Discorder CITR-FM (Radio station : Vancouver, B.C.) Aug 1, 2001

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oo@@ % Tne Lotus Hotoi nas oecome tne Lana of miiK € Honey
introaucmg tmo f aouious new rooms aooue tne Lotus souna loi
miiK Bar t Honey Lounge
now open for aencious fooa, aesirous annus,
ana aeunous music
unaergrouna pop nil djs Hancunt,
Hamourger panaa ana special
Guests, orougnt to you oy tne
Faggy Kittens.
Bk   Wednesdays motoroooty
snootin' up soul,
freeoasing funK lu/
djs stepnane nouaK
)   ana Lusn.
J    TTlUPgflaUB .....
I   Tranarewa
j   snatcntaouious arag
J   nostea Dy JouainKa t
|   pnsca. DacKea oy dj
Eaaie Toonfiasn.
• Fridays
I jungle e Breaks
| smart, cnmea out
I DreaKs for tne
I connoisseur.
I   Saturdays
1   nygiri
uroan sounas ujitn
I  rotating djs.
I  sunaays
I   Euoiution
Liue nouse orougnt
to you Dy Ra House
Tuesaay: jazmup
luitn dj Dr.jay £ guests. FuturQ
ujeanesaays: manual (starting
notning out sQxy music to aance to
ui/ dj Jay-nuto
Tnursaays: Easy
dj Tristram £ guests spinning deep
fried nouse
Fridays: Booty
Hip Hop, funK £ soul lu/ djs Lauren
Burrows £ aui snaK
Saturdays: nygiri
nygin taKes you to tne Lana of
miiK £ Honey iu/ dj Tracy-D
sunaays: Home
Doiuntempo lounge uiitn craig muiiin
£ fnenas.
Tlie Lotus soma Lounge
uancouuers rauourite unaergrouna ciud
open monaay-saturaay 9:3opm-ar~
20 nz (oreaKDeats ana tecnno)
mc suieat € soaapop
Tuesaay: automatic (arum tv
uancouuers longest rr
arum ir oass mgnt uiitn
dj matty e Jay-uuto
ujeanesaay: manual (e-st
sexy music to aance to
lu/dj jay-outo I
Tnursaay: wray
(unaergrouna nouse £ tecnno)
lu djs Bauen $ jay Tripwire
Friday: ciud (sexy nouse)
Residents dj Leanne € scott audio
.spin tne sewest ciud f auontes
Last Saturday of eacn mwpr is Fetisn nignt
orougnt to you oy tne foiks at eoay perue
(strict aress coae enforced!)
ItfO 6651111
iik, Honey t tne Lotus are locatea in tne Lotus Hotel. U55 qooot st.
Pn: 60U.685.7777
lug welcome queer ana straight (out not narrow) patrons. fffyfrm?fk]R
vermilion, just a buncha damn kids, by cliff garnet p. 8
scooters and bowling rock, by bryce p. 8
peaches loves vagina! by hancunt p. 9
beatnuts love boobies! by mook p. 10
kuttin' kandy givin' 'er! by lyndsay s p. 11
stoners never go outta style! elevator by ben lai p. 12
nutbar horror guy udo kier. by I.shat and h.termite p. 13
toby van veen and robo take on dj spooky! p. 14
culture shock p. 4
radio free press p. 4
fucking bullshit/good morning Vancouver p. 5
7 inch p. 6
strut 8c fret p. 7
under review p. 16
real live action p, 19
charts p. 23
on the dial p. 24
kick around (comic) p, 25
datebook p. 26
ken paul is so great ken paul is so great
ken paul is so great, ken paul designed
this cover for us with eight hours to go,
after about a billion things went wrong
with the original cover, which was by
matt searcy and andrea nunes and pax
lyle. we love them too.
the sickly one:
Lyndsay Sung
the I drop acid and never
get sick one:
Maren Hancock
the hlgh-fiving designer one:
Matt Searcy
chillin' in a van:
Lori Kiessling
the mix master min:
Christa Min
the photogerly one:
Ann Goncalves
the real live one:
Steve DiPasquale
Matt, Lyndsay, Pax
photography and illustrations:
Jay Douillard, Ben Lai
Scott Malin, Zac Pennington,
Ellinda Siu, Toby Van Veen, Barb
Christa, Richard T, Heather, Barb,
Steve, Doretta, Toby Van Veen,
Bryce, Maren, that Donald kid,
others we may have forgot but
thank you.
on the dial:
Bryce Dunn
Luke Meat
Matt Steffich
us distribution:
Lindsay Marsak
Linda Scholten
© "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights I
I reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $ 15 for I
i year, to residents of the USA are $15 US; $24 CDN elsewhere, Single copies are $2 I
cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag-
| azine.
DEADLINES: Copy deadline for the September issue is August 15th, Ad space is available until I
I August 23rd and can be booked by calling Maren at 604,822,3017 ext. 3. Our rates are available I
I upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited man-
I uscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies),
jr any other unsolicited material. Material can be submitted on disc or in type. As olways, English is I
| preferred. Send e-mail to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as I
I through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the I
| CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017
<t. 2. Fax us at 822.9364, e-mail us at: citrmgr@ams.ubc.ca, visit our web site at http://www.citr.ca or just I
I pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA.
printed in Canada culture
anthony monday
masked a deeper, grosser, ugly
world. My dreams of being
swept up by a country lad were
transferred into wanting to
never see that country lad's
s aga
i. Everywhere I
is an ugly white
:ome ugly white
shorts. Thev
teenage bo
its were rank with
saddle soap: the
/ere   all   bleach-
> with frizzy hair,
and   verv   short
Smiled as thev bent
ve   pimple-faced
s who ogled her
laughed.   She   laughed.   Isi
cheap stage doi
Survive." I mean
had fallen in
country   has
love with.  My
poetry  that's
\     Jfrl
fcjjf'fc   ,
^fe?A )
^JR)  \>^L
;/ r*~         \ //
spelled out
rugged m,
Marlboro   i
i  (he
sand and
Unity of the
My country
lovin' comes from the belly of a
laughing old woman.
It is not plastic white cowboy hats worn by middle-aged
make-up, smiling perpetually.
Not the pubescent boys and big
trucks. Not the cruel torture the
animals are put through in the
name of entertainment. Not the
country that involves parades
of lassos and more moustaches
than the Village People. Not
Shania Twain and barbecues.
1 guess it's like mainstream
country. And, being the pretentious fag I am, I only like that
"alternative" or "underground"
country. The kinda country
you'd get on Hastings St. at
4am with your arm around a
crack whore and some scat covered, pockmarked, shirtless boy-
offering to stick his finger up
your ass "and wiggle it about."
That's my kinda country.
My kinda world.
'It's good to be home. •
radio free
Jeremy Balden, and Robyn
Marshall. Though the layout" is
on the theme "The Captain *n'
Me: The Lost and Found
Objects Issue" is kinda amusing. How many Captains can
you name and what attributes
can you put to them? Pony does
this succinctly, although for
what purpose I can't say, but
who cares? Since when do zines
here is 32 pages of standard
. The
contributors (the Vansidian),
which include locals like or
own CiTR show host Doretta
Lau and friends Sarah Lebo,
4 AUGUST 2001
ml \o\
(where have you been?), Brad's
two somewhat smug characters
wade through existential angst,
commercialism, futility, and
hypocrisy. Even spiritual matters are taken outside for a good
beating here and there. Always
entertaining but not so high-
minded that he can't poke fun
at himself a few times. Issue 7
includes a Nmja Bear comic,
cute and bloody. See Brad's site
at www.stayasyouare.com and
pick up copy at a good independent comic or mag shop.
Let's keep thinking locally
here: Daniel Rajala's (<streak-
er@vcn.bc.ca>) got a new poetry zine out at the moment, the
bright green cover is hard to
miss. Daniel's poetry illustrates
Vancouver scenery well as it
takes in sites and sounds, beau-
experience all around but forget. I get the feeling that I know
package his free spirit there'd
sell freedom. Perhaps a good
market for the Americans.
Well... speak of the "great
have arrived at Radio Free Press
and into my grubby hands. One
of my very favourites is GO
METRIC!, which moved from
New York to North Carolina
<gogometric@yahoo.com> for
ordering info. This mostly pop-
punk oriented, thick read is run
mostly by Mike Faloon who
heads the very indie and
superbly unglamorous Dizzy
records. This is Go Metricl's 13th
issue and still retains the sloppy
cut and paste aspect that is so
refreshingly pedestrian in a
gloss-obsessed market. Go
Metric',  is  basically  a  music
with The Young Fresh Fellows
(and Minus 5), the Figgs, Break
Up! Records, Junior Varsity,
Swearing at Motorists, The
Sissies and other zine freaks
who make Spank. The always
funny filler material makes the
zine worth getting alone. Take
the Go Metric! Sex Quiz and see
how yoi
I'd like to take a n
to welcome back Terminal City
to the Vancouver landscape. It's
been a long time and you seem
all the better for the wear.
Terminal City comes out weekly,
sports an alt-lefty 'tude, and is
available for free all over the
Thanks for the support my
friends. Keep it comin' and
don't let anyone tell you you're
worthless. Just do your own
thing. "No peers, no pressures"
I always like to say. Got any
audio zine stuff? I'd sure like to
hear it. Send your stuff, audio
and otherwise, to Radio
Free Press at DiSCORDER,
#233-6138 SUB Blvd., Vancouver,
BC, V6T 1Z1, Canada. Or you
can contact Bleek online at
<speckfanzine@yahoo.com>. •
Listen to Radio Free Press on
CiTR 101.9 FM. It airs
Wednesdays at 2pm. Totally awe- fucking bullshit and good
morning Vancouver
I'm going blind. And deaf.
And I have no sense of
smell which means I can't
taste anything. Sometimes I
get hit in the face with a ball.
Or punched in the head. I can
feel that. It hurts.
Okay, okay, I can see. But
only if I have glasses on.
Without them I can only see
things that are four centimeters away. It's true. I measured.
But I don't give a fuck. I figure
you only need sight if you're
not getting laid.
First you have to see pictures of naked people. Then
you get tired of that and you
look for people who might let
you undress them. Then you
stare at them because you like
the looks of them. You stare
and stare until you can kiss
them. And then, because
you're going to get laid, your
>tch. Your eyes hurt from all
that gaping, so when you kiss,
you close them. When you're
going to fuck, you turn out the
light so you can't see.
I figure once I lose my
sight completely, I'll be mak-
ting teeth and wear pink tank
tops. Which is fine so long as I
can't see them and they smell
alright. Like smoke and water.
Or paper and ink. Not that I
know what these things smell
like because I can't smell anything. Which is fine so long as
I can hear storms. And smoke
alarms. I can hear these things.
If they're loud. And I can hear
what people are saying. If they
yell. Repetition doesn't help
much. After the third time, I
still don't know what the fuck
they're saying, so I just shake
my head because chances are
they're saying something stupid. Something I don't want to
hear. But some things I have to
remember. When 1 go deaf no
one will listen to my scratchy
records anymore. I'll lose the
sounds of chords and throats.
