dictionary and a shiny space
suit). Alternates weeks with Tobias'
Paradigm Shift (Rant, phone-in and
kiss your mother with the guests).
12:00PM   Music you won't hear
anywhere else, studio guests, new
releases, British comedy sketches,
folk music calendar, ticket
giveaways, plus World Cup
Report at 11:30 AM. 8-9AM:
African/World roots. 9AM-12PM:
Celtic music and performances.
1:00PM All kinds of music spoken
word, interviews. Phone in for comments
or requests.Tune in and expose yourself
to new music and ideas.
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
Blues and blues roots with your hosts
Anna and AJ.
8:00PM Join host Dave Emory and
colleague Nip Tuck for some extraordinary political research guaranteed to
make you think. Originally broadcast
on KFJC (Los Altos, Cal.|.
1:00AM "Live! —shows and bands -
- admission $6.00 — Performers are
subject to change." Maximum Soul.
REBEL JAZZ 10:00PM- 1:00AM
Join Girish for some —rebel jazz..
EARWAXalt. 1:00AM- DAWN "Little
bit of drum, bit of bass and a whole
lot of noize." Late-night radio
soundclash destined to fist you hard.
Zine features, phat experimental
chunes, and the occasional turntable
symphony. "Money, we'll rock you
on 'til the break of dawn."—G. Smiley
101.9 fM
noisenoissnoisenoa |rj Ittt Hssnoisenoisenoise
::::::j:;::h ;::!::::
and sometimes enahs
fridays 4:00- 5:00
21 ■ E^gsa@HB-' CiTR
May 98
May 98 Short Vinyl
1        make up
in mass mind
1        madigan                    bonfire madigan                                   k
2       murder city devils
s/t                        d
e young, stay pretty
2       local rabbits             pops & company            murderecords
3       little red car wreck
motor like a mother
3       junior varsity             pep rally rock!                   twist like this
4       solex
solex vs. the hitmeister             matador
4       the grifters                 wicked thing                              sub pop
5       quasi
featuring "birds"
5       the inbreds                yelverton hill                      summershine
6       June of 44
four great points
6       gaze                         seedless                                               k
7       gaze
7       countdowns               love her so                       scooch pooch
8       beans
8       myfavourte/madplane*   split                                                harriet
9       bedhead
transaction de novc
trance syndicate
9      quadrajets                the real fucked up blues        360 twist
10    buffalo daughter
new rock
grand royal
10    the cannanes             it's a fine line                                harriet
11     duster
11     ladies who lunch      everybody's happy ...        grand royal
12    saboteurs
espionage garage
american pop
12    various artists            free to fight                             candy ass
13    fugazi
end hits
13    mant from u.n.c.I.e. friends to none                      lance rock
14    dirty three
ocean songs
touch & go
14    bunnygrunt/tulfycraft   split                                            kitty boo
15    bangs
tiger beat
kill rock stars
15     interpreters                in rememberance of that fine ...   volcano
16    tortoise
thrill jockey
16    the seculars               social skills                             360 twist
17    perfume tree
world domination
17    kitty craft                    kitty craft                                         rover
18    red monkey
make the moment
18    dina martina              christmas with ...                                 up
19    freakwater
thrill jockey
19    the vendettas            can't stop                               360 twist
20    trans am
the surveillance
thrill jockey
20    various artists            melodiya                                  melodiya
21 polaris
22 neutral milk hotel
in the aeroplane ov
er the sea     merge
23 various artists
24 love as laughter
#1 USA
ninja tune
the   show   top   10
Sundays      iopm-i2am
25    red aunts
ghetto blaster
26    david kristian
1    noreaga                                                                  n . 0 . r . e .
27    weakerthans
fallow           g-7 we
coming committee
2   gangstarr                                                                 moment of truth
28    transistor sound ..
3   dialated peoples                                                    work the angles
29    forecasts farewell
4   rahsheed & ill advised                                                         1986
30    various artists
girl crazy!
5    d.t. featuring checkmate                                          i got enuff ot it
31     uilab
6   thrust                                                                                   emcee
32    new bomb turks
at rope's end
7   cocoa brovas featuring raewkwon                          black trump
33    veda hille
here is a picture
8   canibus                                                                     2nd round k.o.
34    propellerheads
decksandrumsand .