Which would upset me. I'd
start crying like a fucking
pussy. I will be deaf and blind
and crying. Blindness probably has no effect on tear ducts,
■ two things
ith   i
JL Popsicle. One, !
like it was a melting, slush-in-
your-mouth cold sugar watered
wiener. Or two. Bite off the
frozen, cooling pink ice with
your two front teeth, then flip it
around on your tongue and
crush the pieces between your
molars. You know what's
annoying? How cherry
Popsk les have a stupid innuendo attached to them. Nothing
annoys me more than overt, sex-
ualized innuendos. Cherry is the
prettiest color, and a light snack.
Orange is harsh, root beer is root
beer, grape is good, like somebody poured Dimetapp into the
Popsicle mold and froze it onto
two wooden sticks. Chewing on
the sticks afterward is fun. But
sad too, 'cause that means the
delicious ice cold Popsicle treat
is gone. Now all it is, is saliva
and pink sugar water getting its
ass kicked by the acid in your
stomach. One thing I do adi
is when you see people, stupid
kids mostly, who are eating the
Popsicle as a one-piece. No time
ton flaying along the seams.
Larry liked to walk the citv. Mini
bulbs of light making eyes at
him. Naked Oriental Girls, hot
dogs two for a dollar, Anal
Invasion Part VI, electronics for
Nobody beat our prices. Larrv in
his brown loafers. He had blisters on his heels, but he liked the
feeling of them. Made him feel
alive, the sore red bubbles of
ol   I
. The
piece, their mouth all sideways
oval and orange all over their
face. Sometimes I pretend I'm
that cool and eat my Popsicle
that way. But I just feel like too
much of a fake. A calculating little monster who wants people to
subconsciously think, "Man,
look at that dude. He's sucking
on that thing, he thinks everyone will think he's gay for sucking on the individual pieces
cause they look so much like
dinks on sticks. Not like he's not
gay already for eating Popsicles.
What is he, a 10-year-old girl?
Fags. Fags, man." Now wait a
minute. Nobody's calling
nobody anything. But you know
ething. I donut care if people think I'm a fag. They're the
jerks for assuming things about
people. People should concentrate on being themselves and
having a good time i
uld stop calling people
they v
Larry walked the city at
night. He would start two
blocks from his apartment
and keep walking, hands in the
front pockets of his jeans,
slouched towards the cement
with eyes looking up towards
the streetlights. The streetwalkers and the drug dealers and the
bums would approach him, all
of them asking him for something. "I thuck your dick, 10
dollrs," she would slur, teetering
red python heels.
ukl s
! her
:t nip-
, through
their own haze. The lull of night,
when summer's cooled off, the
stink of overheated garbage
bags and rotten vegetables fading away. Larry with his hands
in his pockets, feeling the city
with his aching legs and blistered heels. He decided to stop
and get something to eat. Dollar
orange crush in bottles, 50 cents
for a samosa, roast beef sandwich two dollars, donair in
greasy wax paper, coffee and
donut. Apple pie. Larry decided
to get a hot dog. Mustard,
ketchup, onions, and a soda on
the side. He sat on the curb
beside the hot dog stand, his
soda on the sidewalk beside
S5^gSBSS[gB Camera Obscura's songs are
solid pop tunes, one with
strings, one with harmonies,
one with not much but a girl
and her story. This is an obvious next-best-favourite for
Belle and Sebastian fans, and
equally accessible for anyone
up for a pleasant ride.
(Andmoresound, PO Box 16103
Glasgow Gil 7YA Scotland/
My  hot  pui
> of the
LIGHT STING  single. True
enough, this single's shaped
e larger than
il fod-
the band's split 12" with Hot
Hot Heat, providing proof positive that this band is on the
road to go
•s the
about, v
lyrics, tl
c pacing.
diversifying dynamic of a band
getting its wet feet dried off <j
little bit. Less spazz and more
heart are clearly evident on this
in Hilling, but not to worry—
there's still plenty of wacky
keyboard noises and nonsense
to be found. I'm very down
with "Congratulations Mr.
Crocodile, You're Pregnant,"
despite the title (just like the
rest of them) that just don't
make n
play! Buy the r
>rd! Get on
,   PO   Box
55783 Valencia, CA 91385).
Heavy on the local scene,
lending us some hardcore cred,
MESSENGER have reached
out to the vinyl-loving hard-
rockers amongst us and offer a
split single with eastways band
HACKSAW. Hacksaw's contribution is moderately engaging,
a speedy garage tune with good
i but we
Maybe  I
r lyri
guess that's what MTWM is all
about. Seeing them live makes
ya proud, thinking about how
we've got our very own
Fucking Champs on the scene.
These boys are crazy, yo. The
sound is tight, fast and oh-so-
furious. This one song alone
proved worth the wait. (Global
Symphonic, www.globalsym-
Last, and local, and not
least, I promise, is the newest
REMOVAL single. This is number three of ten, and continues
in the fine style of singles past.
The a-side is a track featuring
Joey Keithley, Mr. DOA. I've
never really experimented on
the DOA punk side of the
tracks, but I can see how Mr.
Keithley might be accused of
starting a riot or two. This song
is also on the band's album
Remove AH. The b-side, however, is exclusive to this single,
and the more noteworthy of the
two tracks. This song is full of
creepy samples and the thunderous instrumental rock that
this band is so well-respected
for. Damn, if Vancouver doesn't
have thing or two to offer up
after all! (www.removeallmu-
>nth for records, as I hope
a see, and I've only got a
1C   c/o
-, #233-
6138 SUB Blvd., Vancouver, BC,
V6T 1Z1, Canada. Or get up to
UBC somehow and drop it off in
our convenient li'l silver drop-off
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ClM    2001 Htllott Raoorli 2798 Sansat. Blvd. Lao ingslsa,  -,k 900»S Itarafmcturol ml dlatrttmuil by Spluph. over my shoulder
Usually I don't like it
when people read over
my shoulder. One time,
I was sitting on the bus and
some guy insisted I let him finish reading an essay I was going
over. He kept pestering. I
should have said, "Go away,
man reading over my shoulder.
You suck." He wouldn't shut
up so, like the passive jerk I am,
I let him read the essay. Oh well.
Anyhow, the point is I'm inviting you to read over my shoulder now. Next month I promise
I'll look at poetry and small
presses, but for now, I present
you with a first time novelist
with a great book deal and a
writer of rock star proportions.
The Girl Without Anyone
Harper Flamingo Canada
Kelli  Deeth  is a  Vancouver
writer and graduate of the MFA
Creative Writing program at
UBC.  This is the program that
because the press is in love with
the work of recent graduates
such as Madeleine Thien,
Zsuzsi Gartner, and Nancy
Lee. Sometimes media hype is
unwarranted, but in this case
the attention is well deserved.
Vancouver is enjoying a wealth
of excellent prose and poetry.
The Girl Without Anyone is a collection of 11 interlinked short
stories chronicling protagonist
Leah's coming-of-age in a suburban landscape. The prose is
sparse; on first read, it's possible to misinterpret the writing
as simple. On second read, I
realize that if something is lacking, it's not in Deeth's writing,
it's in my reading. The silences
and subtle gestures create a
world where many small events
come together, resulting in huge
imaginary bedroom, and the
search for Leah's missing stepbrother. More often than not,
the final destination is emotional rather physical. In the Gift
Without Anyone, Leah's test is to
scape. It is fitting, then, that the
graph of a girl's back; the book
itself is an x-ray into Leah.
Deeth's writing is an x-ray that
captures what makes each of us
Sputnik Sweetheart
My only other Murakami expe-
i  thin
telling. -
I family -
upted a
HM. What I do know is many
guys love Murakami. For
instance, Daniel Handler, aka.
children's writer Lemony
Snicket (who Julie C. and  1
books are addictive and he is
collaborating with Stephen
Merritt of The Magnetic Fields,
Future Bible Heroes, The 6ths,
and the Gothic Archies fame-
but I digress). Handler digs the
Japanese master. From what
I've read of Murakami, 1 can
understand why. The prose is
lation    (though    I    thought
sonorous read than Sputnik
Sweetheart), the characters have
obsessive interests (Beatles
songs, Beat writers, reading,
and wine), and the protagonist
is in love with an elusive, idealized figure. Everyone knows
want who or what they can't
have. The key to Murakami's
writing is his trick of making
loneliness seem noble and
attractive.  Sputnik Sweetheart
dog Laika, the first living being
to leave the earth's atmosphere.
Laika died alone, while circling
the earth. It's the perfect
metaphor for unrequited love:
death of the self due to a gravi-
larger than oneself. The object is
so large, you can't help but fall
unrounding the
loves a married woman everyone calls Miu. The tale is
straightforward: guy falls for
girl, girl loves an older woman.
Girl goes on trip with older
woman and disappears. Older
woman enlists the help of guy
to search for girl. Though this
could have been cliche territory,
Murakami shines in the telling
>. Ea<
the reader discovers more about
physically present in the text. I
should probably be disturbed
by the role of the male gaze in
Murakami's novels, but the
thing is, his writing makes up
for sometimes offensive por-
mall <
plaint. The last part of the no\
wasabitofacurveball. I'm n
sold on the narrative turn, b
Murakami, lie knows what lit
Friday, July 6
Capri Hall
I love the notion of parallel
worlds. You can sense it in
places where the membrane
between them is thinnest—
metaphorically speaking of
course. It's particularly noticeable when one is walking or
gazing. Now I'm beginning to
wonder if Radix Theatre's way
with locations has something to
do with this because they often
manage to recreate the feeling.
Either that, or they really know
how to pick their location.
i probably
REM stages of sleep.
In the comers and along the
walls of a big, dank cellar,
scenes lit in isolation occurred
one by one. The pitch dark
behind us almost had a texture
as it pressed against our backs.
Here would be a good time to
start praising set and lighting
designer, Jay Dodge. Cross sections of rooms floated in the
darkness and the light had that
yellow, low wattage feel evocative of your parents' basement.
(Later on, Dodge would light
scenes filmically and later still,
like nothing on earth). A woman
in a bedroom (Tasha Faye
Evans) gave a dissertation on
the Angel Of Suicide, a young
man (Brahm Taylor) resolutely
tap-danced his way through a
aware that she was in a weird
show. Problem is of course, that
the strange can't be played or it
flattens and flees. To be fair
though, her role as all-purpose
female archetype didn't give
her the grounding that Taylor
and Ternes had in theirs.
As we shuffled around en
mass, I started to feel like a
case, we looked out over a
scene that made my stomach go
into freefall as I melted with
awe. Remember Radiator Girl
from Eraserhead or the funeral
by the swimming pool in
Tuvalu'! Well trust me—this was
right up there. Although it was
a complete turnaround from the
nastiness we had just witnessed, I still fancied a connec-
she'd feel okay about it. Some
funny, but their gratuitous, self-
conscious absurdity wore thin
very fast and just became irritating. All the while, she executed nice, unoriginal Modern
Dance moves. She did one nifty
thing, though. She took off her
knickers from underneath her
stretchy trousers without removing the trousers. The process o
O  this
>r Sherr
I Yoo
who i
created the piece with the three
performers, seems a good
match for the Radix aesthetic.
Atmosphere, stupendous visuals and tectonic shifts in percep-
state of audience involvement
that has become their calling
world's definition of success,
and an acid-damaged psycho-
in-waiting (a rivetingly believ-       mare scena
able Paul Ternes) described his      describes Bt
chemical breakdown and fan-       for "what, i
but every time they clicked a
their flashlights to shepherd i
to the next spot, a spell was bn
parkade where nothing could
have blunted the realness of
what happened next. First we
were shocked shitless and then
compelled to watch a night-
characters had bet
ed and were now extravagantly, yet peacefully mad.
Suddenly the show's title really
Sunday, July 8
Firehall Arts Centre
assembled   thematically.   Not
this  one,   though.  The  three
that the 45 in
as on interesting sensation.
First came Porridge Flick by
Yes, that Andy
n the
Bewildered took pla
main floor and two subterranean levels of a non-descript
old hall on Fraser Street. We
started at the bottom and
moved up through what in retrospect, almost corresponded to
At first, the scenes were
performed as monologues, but
as characters crystallized, they
bled into each other's vignettes
and a story slowly took shape.
Although visually arresting in
its presentation, some of the
material felt as if it was trying a
little too hard to be both significant and obtuse. Given the setting, this Was hardly necessary.
Evans    seemed    particularly
Villi   II
t. Radix
At this point, I decided that the
answer was "everything," but
in   a   perverted,   destructive
After ascending to the final
level, we waited in a carpeted
opened and the guides gently
beckoned us toward what
looked like blue-lit abyss.
Leaning over the balcony and
CODCOand now choreograph-
gramme, the piece explores the
porridge flicks it would take to
which would accidentally result
in human beings. The question
parody it is a big yawn.
Anne Troake performed the
work with deadpan conviction—and I was going to say
courage—but then she commissioned it from Jones, so 1 guess
bit of a navel-gazer. Perhaps I
just didn't get it.
Lynne Taylor-Corbett is a
well-established New York
based choreographer whose
Full Moon opened and closed
with a full-blown coyote howl.
Black-clad dancers Holly Bright
and  Raymond  Milne  floated
gorgeous effec
fully perform*
Montreal's Sarah Williams, it's
the latest work by The Holy
Body Tattoo's Noam Gagnon
and Dana Gingras-past masters of thrashing the body to
release the battered heart' As
did their full-length Circa, this
compact piece "examines the
forces that bind us forever or
Williams and Vancouver's
Kathleen McDonagh, already
looked sweaty and tousled
when they walked onstage. As
if defining the arena of their
impending struggle, they drew
chalk lines down each side and
then got down to business. I
could be a technical reference
cise— it was a nipping, twisting,
cling, emotional street fight.
vith tl
of upi
body strength pioneered by La
La La Human Steps' Louise
Lecavalier back in the dav. Was
it defiantly genderless or violently Sapphic? I decided that
and  ;
over the other s lap m a split-
The music, by Montreal's
Jackie Gallant, was percussion-
driven techno with a cruel energy that felt hours awav from
chillout time.
I didn't want Cut to end. Of
course it had to, but because it
' "E^gaiiEsa DiSCORDER caught up with Vermilion at The Showoff Gallery in
Bellingham, WA, at the end of an eight show, two week west coast
tour. Although barely legal, this quartet from Everett, WA have
been together in one variation or another for nearly five years. We
sat in their van and discussed Pfluggercasters, Steve Albini, Bo
Jackson and T' records... After handing over their $10 paycheck,
Showoff promoter John D introduced Bryce, Colin, Danny, and
DiSCORDER: So what do you guys want to talk about?
Eric: We want to talk about how we transformed on this tour.  We
established more of a personality for ourselves, I think. Now when
we come to play we have more energy. We come to rock.
Bryce: And more showmanship.
Colin: Yeah, showmanship. I'm working on my Pete Townsend.
Eric: You're getting your windmill out.
Colin: Yeah, if you watch me, it's all about ripping off Pete
Townsend. I'm going to start smashing guitars up once we get
bigger and better. When I can afford more guitars, I'll smash the
fucking shit out of them.
I have a guitar called a Pfluggercaster. If you want, you can smash
it in Vancouver at your show at The Cobalt.
Colin: I'll give you some money for it.
No. It's worthless. The only catch is, you have to play it first.
Colin: I'll play it. I'll fucking play it on the last song and kick the
shit out of it.
Speaking of showmanship, how was the turn out for your first
west coast tour?
Bryce: Pretty good. The first show was pretty sad. It was us, the
other band and like two people. The second show was pretty good.
Maybe 20 people. And the last show was about 50 or 60 people. It
was kind of a house show—a place called Koos.
How do you spell that?
Bryce: K-O-O-S.
Where is it?
Danny: In Santa Ana.
Eric: Maybe it's K-O-O apostrophe S.
Danny: Tlie possessive of Koo.
To be blunt, most of you guys are too young to be at a bar show.
How does this help shape your opinion of all ages events?
Bryce: We'll get the most turn out for all ages because most of the
people we know aren't 21 yet. It's the way to go for us.
Danny: Also, when you play bar shows,  a lot of the people there
are there to drink. But when you play all ages shows, people are
coming out to hear music. To hear bands they want to hear. It's a
lot better scene.
Tell us about your 7". Where was it recorded?
Colin: We recorded it with Matt Bayles at Studio Litho in October.
The record's called Bo Jackson.
What inspired the title?
Danny: It's about his life, his career. At the beginning you have his
birth, that's when you hear the violin. Then it kind of jumps ahead
to his career in sports.
Eric: And how he sputters. The whole hip injury is covered on the
Bryce: Actually, I was washing my balls in the bathtub when I came
up with the name.
Whilst washing your balls in the tub, do you ever worry about the
death of the 7" record?
Bryce: Not everybody has a record player, but everybody will buy
a 7" for some reason,
Danny: In this situation it was the best format available. The
length of the song worked out perfectly. It would have been a
waste to put that one song on a CD. With the one song on two sides,
you get two different aspects. The whole concept worked really
well with a 7'.
Colin: I'm really into the T. After we do the full length, I want to
do another single. I want to put out at least a couple of things out
every year.
Eric: Yeah, we want to put out vinyl pretty consistently.
What else is, or will be, in your discography?
Danny: We did a CD a couple of years ago with a guy named Jake
Snider at Spectra Studios. We released that in March of last year.
We're going to Chicago in October to record at Electrical Audio.
What's your game plan when you get there? Are you going to tell
Steve what to do?
Vermilion (in unison): He's going to tell us what to do.
How was he to deal with when you booked?
Eric: He was totally square. No bullshit about him whatsoever. He
treated me like, you know, a professional.
How do you guys record? Is it live off the floor, or do you make
use of overdubs?
Bryce: We do all our instruments live. Then we'll go back and do
any vocals or any other type of instrumentation, like my trumpet or
Danny's violin. For the most part, it's live. It gets really complicated if you do it a track at a time, for us at least.
Colin. We tried it once at some guy's house and it sounded crappy.
We have a real unique chemistry when we play together.
Eric: Yeah, there are a lot of cues.
Colin: And some improvisation too. If you're trying to improvise
by yourself it just sounds lame.
Okay, what's next for Vermilion?
Eric: We're going to do another west coast tour in September. Play
some of the places we've played before and add on some new venues. We want to promote ourselves along the west coast so we actually have a market for this album.
Do you want to give a plug for your label, Redwood Records?
Danny: Yeah, Chris Smith, he's an awesome guy. He loves music
and puts out a lot of bands that he ends up losing money on, but he
doesn't care because he loves what he's doing.
Eric: He a super great guy. Super cool label. Super.
Any parting words?
Colin: We're in it for blood. •
scenesters unite...geared to go-go hits vancity
Well it seems that someone out there has heeded my advice.
About eight months ago I penned a little diatribe on the
state of the Vancouver all-ages music scene and the inherent need of you, the gig-loving public to quit your whinin' and
moanin' about where to see good shows in this town and start doing
something about it. And even though that sector is still plagued with
difficulties, we the drinking set can take solace in the fact that there
are a few individuals out there willing to try and make a difference.
Being ono of those winners myself sometimes, it's good to know I can
rely on people like Frank Yahr to boost my spirits and hide behind his
shadow when the masses come looking for me with steam shooting
from their ears after reading this expose. Yahr is the brain-child
behind Geared To Go-Go, a multi-media, multi-option fest that will
take place over the Labour Day long weekend, featuring music, film,
art, sport, and much, much more that hopefully, by the end of it all,
will bring together the different "scenes" that thrive in our city with
the c
Kfing si
ating e
t. You n
have seen Yahr at shows, lending his support to the many bands that
grace Vancouver stages, or on the street when he used to pass out flyers for Spike 'n' Mike's Festival Of Animation. He's optimistic that
bringing elements of arts and music into a community who will support events like Geared To Go-Go will work. As a blueprint for this
experiment, he took his experience from living in San Diego and saw
that aspects of different scenes did have certain things in common,
certain threads running through them—as is the case with the event
happening here. When Yahr first learned of Ihe screening tour for the
film American Mod, which deals with the New York based subculture,
his first thought was on how to promote it locally, as there was a distinct appeal with the genre that could attract a portion of scenesters in
Vancouver. Through contacts he had made with the Vespa Club Of
Canada, an obvious choice for this type of engagement, he also
learned that the organization would be celebrating their 10th anniver
sary and the two functions could, through similar ties, be promoted
together. Thus, the idea behind Geared To Go-Go was formed. Yet,
one of the more difficult tasks now lay ahead to bring in other elements that a good cross-section of people outside of that spectrum of
scooter enthusiasts should find exciting as well. Location was the first
step. As most people in the music industry know, organizing an event
of this caliber can be troublesome, given Vancouver's already confusing liquor laws and permit requirements. Being resourceful was the
key; by having venues that are more flexible and open to hosting new
events, this would entice potential audiences to try out these places.
For example, hosting the screening of the film is The Ridge Theatre,
while next-door at Varsity Lanes there will be bowling and live bands
to entice those who may have short attention spans. Also using The
Purple Onion in Gastown with its two-tiered club rooms providing a
mix of live band versus DJ again entertains the idea of attracting varied crowds with a choice of activities.