9   shabam sadeeq                                                    5 star generals
35     braid
frame & canvas
10 rascalz                                                          northern touch (remix)
The monthly charts are compiled based on the number of times a CD/LP
("long vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's
playlist was played by our djs during the previous month (ie, "May" charts
reflect airply in April). Weekly charts can be received via email. Send mail to
"majordomo@unixg.ubc.ca" with the command: subscribe citr-charts#
May 98 Indie Home Jobs
1       the go devils
trigger me
2       full sketch
3       thee goblins
golden tokens
4      thee pirates
the pirate song
5       captain cook a
d the nootka sc
und             i'm glad for you
6      emulsifier
up the down side
7       verona
war towers
8       london paris
unmatched sock
9       dreamy angel
laundromatte queen
10    mizmo
11     the dirtmitts
amaze me
12    run chico run
pusha girl
13    closed caption
people of the lie
14    the spitfires
so lonely
15    touch & gos
campus radio boy
16    sloppy
17    the tremolo fall.
18    jP5
fuzzyhead pills
19    the hounds of buskerville
blowin' off some steam
20    the spitfires
so lonely
listened to ...
cadallaca   •   usa   •   mar
y   lou   lord
•   c h e t i ca m p
•   the   e v
a p 0 ra t 0 r s
•   buffal
0    daughter   •
the    halo
•   the
•   ec8 0 r   •
•     ch
e s t n u t
static    «
e    s e c r e
t    stars    •
bangs  •
riot  •   pulp
•   sloan
•   bell
e   and   s e
b a s t i a n   •
l?»o'.d rr-asr._y nwwu
Jason da sdvcz
22 in ay'ms Datebook
FRI 1 Nomeansno, The Smugglers, Royal Grand Prix,
DBS@Croatian Cultural Centre; The Mach Ills, The Beauticians,
Lavish@Anza Club; Dorothy Missing, Steve Reynolds@Portside
Room; Jungle, Checo Tohomaso, The VOC Soul Gospel
Choir@Starfish; Spacious Couch@Chameleon; Grande
Flexe@Sonar; Thrill Squad, Saturnhead,
Moneyshot@Columbia; Slam City Jam: Jeru the Damaja, Mack
Patrol, J2-0@Pacific Coliseum; Bridge Burner Records Label
Launch: Mother Trucker, Jesse's Girl, Celestial Magenta, JP5,
Ani Kyd@Brickyard; Wow, Bonafide@The Pic; Two@Palladium
SAT 2 Spacious Couch@Chameleon; Slam City Jam:
FunkDoobiest, Social Deviantz, Indo Stix@Pacific Coliseum;
Duo Noblesse Oblige, Fortepianists Ruth, Ronald Moir@St.
Mark's Trinity Church; Bridge Burner Records Label Launch:
Blammo, Ted, The Cartels, Treecrusher@Brickyard; Green-eyed
Jealousy, Casey Marshall, The Random Dolmens@The Pic; Ache
Brasil@Starfish; Clumsy Lovers@HMV Robson
SUN 3 BC Children's Hospital Foundation Charity Auction@Press
Club; Slam City Jam: Trike Wipeout, Minority, SNFU@Pacific
Coliseum; Rick Scott, Pied Pumpkin@Chan Centre
MON 4 Matchbox 20, Cool 4 August@Plaza of Nations
TUE 5 John Howard@Sonar; Socratic Method, Four Bone
Chain, Split Lip Ashtray@Starfish
WED 6 Canned Film Festival@Plaza Theatre; 10 Speed,
Thurston Five@Starfish; Surfdusters@The Pic; Perfume Tree CD
Release Party@Richard's on Richards; Rankin Family@Orpheum
THU 7 Canned Film Festival@Plaza Theatre; DJ Dan@Sonar;
Dan Bern@Starfish; Breathe Underwater@Brickyard;
Phosphene@Sugar Refinery
FRI 8 Muscle Bitches, Punched Unconscious,
Bloodhag@Starfish; Soulstream@Chameleon; Solarbaby@Cafe
Deux Soleil
SAT 9 Flex Your Head Nine Year Anniversary Show: Trial,
The Get Up Kids, Braid, By A Thread, Reserve 34 and The
Self Esteem Project@Seylynn Hall; Soulstream@Chameleon;