Now that being said, you're probably thinking that's all well and
good, so there has to be some catches, right? Well sure, a little planning goes a long way. Yahr says that starting early means more opportunities to make mistakes and correct them without feeling pressured
by time, no matter how big or small your event is going to be. Always
be willing to ask for help, especially in making those first few contacts, and the more people willing to help you, the better. Have a
back-up plan in case things don't work out as they originally intended, and most importantly, have fun with it. It may seem like a lot of
work, but in the end it will pay off, as it very well should for Geared
To Go-Go. Shows like this are still a rarity these days, but with enough
support and initiative from people like Yahr, we could see Vancouver
back on its feet as the viable, thriving musical mecca that it should be,
and we wouldn't want little ol' me writing another piece like this
again, would we? •
by bryce dunn
3 AUGUST 2001 photos  by  lisa  kannakko
peaches  spews
the uream
by    HariLunt
When   I   was   hitting   puberty   hard, i was
hornier than I'll ever be at 32, I'm sure. *ly best
friend ujas the shoujer nozzle, and I was particularly
fond of my mother's Sidney Sheldon novels, if you know
what I mean. Fast forward almost a decade and a half,
and here I am, a bored, disillusioned feminist whose
various stints working and volunteering in women's centers have left me completely repulsed by anything
remotely sounding like Ani DiFranco, The Indigo Girls,
or any  or  the  white  women  who  have  played  Lilith  Fair.
Enter Peaches. Peaches reconciles that dirty, horny, immature little
shit side of myself with my "mature woman side." Her music takes
me back to the days of hour-long bus rides (I had to be shipped to
a "special school," as if you couldn't tell) where boredom and
puberty reigned. There was no recourse to the endless cruise
through the suburbs of Calgary but to join with Andrea Fairbairn in
stringing together all the dirty words we knew into ridiculous lyrics
and hanging our heads outside the bus windows, screaming them
at old ladies waiting at bus stops: "THE COW FUCKED NELLY IN
And on and on, stretching the rhyme threshold for the sheer sake of
being dirty, bolstered by the new found confidence only burdgeon-
ing breasts and menstrual blood can give you. Peaches is that dirty,
bored little 12 year-old, 20 years later, hitting her female-defined
sexual peak like a bat out of hell. Filthy. Smutty. Bawdy. Lewd.
Lascivious. Peaches is just plain sexy, but her real name, Merril
Nisker, is not. So she goes by the moniker "Peaches"—the perfect
name for a self-styled "saucy, lo-fi electro-pop" bump and grind
Peaches originally hailed from T-dot-O-dot, yo, and the EP version of the Teaches of Peaches was released on Canadian imprint
Teenage USA last summer. Peaches hit Europe shortly after, and at
her Berlin show she sold out of her EP before she even hit the stage.
This undoubtedly impressed Berlin's esteemed indie label Kitty-Yo,
who promptly signed her and released her full-length LP The Teacites
of Peaches, which contains the same material as the EP and then
some. Peaches uses repetitive, dirty beats courtesy of an MC505 and
adds some raunchy punk guitar. While employing much of the
same beats to much of the same effect, Peaches uses an abundance
of style and vigorous, salacious attitude to push her debut album
beyond concept-hood and into the land of the seminal. Unabashed
celebration of sex in the spirit of Prince, Peaches' dirty mind,
although referring mostly to the opposite sex from hers, remains
somehow genderless. Her subject matter is sex, contained in such
lyrically romantic songs as "Lover Tits," "Cum Undun," and my
personal favourite, "Suck and Let Go." Rumored to put on a
BADASS live show, Peaches is a one-woman money shot. Peaches is
so in demand, even DiSCORDER(V.\) couldn't get a hold of her for
an advance interview. Hancunt to the rescue! I conducted an email
interview with Peaches last year for DiSCORDER online, and since
it's timely, we've reprinted it below for your reading pleasure.
You've been in quite a few bands, as well as doing the solo thing.
How did your newest incarnation as Peaches evolve?
I bought the MC5 groove box and away I went. This incarnation is
great 'cuz it's more about busting out and entertaining than musical
prowess. I'm all [about] more people on stage and less instruments.
It creates a beautiful chaos—fuck rehearsing.
Tell us about your backup band, the MC5.
The MC5(05) is my slave and does whatever I say. It never talks
back or bitches. It never gets tired or needs to stop for pee breaks on
long road trips. Right now I am training it to scope hot babes, make
dinner, and wipe my ass. Hopefully it won't turn on me and
become a Stepford 505.
What about your "hype man?" What's a hype man? Is he like
Flava Flav or something?
Exactly. A hype man or woman busts out the audience subtext and
keeps everyone connected to the show.
You moved to Berlin last year after being signed to German label
Kitty-Yo. What is your impression of Berlin?
imed. It's a big city, but it's
•nted v
Berlin is a place where all freaks are welec
not uptight like London, Toronto, or Pari
How long have you been making music
I started playing music when I was 23 a
electric guitar five years later and then
Before Peaches, you were in a band called The Shit. Peaches, however, seems to be all about sex. Do you ever combine the two?
Shitting and Sex?
I leave that for Mowzer the Shit-Eating Pornstar. The Shit was more
about being "the shit" than taking a shit. 1 was also Peaches in The
What's "pussy humus?"
When the juice is a little too thick.
You make films and compose film
Loving and licking your bike.
Name some female independent n
Tre Lude (rapper). Princess Super:
TheShaggs, The Runaways.
What's your favorite drug?
Pot, everyday.
Name some of your favorite albums to knock boots to.
Shizuo and Feedom.
What do you look for in a boudoir-booty-bandit?
Loads of mystery.
Any advice to aspiring Canadian indie music sex bombs?
Fuck, swear, rock, and stay in school. •
5. What's "bicycle porn?"
r, Chriss
Peaches will be live and in
Room with Taylor Snavy.
ir face Monday, Au^ one    of
you handle
the beats and
the     other    the
loops,   or   is   there
o method to the mad-
•t-up. \
with Psycho Les
of the  World  Famous    Beatnuts    and
named Moonshine in
of their tour bus with Junkyard
Juju asleep in his cot, dreaming of
busting nuts up inside shorty's guts. So
hung out with a fellow beat digger (who was
really quite mellow), listened to the Jungle
Brothers, and rapped about this break and that beat,
and such and such sample. What's a kid from Van got
to ask one of the phattest producers in hip hop (who, by
the way, hates doing interviews)? Well, I wanted to know
whether the Nuts used the Herbie Mann or the Enoch Light
version of "Hijack" for "Watch Out Now." Most people don't
know or care about what I'm referring to. But just in case: the
Beatnuts are about beats, so we talked about beats. Oh, and a little
DiSCORDER: I read that you guys don't like doing interviews and
Los: Not really, but I do interviews with cats like you... that know what
you're talking about. Some stupid niggas, they don't know what.
Moonshine: I hey'JUSl Stepped into the game.
You guys ever get mad at interviewers 'n' shit and get in fights?
Nahh... not really.
You just...
Before "Intoxicated Demons," what was the first track you ever
produced as a group and who was it for?
One of the first tracks that we ever produced, I think, had to be for
the Chi-Ali album. That was our first big project. You know,
Chi-Ali, the little kid back in the days. This was like '90, '91 when his
album dropped, and that was our first big project in the studio and
shit. After we did that album the label was like, "Yo these niggas is
ill, you produced and wrote all of this shit." So that was like our
demo. After that they signed us and we put out the EP just to throw
it out there, just to see what response we got. And it got a pretty
good response. We just came with a full length after that.
That's a classic joint.
Definitely, to this day man.
Was that (the Chi-Ali album) with Fashion [Al'Tariq]?
We had Fashion because he was like the 24/7 MC. Me and Juju's
more like producers, we're the beat guys. I like to MC cause it's fun,
by the Beat-
uts    such    as
mp     Boomp
Personally, I'd
ther com
e across that
record on my o
nd voi
go to Jap.
n it's the same
n the
ecord sto
es "Beatnuts,"
r. Tyre
ne Davis
In the Mood"
>r somethii
g. Th.
t's crazv i
nan, but that's
i on this a
.ve made
sure we were
d with so
me crazy shit.
at's almost
>ible to find. I had people
askin' mt
was name
s of shit and I
look for th
ain't gon
la tell you shit
and when we listen to each other's shit,
we just pick each other's best beats.
What kind of equipment do you guys use?
The 2000 XL, keyboards, all that shit man. Live we
got bass guitars, we got drums...
Do you guys do any of that yourselves?
Yeah, I got bass guitars at my own house. I mean, I don't
play it like I could get on stage and rip it down, but I'll play
what I need to hear, you know.
How did you guys hook up with Greg Nice?
Greg Nice, that's an old friend of mine. Man, we go way back to
n Beatnuts. I was just hangin' on the streets
back in the days. They used to front on us—at least me—to get inside
the clubs 'cause dress code or age or whatever the problem was at
s, they used to front on me. So what I used to do is bring my
adio and put it across the street. I used to chill in front of the club
vith the radio and get beers and talk to shorties. So that's how I met
lim-on the street. One day he was comin' into the club and I was
■tething I don
v th.il kn
v radio. We
like, "Yeah
t a little cipher oi
like, "What up,
e that m
me up.
a go v
e that ,i
I Mm
up. Try
ith the rhyme
>uple of
What gear do you currently utilize and what was your first pi
equipment? [I show him my Casio SK-1 sampler keyboard-one of the first
affordable samplers].
Yeah, that was just to bullshit around. I mean when it first came out,
that was like the first shit you could sample on, throw your voice in
there, whatever. So you know I bought it just to have it, but
turntables definitely was the first equipment that I had.
So you started out as a DJ?
Yeah, definitely DJing all the time... DJin', cutting the beats. Doubles,
I used to buy all my shit doubles. Doubles, doubles, doubles.
Anything I bought was doubles. I had to get a double. That's why
once sampling came I had all these breaks stacked up, all these beats.
Just doubles 'n' doubles. Shit that niggas just sleepin' on. 1 was like,
"What?"" Okay. So I had joints already ready when the sampling
game came to process. We was kinda ready so...
So has your production ethic changed from a sample-based one to
include more live instrumentation?
Ever since day one—I don't know if you really listen-we always use
live keyboards, we try to blend it in. Yeah, live bass guitars 'n' shit.
But you know, sampling is like the original form of hip hop, so once
you take that away... it sounds funny if you just usin' keyboards and
some corny shit. It's missin' something. That dirt, that funk...
The drums...
Yeah the drums exactly.
So in '94 you guys were all about "Lick the Pussy," and in '97 it
was "Gimmie the Ass," so in 2002 is it gonna be "Jiggy Them
■s all the time. Every show we bring girls
n flash titties.
but rr
is then
lent |an
other thin;.
So what ever happened to him
Nothing happened. He wanted
with his friends. We were still doin' his music, and it's not like w
broke up. He's even on this tour with us but he couldn't make
across the border so....
Do you ever have a problem with sample clearance?
Just from the first Chi-Ali album. We had our first experience wit
sampling. We sampled The Meters and thev sued us. Yeah, w
sampled like a half of the hand clap song \Mimicks hand clapping an
makes sounds]. You remember the little hand clap song? And that wa
our first experience. So then we was like "Oh okay, it's like that.
Now we know how we gotta play... they wanna play hard ball, so w
just got to go diggin' real deep tor some crazy shit. Now it's like w
But are you gonna have a song dedicated to the titties, you thin
I mean it's possible. [Ed's note: in 2002 lez be all about spread that ma
a-hole and mount him with a ginormous skin weapon].
Do you guys carry guns, or did you ever carry guns?
Nah, I don't carry no gun.
Moonshine: Nc
here in Canada
n got
What do you think of n
10 AUGUST 2001
like «
e Note breaks, that feature
of what happened with Big L and Biggi
! don't have as many guns. I mean, earlier this
the hip hop community was shot. That jusi
doesn't really happen here. Do you feel scared like you've gotta
carry a gun for protection?
Nah, I don't carry guns for that reason because if you even look al
me stupid, what's the first thing that's gonna come to mind? "What,
what you say? Who you lookin' at?" So if I don't have that gun, I'm
not gonna react that way. So that's stupid to me. We pack guns, we
keep 'em at home for the real problems. You know, for protection
Not to walk around bein' a badass.
Were you just freestyling and what ni
Nah, no ciphers. He jut stepped to
I was a big fan of his.
Like nice and smooth?
Yeah it was the nice and smooth days. It was kick
like a fortune-teller sings den den you know den.
Does he have a solo one coming out or anything?
He has a compilation that he's putting together now with a cc
his artists, and he's on it too. Same thing with me. I got n
record label comin' out with my own artists and Juju too. He got
Junkyard Music and I got Pit Fight Records that's about to drop in a
minute. Next year you should be hearing it. Right now we in the studio makin' it hot-hot. Just imagine, hot Beatnuts tracks with new talent, fresh hungry niggas just killin' it.
So you gonna get some unsigned hype in there?
Yeah, I got two R 'n' B groups that's crazy. A girl and a guy, and I got
two girls that spit flames. They Spanish too, so that's rare. You don't
really be seein' Spanish girls that spit. It's always a Black girl.
Angie Martinez or whatever.
Angie's corny. I'm talkin 'bout girls that spit fire. Fire, yeah, what...
this, that... uuh, fire. Time to take control man. This fuckin' label's
whack man. Loud.
You don't like it?
It's whack man. They bustin' my ass for what? 1 hey don't give a
fuck about us. They don't promote us at all. They don't even want to
give us a second video.
Not to dis you or anything but I'm still feelin' the first LP the most.
I like the new one but, I wonder, were you under a lot of pressure
to release another album?
Oh yeah. That's why we named the album Take it or Squeeze It
because they was rushin' us like a yo-yo. So finally we just put
anything together and was like here, take it or squeeze it.
You guys were one of the first groups to put a spin on the old Blue
Note covers, like with your logo. Now everybody's doin' it, so what
do you think of that?
Everything is like that man. After the World Famous Beatnuts came
the World Famous Beatjunkies, then the Beatminerz. What was the
first "beat" anything? The only beat that I know of that was before us
was the Beatles. That's how the world works. They'll bite a little bit
and like Rakim said, "Take pieces and bits of all my hip hop hits, get
your style down pat and know it's time to switch." You do your own
thing now.
Moonshine: That's why we got to keep innovating man. We got to
vith n
So your plan is to release everything independently from n
I think when we doin' our own thing I'll be more serious ab<
shit. I used to be serious about this shit, now it's like I don
give a fuck about this album this label, nothin'. Everybody oi
that's tryin' to get on: do it yourself man. Independence is
At this point Greg Nice comes ii
and offers us some string chees
breaks while Greg drop
the back of the bus with his mouth full
We proceed to politic about top secret
beatbox. • It's a fucking crime that you hardhi ever hear about tannic Djs and MCs,
whether they're NOT in magazines or NOT booked to perform at a venue
near you, no time soon. So when 1 caught a glimpse of this i/ear's sharp-
looking Under The Volcano poster, I was spastically excited to see that
Kuttin' Kandi, a Filipino female hip hop DJ front NY, was coming to perform for the pm lu people of \'ancoitver. Not only does Kandi perform solo,
but she also jams with an all-female crew called The Anomalies. I had a
chance to cyber speak with Kandi, getting a better sense of who she is, why
she does what she does, and what we can expect from her when she comes
to perform in our city. Power jam this mutlier one time.
DiSCORDER: I read in an interview that you watched your father
and others DJ for years and you were secretly practicing. What
was the reaction when everyone realized you could DJ too?
The reaction of everyone the first time I showcased was (I believe it
was the very first open turntables event thrown by "TableTums"
at the Nuyorican in '97) pretty overwhelming. Before I went up, I
know I was nervous as hell. I mean, here I was going up to skratch
and beat juggle, it was more than just DJing a party, 'cause these
people were not dancing, they were WATCHING, OBSERVING,
AND CRITICIZING. When a group of skilled DJs come together,
you know you have to be more than your best, 'cause they're there
to critique you. They're there to be impressed by you. And if you
don't impress them, well, you can almost imagine how scared I was
fit in. I wasn't satisfied with my life. Then from my father suffering,
dying, then being robbed, my mom losing her job of 22 years, our
life made a huge turning point. Everything was stripped away from
us. Money, jobs, even friends, everything was gone. It was then that
I really knew the difference between "wanting and needing."
Sometimes I think it's kind of harder, having been brought up living with luxury and then losing it all, than having been born without luxury. Because when you're born without those things, you
learn to fend for yourself whereas if you weren't born into it, you
have to learn to adapt to it which is never easy. Who knows, maybe
I am lucky to have at least experienced all those fine things, at least
I have memories from them. The sad thing is, at the time of having
those things, I just never realized how vain I was to recognize what
I did have. After I got robbed, I stopped wearing anything material, even jewelry. I just don't want to be attached to anything material anymore. I just can't. I have learned to be able to have "things"
but not be so material about it, to be attached. Once I do, I become
owned to materialism, which is something I never want to be a part
of again. Even 'til this day, we're constantly struggling trying to
keep our house from foreclosing on us. We're in the middle of selling our house to get off our debt. People think we make money, we
have money, and just because I end up on TV, a magazine or
because I'm doing tours they think I got it made. I'd like to laugh in
their face because sometimes they want to be me or to live my life.
interviewed by lyndsay sung
Apart from DJing, what other sorts of things are you involved in,
politically or otherwise?
Well, politically... I'm involved with many organizations such as
The Gabriela Network, which is on organization that has a campaign to stop the sex-trafficking of women and children in the
world. I've also been involved with many other organizations such
as Refuse And Resist, CAAAV, FAI151... I mean the list goes on. I'm
in their cause, and if I have done the research on the issues. I aiso
throw my own fundraisers and benefits. This year, I'm doing a
fundraiser for St Joseph's orphanage who are trying to supply the
children in India who are in need of supplies (clothes, shoes, etc.)
who have suffered greatly from the earthquake. 1 try to be involved
as much as possible, but not to the point that I also forget my musi-
because its more personal with me. Once in awhile I'll iiit an open
mic, but it's very rare that I do. My poetry releases my feelings, my
inner-beings, and helps me to express a lot of my political views.
Name some up and coming or solid female DJs or hip hop artists
that we should look out for.
seyou should lookout foi
out for MC Jean Grae (formerly k
■w Anomolies. Also, look
is What What of Natural
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at the time. I was shaking so crazy, but when I just started breaking
down beats and kuttin' it up, something they haven't seen since
Symphony, Pam, Lazy K, and Jazzy, they just started oohing and
ahhing! Then all the nervous feelings went away. I knew I had
made it to the safe zone. I was now in that "circle," I was on their
side. So yeah, acceptance is so important in the battlefield. If it were
anywhere else, I wouldn't care, but DJing and being a woman, I
knew I had to "belong." I had to show them they couldn't sleep on
women. They couldn't sleep on me, so I had to fit in. I had to be
good and yes, even better, otherwise I was gonna starve out there.
So, yeah that night I won them over, and little did I know that this
was going to be a constant battle, something I'll probably be fighting for the rest of my life, whether it's in hip hop, on the tables or
just life in general.
How and why did the all-female crew, The Anomalies, come
The crew Anomolies came together because we felt there was a
need for women to unite and put together positi\ e hip hop music.
We felt that there wasn't enough women uniting. So we came
together in hopes to break the stereotypes of women in hip hop.
In reference to a quote of yours, "It is our duty to bring back the
true essence of hip hop and give back to the community," what
has happened in your life that has given you such a strong sense
of community/political involvement?
A lot has happened to me within the past few years that made me
have a different outlook on life and it has changed my inner being,
my innersoul. I think the turning point where these changes started was when my father got sick with cancer, and experienced two
years of ongoing traumatic treatments, and then sadly, he passed
away. From those moments I began to realize how valuable life
was, how short life was, how important it was to partake in life's
growth. I experienced so much after my father's death, such as
being robbed, then my family being caught in financial debt due to
extreme medical bills, family problems etc. I mean I grew up having everything. If you really look at my life, I was brought up having everything served to me on a silver platter. I was brought up in
a nice neighbourhood, with such good surroundings, but I also
grew up going to school in the projects, from kindergarten to the
toughest high school in Queens. I had friends who were brought up
in the ghettos and really did live thuggish lives. You would think
that being around my friends it would make me realize what I had
and how grateful 1 should be, right? Wrong, I wanted to belong, to
Wouldn't they like to know how I worry everyday how I'm going
to pay this bill, to pay that, yet worry everyday that I don't have to
end up selling my turntables in order to keep money in my pockets. 'Cause God knows I'd rather die than to have that ever happen to me! But it's like that everyday for me, and my family. And
when someone comes up to me, because they do, ask me "How
much do you make as a DJ?" I just laugh, 'cause even if I do make
enough money, it doesn't last, il goes straight to those collectors.
I've seen both sides of the world, and none of this matters. I share
this personal life of mine to all of those who read this because I
want you to know mine of it matters. With and without money, life
is too short, and that's why I DJ today. 'Cause life is too short if I
don't do something I love doing. That's why I am involved in so
many important political and comm unity issues. Life is too short to
be without love, to be without family, to be without friends, to be
without hip hop, to be without my turntables! But I believe I've
never been happier, for I know what I have learned these last few
accomplished, I know my father would have been proud. I got it
made. This is where I "belong," this is my "acceptance," with these
turntables, with hip hop.
What is your scratching style?
I don't really have a specific skratching style. I just go with the
flow. I do know I'm definitely not like a lot of the great skratchers
today. I just like to go with the flow, feel the music and become part
Tell us about the racial make-up of the hip hop scene you hang
out in. The underground scenes always seem to be much more
diverse than mainstream ones. Why do you think that is?