Killjoys, Mystery Machine@Starfish; Heartland
Reggae@Ho\\ywood Theatre; Arts & Crafts Fair@Heritage Hall
SUN   10 Goldie@Sonar;  The  Bomboras,  The  Lazy
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant Pazz on the Creek) 684 3777
Anza Club 3 W. Bth (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
The Blinding Light 256 E. Georgia (between Main & Gore)
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)     873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville  (Granville Mall) 681 1531
Cordova Cafe 307 Cordova (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Death by Chocolate  1001 Denman St. (at Nelson)
Denman Place Cinema  1030 Denman  (V\fest End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate  1176 Granville (downtown) 688 8701
Greg's Place 45844 Yale Rd. (Chiliiwack) 795 3334
Cowgirls@The Pic
MON 11 Wyrd Sisters@Chan Centre; Comedy Train (stand-up
comedy): Irwin Barker, Barry Greenfeld & friends@Railway Club
TUE 12 Sarum, Carbon 6@Starfish
WED 13 Veal, David Garza@Starfish; Dave Matthews Band,
Groove Collective@Plaza of Nations
THU 14 Gory Numan, Switchblade Syrnphony<§>Starfish; Bob
Dylan, Joni Mitchell, Van Morrison@GM Place
FRI 15 CiTR Presents DJ Sound War Chapter V Battle
of the Four Hip Hop Elements@PNE forum; Damn the
Diva@Starfi$h;     Namedropper@Chameleon;     Mark
Farina@Sonar;  Ferron@Norman  Rothstein Theatre; Van
Morrison@Queen Etizibeth Theatre
SAT 16 CiTR Presents DJ Sound War Chapter V: Bat
tie of the Four Hip Hop Elements@PNE Forum; The Meteors,
The Deadcats@The Pic; Namedropper@Chameieon; Minority
CD release party@Cobalt Hotel {917 Main)
SUN  17 New Bomb Turks, The Spitfires@Starfish; Soul
MON 18 The Phantom Rockers, The Deadcais@The Pic
TUE 19 Chixdiggit, Groovie Ghoulies, Bonafide@Starfish; Ray
Davies@Vogue; Feor of Drinking@Raikvay Club
WED 20 Wavestation, Electrosonics; Bossanova@Starfish
THU 21 Tribe 8, Che Chapter 127, Jody Bleyle@Starfish; Al
Stewarr@Richard'sor> Richards
FRI 22 Clousone Trio@Starfish; Strange Voices@Chameleon;
New Meanies, Brother Cane@Palladium; A New Place To
Dance@WISE Half
SAT 23 Solarbaby@Columbia; Jazzberry Ram@Sfarfish;
Strange Voices@Chameleon; The Deadcats, The Spectres@The
Pic; African World Dance@Maritime Labour Centre
SUN 24 Le Band@Richard's on Richards
MON 25 Charlie Major@Richard's on Richards
TUE 26 Sam, Random Dolmens, Doug's Mom@Starfish
WED 27 Inuvik Drummers & Dancers@Vanier Park
THU 28 Compound Red, Sarge, Homeless Wonders, The Self
Esteem Project, The Wonders@The Space; Boyz II Men@GM
FRI 29 Los Lobos@Plaza of Nations
SAT   30  Matthew  Herbert@Sonar;   Maggini   String
SUN 31 Vancouver Rape Relief & Women's Shelter 20th
Annual Walkathon@Stanley Park; Vancouver New Music
CANNED    Film    Festival
SFU School for the Contemporary Arts
presents this festival of independent, student-
produced films at Plaza Theatre (881
Granville) Wednesday/ May 6-Thursday, May
7 at 7pm. Doors 6:30, five bucks. For more
info, 291.3514.
B.E.A.R. (Borderline Entertainment Anti-Alienation Resistance)
Two anonymous local performance artists
take over public space on Saturday, May 9,
12:00pm-10:00pm. Call 916.1311 on May
8 for location.
"mily Carr Institude of Art & Design
raduation Exhibition
Here's your chance to check out one of the
Vancouver art world's most exciting annual
events. Open daily to the public Sunday, May
10-Sunday, May 24 from 10:00am-6:00pm.
Located at 1399 Johnston St, Granville Island.