Well, yeah, underground hip hop definitely welcomes anyone and
everyone. It is also open to all sorts of cultures and other artforms,
etc., etc., unlike mainstream. You see, I really don't like to divide
hip hop like this underground and mainstream hip hop. It should
just be plain HIP HOP. Unfortunately, this is the case because a lot
of great artists who are in the underground rarely get a chance to
make it mainstream. In my opinion, I believe the reason for this is
because it takes a while for the mainstream to understand the cultures that are existent, be it the music, artform, or other races that
are involved. However, I believe given time, it will change. Flip hop
is meant to evolve, everything is meant to evolve, I can only hope
it can evolve in ways where the traditions of hip hop will stay constant and preserved.
Resources). As far as DJs you should look out for Symphony ond
Coy from LA, DJ Shortee from Atlanta, Ceorgia, if you haven't
already heard of her. DJ Killa Jewel from Montreal. Back in NY,
there's the girls that nobody really knows about, like my homegirl
DJ Reborn. There's Fl.ove, Mocca Sunshine. Then there a're DJs who
are already known bigtime like Kaori, Lazy K, Jazzy Joyce, Beverly
Bond. BUT DEFINITELY look out for my homegirl, my all-time
favorite DJ Cocoa Chanelle of Hot 97. A lot of people.sleep on her
just because she's on a mainstream radio station, but she's really
cool peoples, and she is definitely talented and really tremendously skilled on the tables. Me and'her about to get down on doing
stuff together.
In the documentary film on women in hip hop, Nobody Knows
My Name, the director, Rachel Raimist, showed a diverse range
of women in the industry: rhyming, scratching, producing. The
overall feel of the documentary was positive; it showed women
doing their own thing and being successful in the face of sexism,
racism and class issues. If you've seen the film, how relevant is it
to your own life as a female, Filipina hiphop DJ?
I've seen the film Nobody Knows My Name. It's a beautiful film on
However, overall it's a GREAT film and it's about time that something like this was done. As far as it being relevant to my lite as a
female DJ, yeah I would have to say everything in the film relates to
me. The struggles, the hardship, the sexism—everything. When I
was watching this film I felt their pain, ond I didn't have to put
Who or what has most inspired you as a musician and an atist?
My father, my father is my musical influence... he was a real huge
ether. Also my grandfather, although t
I le!
municate with me, he often reminisced and talked about his days of
playing the sax in a jazz band hack in the Philippines. Another huge
influence to me was my boyfriend and partner DJ Roll Rho. I le
inspired me to be the DJ that I am today, without him I wouldn't be
here. •
Kuttin' Kandi plays the mainstage at Under The Volcano, Sunday,
August 12 at Cates Park in North Vancouver. Elevator.
Elevator To Hell, Elevator Through
Hell, Elevator Through and now
Elevator. Very few bands go
through as many name changes as
Elevator.    The   Moncton-based
nip beh
it the :
DiSCORDER: So you are in
the middle of a western
Canada tour, how is it so far?
Rick: Good. We feel really
together lately, you know, like a
, Pl,
s be,
. The
g goo
This is the first time you have
been   in   Vancouver   in   two
Yeah. This is the first time we've
been out past Ontario in two
years.  Our record came out in
October last year so we kind of
. Wed
12 AUGUST 2001
the spring.
Why is that?
We hate going out in the w
It's just too scary to be o
So this is basically the official
tour for A Taste Of Complete
Yeah, for our last record and
what we are doing next. We
have written a lot of new stuff,
but we are doing a lot of the
songs off our last record any-
Is a new album coming out
anytime soon?
Hopefully. I would like to do a
single really soon, just have to
find someone who would put it
out. Going to start working on
an album as soon as we get
back from the tour. The Elevator
thing is such its own entity now,
so we'll probably just evolve on
that. Sometimes I perceive us
as going too far out and we
won't be popular at all, but
we'll still be making demos.
[Laughs]. You know, I always
like to keep different angles
going. I have a bit of a harder
angle in the winter playing with
some of The Sadies guys and an
old rock band. Just trying to
keep myself entertained so
Elevator can be purely what it
is. Hopefully it'll work.
You want to tell people about
all those name changes and the
reasons behind it one more
I guess it was all happening
when Eric's Trip broke up. On
aking fun of that and
we thought we'll just keeping
changing the name so it will be
poster one night that had about
five names on it. And we
thought "Okay, that's enough."
[Laughs]. It always weirds me
out when it's the same people
and the same music almost but
just because your name is different you have a third of the
people in the crowd. Eric's Trip
has gotten to be such a known
How has Teenage USA been
treating you guys?
Good. It's more refreshing to be
with them because we v>rere at
Sub Pop for about seven years
and it kept getting more and
more boring. It's like when you
go out with someone too long
and you are not meant to be life
partners. So we started not
paying attention to each other
for years and then we just kind
of broke up. We're like, "I think
we are going to leave," and
they're like, "I think you should
So it's not a bitter breakup?
Just a breakup. They gave us a
lot of records and vinyl so they
did a lot of good things for us.
But now to be with Teenage is
better because we didn't even
sign anything. It's just a handshake deal. There are two guys
that mainly run it, both friends
of ours. It's way more personal.
They didn't give us any money
to make the records or we don't
owe them any money. It's just a
refreshing change.
I was at the Teenage USA
showcase at Lee's Palace in
Toronto back in June. They
have a pretty diverse roster.
The Weekend and Robin Black
are quite different than you.
The Weekend is very pop and
Robin Black is the glam kind of
thing. Teenage USA just put out
people they like and the music
they kind of get into.
Are there bands on the label
that you listen to often?
into our peers. We try to stay
separate minded from everybody so we can just make our
by Ben Lai
pure kind of music. We listen to
"historical music," but I don't
listen to many new bands.
Speaking of historical music, a
lot of people like to compare
Elevator to early Pink Floyd. Is
it something you agree with?
You can compare us to that, but
I think it's just because of the
mental space we are in. I think
LSD influenced us a lot for a
while. I'm trying to not do that
anymore [Laughs]. So you know
our headspace has gotten into
the same place for a while, I
think it just brings you in tune
with nature and we want to try
to let our music become natural.
ist record has field record-
with it. And the structures of
the songs we didn't learn—we
recorded the songs each about
eight times with random structures and then picked the best
ones. I don't know, it's such a
natural way to record. Not
many bands do that either. It's
out of place, but I think it
helped us come across different
The last album had a nature
theme to it. With sounds of
birds chirping and song titles
like "The Animals" and
Well, after all the confusion for
years we finally got what the
cover said—A Taste of Complete
Perspective. We get close to
understanding the meaning of
nature and life and who we are,
but you never know for sure. So
you always get a hint and it
iving o
that's what it represents to us.
Hopefully our next record will
be Perspective. But I'm still confused. [Laughs].
So the Eric's Trip reunion tour
is going to be happening in
August. How did that come
about? It's happening right?
Yeah, I think so. Eric's Trip is
pretty unstable as a band, but I
think we've all grown up
enough now that we can finally
do it. Took six years to finally
do our last tour. [Laughs]. It is
kind of a replacement for the
tour we cancelled back in '96.
We were just going to do a couple shows and then we thought
we might as well do that tour
that we missed. We always felt
kind of bad about that. We are
just going to do it for old times'
sake and it'll be kind of fun.
Probably go right back to '93
kind of stuff. Go fast and let it
out again.
Have you been rehearsing
Eric's Trip material?
No. We are planning not to
rehearse, really, just hoping to
sit back into it. We might get
one jam practice in, but I think
it will be neater if we just go for
it. You know, more true or
We watched Udo Kier glide swiftly
away from us, cha cha cha-ing
down sunny Robson Street in his
mirrored sunglasses, khaki pan-
talon, and tight black t-shirt.
Minutes before, we had just finished intennewing him in the lobby
of the Georgia Hotel, where he
politely answered our questions
about his 30-year-plus film career.
Udo Kier lias been in over one hundred films and is recognized worldwide for his work in both obscure
art films, 1970s horror films, and
present dun blockbusters. Plus, he's
worked with Madonna. He was in
town for a brief stint as a guest
speaker at this year's Cinemuerte
Horror Film Festival. At the end of
the interview, Udo asked us what
we studied, what we were interest-
d then promptly sent us off
. Po-a
n 2001.
DiSCORDER: As an actor,
what is it about the horror
genre that you find attractive?
Udo Kier: Well, I think it's the
other way around, the horror
genre finds me attractive.
Because when I made Dracula
and Frankenstein in nineteen
hundred and seventy three for
Andy Warhol, directed by Paul
Morrissey, that was the first horror film I'd ever worked on, and
since then so many people offer
me films in that genre. I like it
because it's fantasy, it's amusing, it's a sense of humour, if
they have a sense of humour.
And I think it's cultural. I can
see that, if you go on my website, www.udokier.de, from
Germany. They have amazing
material, and all the letters fans
write in according to the internet, I have made ewer a hundred
films. They know more about
me, anyway, than I do. All the
fan letters are from the horror
You are somewhat of an
obscure cult film star, and people can get quite obsessive
about those kind of stars, so we
were wondering what's the
weirdest thing anyone has ever
done to you?
The weirdest thing is that I have
to be careful of what I'm saying
because once, because on the
website there is a woman from
Australia, and she has my picture of the vampire tattooed,
and I said "How far people c^n
go?" and two months later I got
Australia from a woman who is
a professor, and it's her. And she
said she'd read the interview
and I just want to tell you that I
am the woman, and saying how
far people can go. She just likes
vampires; there wasn't any
harm. I think, that's just like
and I imagine that they are very
painful. People go far. I had one
fan, from Philadelphia, I was
living in Rome and moved to
Paris, so she went to Rome and
had her picture taken in front of
my house, went back to
America, and sent me the picture. You know you have people
put flowers in front of my
house. So they find out where
you live. As long as they don't
shoot me, I don't care. If they
shoot I hope they're good shooters, I don't want to be paralyzed
and live.
Compare working on a low
budget film, to doing big
Hollywood films. What's the
The difference is the money. The
money is the difference. I like to
do both, I like to do films with
Lars von Trier, which compared
to Armageddon budget, is nothing. I also like to do big movies
because one's good for the
other. I'll do a big commercial
movie, like Blade or Armageddon,
I get recognized around the
world, which makes me bankable for films and more people
know me. See, if I want to get an
advance on a director who has a
wonderful script, and you see
I'm intelligent, I'll attach my
name to it. Then they will fund
it. If you only make art movies
it's very difficult. If you only go
around the world and make a
film in Paris and in Denmark,
then you become known in a
world of Cineaste, where people
who like good films are. But you
Can you tell us about the film
project Dimension?
Well I'm not allowed to talk
about it. I can only tell you that
we already have seven years
and that we shoot every year
about three minutes, and it
opens in the year 2024. It will be
very interesting for the audience
because Lars von Trier doesn't
like make-up so the actor will be
getting older, like in 90 minutes,
the actor will age 30 years. It's
interesting because you open a
door and go into the next room
and you look 10 years older,
o the
30 years older. It's
like 2001. I'm not allowed to talk
Who else is in it?
Jean-Marc Barr is in it. Stellan
Skarsgard, who was in Breaking
The Waves, is in it. Jean-Marc
Barr and myself have been in it
from the start. We started shooting in 1994, in Cannes when we
were there for Europa. Lars von
Trier is a genius, and he always
has new ideas. The Dogma films
are a great help to everyone in
the world who has talent, to
make a film with no money. So
if you set it really well up you
can make for a couple of hundred dollars a Dogma film.
So what happens if someone
Luckily no one has died yet.
Let's touch wood. I said that I
give permission to shoot my
funeral, and have someone, like
a sperm, have somebody from
there continue. So my spirit will
come out of me like in the kingdom and continue living.
It's interesting with the Dogma
films, you're getting people
like Harmony Korine making
Dogma films, it's almost as if
there is a fad to go back to the
basics of filmmaking.
Yes that's what the basic idea
about it. You make a film only
with the light, which is there,
you play music, which is played
rake a film
ng peo]
zing, i
n them
get a cer
a Dogma film, it's still the idea. I
started my own film Dogma 7,1
stopped it because it wasn't
organized and I trusted too
many people, the biggest problem is the music in a Dogma
film because if you are in a room
and there is music, you have to
really use it. You cannot cut. It's
good I like that. It's a very intelligent idea, the Dogma film.
Every young filmmaker should
be happy, and thank Lars von
Trier for making it really
respectable. Because anybody
can do Dogma. And because
Lars von Trier is so highly
appreciated by film critics
around the world, so they really
believe what he says. I don't
think people will be interested
in Dogma 358, I think after 19-
20, it's like how does it look
after 21? I think it's just at the
moment interesting. Which is a
good interest for people.
What sort of music interests
If you know MTV, I just did the
latest video with Eve, It's number 1. I did a Korn video.
There's also that whole video
director/film director cross over
I did do Madonna videos,
Deeper And Deeper and Erotica. I
do any videos where I like the
music. I like the work of young
people. It keeps me young. If
you move around young people
and work with young stars like
Eve, then you are there. As long
as you can move physically, you
have to go with the fad.
Otherwise you are boring.
Tell us about Madonna!
I like Madonna because she is
women there is in show business because she's being doing
it for so long. She started in such
a simple way and is becoming ■adeii
Rob said he would be Dj Spooky if he didn't show up.
But Spooky did, arriving from a nappy in his hotel room. So
Rob asked a question instead of being D] Spooky, and I tried to
counter Spooky's sophistication with super sophistry. Spooky, aka Paul
D Miller, began mixing not only records at an early age, but also records
with Theory (with a capital "T"). Coming out of Bowdoin (one of the top 10
liberal arts colleges m the US), Spooky can free-associate any question into a recipe
for disaster. It's a beautiful thing to watch. Spooky has written a recent paper,
"Material Memories," for CTheory.com that delves into Time (with another capital "T"),
Surrealism, art (film, visual arts) and Dling. It's a post-modern mix and one of his casual
references is to black performance artist and hardcore Kantian, Adrienne Piper. Kant isn't
actly the most tolerant philosopher: his possibly racist writings on Africans are usually dissed
ight. So Spooky's use of Piper jumps many contexts with attached cultural baggage. There is
>ige analogy at'work between academics and Djs in their use of spliced references: (ab)using
and situation to trigger memories conscious or unconscious. A Dj pulls records out of a bag,
lie pulls quotes out of a text: and Spooky, he is doing both, often in the same medium.
d I love her ideas around conceptual art, identity,
h racial representation and the conceptual frames
DJ Spooky: I think she's an important voi
and installation art, espei tally when shede;
of... She did this thing called "Funk Lessons
DiSCORDER: Where she wore a Kant t-shir
Yeah, and I thought it was a great idea, of dam
The idea of course is that you have people brea
into is this Immanuel Kant thing—I just don't gG
lanced to funk music?
art, of art becoming dance, dance becoming art,
ie boundaries in situations. The one thing she is
li know.
If Kant is Piper's philosopher, what's your philosopher of choice?
I'd say that I have a couple. I wouldn't know where to start or stop, really. Definitely 1 would go back to
early Greek stuff, Heraclitus, and the notion of flux and fragments and particles. Then there's people like
Lucretius, a more Roman kind of scene, old-skool. Then, Sun Tzu, The Art of War, the Chinese philosopher
scene, the ideas around the notions of feng shui and the notions of placement. How you can have structures
of relationships and how that affects the mind, and the body and stuff like that. There's a whole West African
school of philosophy and art... Really, a lot of that was around the notion of the oral tradition, if you look at
the traditions of Senegal, later sets of renditions of that: there's people like the jazz philosopher Allan I .ocke. He
had a journal in Harlem during the '20s called The New Negro, a lot of the writing of the Harlem Renaissance-
he published their stuff, WEB duBois, of course, and then later people like—you can really bounce a lot of stuff
through the Deleuze and Guattari angle, but in a more contemporary note I am looking more and more at
people like KRS One, and just different angles of dealing with how he is trying to create a school of philosophy.
I am fascinated with how he is dealing with oral culture. He started The Center for Hip-Hop Culture, where
he's doing all this stuff on the philosophy of rhymes. And of course Saul Williams; he is a good friend of mine.
So I like both of those two as contemporary philosophical kind of entities, you know.
[At this point, Rob Robot jumped in with a question on Ritual—before it was too late.] In the same paper, you were
talking about art as ritual, ritual being a part of art, so we could see DJing as being an art in itself. If ritual is
also an instrumental part in rites-of-passage, in different kinds of contemporary rites of passage and different
countries as well, how would you consider, say, what governs DJing's rites-of-passage? How would you fit in
with that? If that makes sense to you?
No, no—absolutely. You are looking at a generation that has grown up on the fragments of the detritus of the 20th
Century I mean, everybody who was born mid '60s and beyond, we're the first generation of human beings to
grow up in a media atmosphere. I think DJing is like an archetypal situation at this point. It's like how people
pull together information, it doesn't just have to be music, it can be writing, it can be art, it can be theatre, it can
be—it's a mode, at this point. It's how the notion of collage has become our basic kind of frame of thinking. The
music is just a social reflection of what's going on in the culture. So the rite of passage for that is being able to
play with memory. Like most cultures you have, one way or another, at a certain age... you know, usually
they send the guys out in the forest, or hunt a lion, or if you're in Europe they would have, sort of weird bard
battles... if you were Irish you had to be able to tell the various stories and myths—every culture has these
kinds of rites of passage. A lot of it was around song, and how the community functions and passes information between generations. But for us, all of that is totally fragmented. And I think that that is a healthy
thing because people have to build their own information, and so you're looking at... the real notion of
Generation X, and what all those guys are trying to push, is that all of a sudden you're looking at, kind of...
I don't know, there's a lot of the generational movies right now that 1 am fascinated with, stuff like
The Matrix, Fight Club. I love the way in Fight Club, where the guy's memory is all fucked up. Have you
seen Memento'! And some of my more recent favourite films dealing with psychological fragmentation, and where the characters are like, "Wait a second, did I really do that?"—everybody I know's
memories these days, because everybody I know is using a Palm Pilot, their memory is kind of a
strange thing right now. Because we are all keeping track of so many websites, songs, file numbers,
phone numbers, email—you know, I remember a lot more people's names from their email than
their real name. It's |ust different ways of thinking about stuff. So, anyway, to make a long story
short, I think that the underground psychological aspect of DJing is to play with the fragments,
and make that become your overall—every DJ 1 know, my motto is like: "Every DJ I know is
a walking radio station." You just have swarms of music. Usually the centre points of
memory—y'all remember this track, from back then, then some guy sampled it, and
flipped it this way, and then y'know... it's just like a community situation.
Within every ritual, there is always a power-play going on within certain events.
You mentioned Bahktin as well, and the carnival, and the carnival is usually
just taking social order and flipping it, but maintaining it under a certain
power structure. So you never have a pure liberation, it's always maintained within a certain atmosphere—the history of carnival in terms of
the Church, blah blah. I was thinking, in terms of DJ culture, essentially early hip hop events and early rave culture and the way
they took DJing, it seems like DJs really assume this power
position over a sort of carnivalesque atmosphere, where
social orders were flipped in terms of various people doing various things, but there was
never a liberationary push out of
that—there   was   never   a
14 AUGUST 2001 revolutionary movement
that came out of it in a sense as well.
As a DJ, do you see yourself placed in this
power position in terms of being a "memory
selector?" What sort of power-plays are you playing
with when you are selecting memory fragments to send out
to an audience in almost unconscious ways?
"Carnival," when you look at it etymologic,illy, it moans came vale,
"throwing  of  the   flesh."   It's   the   same   root   as  carnivore,  it's
dealing with the issues of how people's bodies were reflected in the social
environment, mainly around these kind of medieval festivals, where everybody would be wearing masks, robes, in the streets in Italy... it's just a wild scene
when you think about it. But for us, "carnival" is everything from a football game
or watching TV or listening to a radio to... DJing, I can't say it enough, it's a reflection
of what's going on, I don't necessarily think that it's a power-dynamic. But of course
you have more powerful DJs like Funk Master Flex who's got a radio show with millions
of people listening, or you have the VJ on MTV being able to guide and sequence which
tracks to work. I'm an underground, artsy guy, you know, so I'm doing this more as a hobby
and a kick. So it's not my core life-zone. A lot of people view it as a power dynamic, and that's
not why I am doing it all. I am doing it mostly as a conceptual art project. In terms of the power
dynamics, you got to think about it as—think of the first mass rituals around the use of multimedia, guess who comes to mind: it's mostly like the way Leni Riefenstahl was able to document
Hitler's huge events where he would have radio and TV broadcasts of the rallies. Radio, TV, all that
stuff became popular precisely because people used it to filter out what was already popular, cipher
it, translating it into stuff that they would be able to attach messages to.
You were talking about DW Griffith in your essay...
Yeah, DW Griffith is one of my favorite reflections of that. His movie Birth of a Nation is one of the first
multiple narrative movies, it's got the whole thing with film sets. 1 mean—"film set"—the guy went to
World War I in Europe and said, "There's no drama here, 1 can't film this." So he came back to the US, and
the US government hired him to make propaganda films about World War I. So instead of filming the
reality of it, he made a film set of it, which, for us at least, when you think about the historical angle of how
the film set operates, how many people have been to New York? But you don't really need to see New York
anymore, because it's all just a post-card, or whatever.
It's all in Woody Allen films.
Yeah, Woody Allen is one of my favorite guys. But it's the same thing. There's a movie called Dark City. I didn't like elements of it, but 1 liked the idea of it. Where they are injecting memory and playing with the fragments.
That's even what Bladerunner was about too. Some of my favorite writers and film directors who deal with that
are like—I am fascinated how the notion of being able to live in many different times and at the same time:
that's what DJing is kind of about. Being able to take all these fragments, and show people that it can work.