Spring! 2nd Annual Vancouver
International New Music Festival
A rare chance to experience the best and
I most innovative composers today! Featur-
I ing orchestras, ensembles, & guest soloists
performing 48 new works and 19 world premieres; plus feature artist, James MacMillan.
Runs Friday, May 29-Saturday, June 6 at
various venues. For info, 606.6440 or
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
Hemp B.C. 324 W. Hastings (downtown) 681 4620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738*3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 8734131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery (Pt. Grey) 224 8007
La Quena  1111 Commercial  (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair 1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Medialuna  1926 W. Broadway
Moon Base Gallery 231 Carrall St. (gastown) 608.0913
Mora 6 Powell (Gastown) 689 0649
Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151
Old American Pub 928 Main  (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque   1131 Howe (downtown) 688 3456
Palbdium (formerly Graceland) 1250 Richards (downtown) 688 2648
Paradise 27 Church  (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pitt Gallery 317 VV. Hastings (downtown) 6816740
Plaza Theatre 881 Granville  (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Queen Elizabeth Theatre Hamilton & Georgia 665 3050
Raffels Lounge  1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir (at Seymour) 681 1625
Richard's On Richards  1036 Richards (downtown) 687 6794
Ridge Cinema  3131 Arbutus (at 16th Ave.) 738 6311
Russian Hall 600 Campbell (Chinatown) 874 6200
Scratch Records  109 W. Cordova  (Gastown) 687 6355
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)      291 6864
Sonar 66 Water (Gastown) 683 6695
Southhill Candy Shop 4198 Main (at 26th) 876 7463
Squish'd Knish 4470 Main (at 29th) 879 9017
The Space 316 Hastings (downtown)
Starfish Room   1055 Homer (downtown) 682 4171
Starlight Cinema 935 Denman  (West End) 689 0096
Station Street Arts Centre 930 Station (off Main) 688 3312
St. Regis Hotel 602 Dunsmiur (downtown)
StoneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown) 681 8915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Vancouver E. Cultural Centre  1895 Venables (at Victoria)   254 9578
Vancouver Little Theatre 3102 Main (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th  (Point Grey) 222 2235
Vert/Washout  1020 Granville (dowtown) 872 2999
Video In Studios  1965 Main  (Mt. Pleasant) 872 8337
Virgin Mega Store 788 Burrard (at Robson) 669 2289
Vogue Theatre 918 Granville (Granville Mall) 3317909
Waterfront Theatre  1405 Anderson  (Granville Is.) 685 6217
Western Front (303 E. 8th Ave) 876 9343
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall  1882 Adanac (the Drive) 254 5858
Women In Print 3566 W 4th  (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downtown) 6819253
Zulu Records 1869 W. 4th (Kitsilano) 738 3232 SOUND DESIGNS AT ZULU
Renovate your pad with these fine cubes of music!
END Hi 15 CQ/IP DCs finest sons' annual status-report rocks. All long-term investors will be grateful for their initial expendi-   I^B PQ
ture; the return demonstrates a huge cultural-capital gain. This is a stock that you can count on, we guarantee satisfaction and security   . gg_
— FUGAZI means "quality" in any language. New uncertain investors should take their contemporaries' word for it and jump into this    1 <t    LP
celebrated booming venture. FUGAZI provide everything you need: bass, two guitars, drums, some vocals and many great songs. End
Hits is solid and huge.
BORN ON THE FIRST OF JULY CD/IP From Calgary, these prairie lads know how to wield a guitar: they wave it   16^ CO
around and shake it, and then punk rock comes out of it. Miraculous! They rip and roar, yet remain so damn catchy you'd think they     -i ng_ ip
were cheating. But this is no test, this is the real McCoy: vibrant, explosive, material, abundant pop rock and roll, like the great grassy
and treeless plains of their homeland.
HAPPY END OF YOU (REMIX ALBUM) CQ/2LP Originally available as a series ot exclusive 12-inch releases, the Matador    16* CD
Records' brass has finally made widely available some of the most exciting PIZZICATO FIVE beats to date. Look for new takes on their '60s cool cock-    IJ^ 91P I
tail savvy from 808 State, Momus, St. Etienne and many morel AVAILABLE MAY 5™.
PUSH THE BUTTON CD MONEY takes the wack back, way back kid. MONEY MARK steps up to entice us with his second Mo' Wax 16^ CD
release — Push The Button. If you're in doubt, just look at his credentials. MONEY threw down some keys for Grand Royal & Delicious Vinyl amongst
other. We believe that Push The Button refers to yours! AVAILABLE MAY 5™.
FEELER CD Vancouver's own dub-wise PERFUME TREE trips out with a technical savvy and verisimilitude that, well, just gets
better and better with each record. There is no need to convince old fans, but unfamiliar listeners should come get a listen and be
rewarded. The terms dreamy and atmospheric can somewhat describe PERFUME TREE'S groovy and spacious style, but they cannot
completely capture the particular substance that is imparted: a fine mixture of beats, ambience, electronica and haunting vocals.
BONUS: Buy Feeler now and receive a cassette version of A Lifetime Away or Suns Running Out (their previous two Zulu released
albums) free of charge, while supplies last.
TWISTED BY DESIGN CQ/LP The latest entry in California's punk-pop soapbox derby comes from Fat Wreck's most adorned road       16* CD
warriors — STRUNG OUT! They are renowned for their tightness, so you better watch out for any oil slicks that they should send your way, dude. 15      H nag ■ n
loud, fast and melodious tunes to crank over your own spiked hubcap punk rock go-kart!
PEUPLE MUVE UN CD As the title implies, the much-adored Mr. BUTLER has moved on, (in smashing style no less)        llr   CD
from his days as guitarist in UK's ultra-debonair band Suede. But hey, this is no "stone-alone" type of release, instead many of
BUTLER's true talents are given the room they need — witness singles such as "Stay"! A fine record! Bravo! Well done Sir!
MEZZANINE CD The appealingly dark, dub inflected sound of MASSIVE ATTACK has been greatly responsible for all so-called trip hop and       1C3S Qn
other derivatives; Tricky was once amongst their ranks, while Portished and Reprazent owe them much more than a nod. And they very well may
possess the definitive "Bristol sound," or at least they might be why there is such a sound to make reference to. In other words, MASSIVE ATTACK
has been and will continue to be influential. It sounds good, it is good. Featuring Elizabeth Frazer, Sarah Jay and Horace Andy on vocals.
AVAILABLE MAY 12™. Limited edition deluxe imports in stock now, $36.98.
PENNSYLVANIA CD Now available in the US on Tim Kerr Records, we're glad to pass this much-exalted platter your way!   "| g* QQ
Whether they're a cult band or just a wacky pop band, PERE UBU fit the bill — delivering adventurous sounds for your ever-evolving
ears. No record collection is complete without a little UBU! (Trust us, some of your other records will thank you for it...)
vLAbrv UuHT FANTASY CD/LP Let us propose that "freaky" is a reference to some older funk slang for anything or anybody sexu-
alized. While "chakra" alludes to a metaphysical system pertaining to our inner lives. Put these notions together and we get a semblance of this Black
Light Fantasy — a fantastical concept. A very analogue-like, synthetic sounding, driving electronica mediates this proposition. Come help discover the
truth-value of this discourse. Here's a hint: it's
16® CD
14* LP
CITY UF DAUGHTERS (LP ONLY) Vancouver's loveliest troubadour is so soulful you'd think he were three people.     12" LP
Our fine friend DESTROYER "gives up" another sample of his generous talent. This time he enlists a few of his suave pals, so break out
your finest dinnerware and good brandy. Together they will entertain you, displaying a cultivated repartee, hip sense of style and an
enviable musical repertoire. They gracefully personify the term "recording artists." But there is no need to be envious of his endowment,
DESTROYER always shares his great gifts of joy. Pop music weeps for DESTROYER, he is a 100% performer.
ImrALA (LP ONLY) Sporting the sound that Palace forgot, this intriguing record lives up to its anticipated hype! Offering        l£^ LP
desolate country songs rank with heartbreak, reverie and yes, even hope — these tunes will see you through any sad-sack doldrums!
This is to be played again and again.
10% OFF
VALID MAY 1-10/98
With this coupon, get 10% off
used CDs at Zulu!
-15«Vi_ OFF
VALID MAY 11-20/98
With this coupon, get 15% off |
regular priced new vinyl at Zulu!
*/<»  OFF
VALID MAY 21-30/98
With this coupon, get 20% off
used vinyl at Zulu!


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