We now launch into a discussion tlmt spans the breadth of "mixing"—hoiv Djing is not just records, but a whole system of
collage, from technology to eugenics and industrial production. But now it's becoming "post-industrial"—digital. Copies of
texts can be made within seconds as opposed to rooms full of copy-monks taking years. Speed is accelerating to the post-
industrial, and we talk about Paul Virilio and the absolute antiquity of George Bush, who continues to push Cold War
technologies on the macro scale in a post-industrial age because it is to his monetary advantage, making cash selling
useless mass warfare technology between right-wing cronies. "Information is everything from DNA on up to mixes," Spooky
says, and it is the Industrialists who continue to attempt to regulate and suppress new information—from biotechnology to
music and culture. Tltat's wlwt the last election was about—""toxic Terror" Bush representing the Rigltt-Wing Industrialists;
the Information Technology guys on the side of the American Left...
Do you think that DJing is definitely post-industrial, in terms of time? I've been thinking that if DJing is
recombinant logic, it is inherently stuck in more of a frame of deconstruction, as opposed to a rhizomatics
g that DJing allows you to
m to be argui
ith it.
-I think we need a new name—it's mostly
me time, omnidirectional, that's the whole
talking more about like African or Asian
as about prolonging the present. You had
of Deleuze and Guattari that might explode past that. You s«
move out of industrial-linear time completely, or at least play ■
Yeah, pretty much. I mean the whole notion of "deconstruction'
around living with, being able to move in many directions at the:
Virilio thing. But even that's still a mostly European aesthetic. I a
time, where their notion—if you look at West Africa, repetition, it
drumbeats going—like when you leave a nightclub you feel like, "Oh my God I've been here for five hours,
but it feels like five minutes. That's psychological time. If you look at how a lot of European stuff, they're
looking at Hegel, you've got history progressing towards the future, with Marx it was the same thing, he
just put, instead of the City of God, the Worker's Paradise. These are cultures that are looking for technology as utopia. That's what World War II was about, the conflict of different dreams of Utopia. The
German model was purity; they wanted to get rid of everybody else, basically. America represented a
different kind of Utopia. And most of the information tech that we use came out of World War II—
computers were used for encryption, radar. These were all massive number crunching issues of
being able to take the mass systems of warfare and turn that into information. Can you imagine, at
this point—my watch for example—it has the same amount of technology that in the '60s would
have required a whole room. My watch has more computing power than the computers that
put the Apollo moon mission in orbit. It's getting smaller and smaller... once you get to the
density where you get what's called "ubiquitous computing"—that's what William
Gibson's stuff is about. There are a couple of other sci-fi writers whom 1 find fascinating
who are dealing with the psychological aspects of living in an information environment. Did you ever read Neuromancer?
Oh yeah. Gibson lives up here... it's required reading. •
Dj Spooky is currently at work on a new mix CD called Synchronia with i
from Dj Hurricane, Ad Roc, Dj Hive, Talvin Singh, FSOL, Anti-Pop Consort,
and Sonic Youth for starters. The next album is called Jumbo-Mumbo, and /';
an extension of Riddim Warfare with net-oriented and animation
features. Then there's two books and a new zine based upon the more
progressive aspects o/ArtByte allied 21C. He's taking part in a
conference on Deleuze at the Tate Gallery in London in
September, and generally jetsetting his intellectual
ass all over the planet while keeping his
mind firmly in his Palm.
Calling the Public
(Burning Heart/Epitaph)
Doing that Swedish rock 'n' roll
with '60s roots and stylish suit
thing, 59 Times the Pain really
try but just can't live up to the
skills of contemporaries like
The Hives or The (International)
Noise Conspiracy. Much like
the hundreds of boy bands that
must fall by the wayside in the
istry, I
the right look, the
I, and the right riffs,
. A tight
i. But
that c
I. Doll
Sing...Jonathan David
Sometimes I get the impressii
that Belle and Sebastian an
time, say two years ago,
writhing on a bench in
Amsterdam thinking "I'm
going to die, I will never, ever
do that again if I live" anil hav-
l Vance
tell me she's going to the Belle
and Sebastian concert in
Glasgow and me mumbling
something about my then-
boyfriend digging B&S while
trying to sit up straight and
thinking that travelling
involves too much small talk,
too much BS. No, I mean all
four of their full-length albums
sound the same, but different.
And yet, the music never
sounds dated, so you can't tell
if the year is 1996 or 2001 or
sometime in the mid-1970s. It
just sounds like Belle and
Sebastian. Happy, yet sad at the
nence. How, for example, is one
to account for the existence of a
Let's start with the facts.
cLOUDEAD is an underground
hip hop album compiling a
series of 10" singles. It is the
work of Odd Nosdam, Why?
and  Dose  One,  three artists
with San Francisco's provocative Anticon collective
(although this CD is issued by
Ninja Tune offshoot Big Dada).
These tracks were apparently recorded during particularly traumatic periods in the
that's reall
going to re
fugged thoughts
American Steel play songs
crafted in a smooth, post-punk
style that draws inspiration
from that old Motown sound,
and the music is complemented
by bittersweet lyrics about
heavy drinking and being lonely. This album is absolutely
wonderful, I mean Motown ballads with a punk rock vocalist?
Sounds like that same kind of
superb formula that spawned
The Pogues. A couple of the
tracks miss the mark for me, but
the stark beauty of perfectly
crafted tunes like "Shrapnel"
and "Two Crooks" makes up
for any slight weaknesses.
"Broken life broken dreams and
a fucked up heart/I've got a
bottle of bargain Scotch and
that's a start." This is music to
drink to, or to quit drinking to.
At least something involving
wonky vocals. This made me
think, "Ooh a departure from
their usual 'I'm a boy in pain,
love me' vocals." Then, the
group led me through a mellow
soundscape I'd visited before. I
Though each song is a subtle
reinvention of their sound, Belle
and Sebastian have covered this
territory in their previous
albums. Still, 1 love it. It's like
hunting through thrift stores
trying to find a pair of jeans that
I owned before, but ruined
because I wore them too many
times. That's what the songs on
Jonathan David are: new-old
jeans. And I'm on my way to
wearing them out and hogging
for more. Am I living in the
past? No, I wouldn't want to do
1996 over again. But 2001 styled
as 1996, I don't mind.
Doretta Liu
(Big Dada)
ics really can't thint
ich, thi;
nt a
the   late
hip hop style that has been
developed by a loose-knit community of mostly white rap
fanatics with their roots in the
smalltown Mid West. Albums
like Deep Puddle Dynamics'
The Taste of Rain... Why Kneel?
(Anticon), Atmosphere's
Overcast (Rhymesayers), Sonic
Sum's The Sanili/ Annexe
(Mush), and Sole's Bottle of
Humans (Anticon) were all seminal in their wedding of tradi-
emotional and atmospheric elements. But it was Boom Bip
and Dose One's Circle (Mush)
thai I in.illy severed the music's
stylistic tethers and ventured
out onto a stormy ocean of
doom-laden abstraction and
oddball eclecticism.
Since then, the likes of
Sixtoo and So-Called Artists
have taken up the challenge of
Circle and helped to create a
specific new rap language,
increasingly separate from anything else in hip hop, either
over or under ground. Sadly,
these recent developments have
awakened the troubling spec-
I appropriation
Endless Summer
Strictly speaking, I don't think
you're ready for this jelly. Still,
it's rare that an album comes
along which you just have to tell
people about. In fact, most
music released today just
sounds horrifyingly generic. It's
as if musicians have started to
feel that the most they can do is
adequately represent their chosen genre, rather than transcend
it. The best music to emerge
recently has come from people
who have opened up the preform, laughed scornfully at its
aesthetic limitations and had a
damn good time doing so.
In electronica, Kid 606's GQ
on the EQ++ (Tigerbeat6) and
Oval's truly astounding
Ovalcommers (Thrill Jockey)
have rejected the austere, cerebral nature of most abstract
electronic music in favour of
shameless, noisy bliss-out.
These last two records have
hinted at a crucial and important new approach to music.
This is a type of digital psychedelia which thrives on flux and
contradiction; which refuses to
be tied down to constricting for
t, honestly, il
if. Their inner convictions
external context virtually
When laced with an e
sionistic,    bitterly     hil.
album of the stuff. Yes indeed,
rejoice because—from Tina
Frank's lovely retro-futurist
sleeve art to the closing pops
and crackles of "Happy Audio"
—Endless Summer is a bona fide
classic; a significant and profoundly   enjoyable   piece   of
It starts off slowly.  "Made
i Hong Kong" is a restrained
hearing   Christian   Fennesz's
third solo full-length, Endless
■r ih.it
has turned an important corner
in the year 2001.
Fennesz is an Austrian
who began his career
it rock guitarist. Even
though he has since made his
reputation as a "laptop musician" the electric guitar is, by all
accounts, still the major sound
source on his recordings.
Over the last few years,
these recordings have documented Fennesz's perfecting of
a musical form that eschews
traditional rhythm and harmony in favour of highly textured
threads of sound. By 1999's formidable Plus Forty Seven Degrees
56' 37" Minus Sixteen Degrees 51'
08" (Touch) he'd pretty much
? that
cLOUDEAD appears as a truly
remarkable record born from a
deep understanding of hip
hop's inner workings and a des-
fans of digital music seem to
remember most fondly is
Fennesz Plays (Mokai) a single
on which the maestro "covered" The Rolling Stones'
"Paint it Black" and—prophetically—The Beach Boys' "Don't
Talk (Put Your Head on My
Shoulder)." Here the disquieting laptop language of clicks,
glitches, drones and hisses was
counter-pointed with the com-
g-but-melancholy certain-
■rhaps sensing that people
his kind of thing and that
le frankly—it might be
to lighten up a little,
■sz has provided his
home" label—Vienna's
•stimable Mego—with a whole
take i
tured amorphousness. But he
doesn't wait long to hit us with
the mother load. Soon the title
track rears up to launch itself on
a mission to encapsulate everything that makes this album
truly great. Throughout this
languidly sprawling epic, plangent acoustic guitar chords are
repeatedly attacked by swarms
of decrepit digital detritus.
Again and again they emerge to
astonish the listener with their
unfettered emotional directness.
What's crucial here is this
simple fact: beauty is more
keenly felt when it's under
threat. So, rather than shattering the harmony, Fennesz's
harsh timbres actually accentuate it. This is crucial given the
album's relation to the Wilson
brothers (Endless Summer was
also the title of a 1974 Beach
Boys compilation). At their
best, Brian and company under-
and childlike innocence with a
creeping !
, the
takes c
This yearning melancholy
may be a result of Fennesz's
experiences as a married man in
demand at art/music festivals
across the world. Titles like
"Got to Move On" and "Before I
Leave" call up images of
Christian on the beach in, say,
Melbourne, using the laptop to
email his far-off wife and kids.
Long may he yearn for them if
the upshot is that he keeps pitting his expert noise
manipulations against wistful
vibraphone melodies ("Caecilia")
and surging Hammond organ
chords ("Before I Leave")—we're
all a lot better off for it.
It's true: the world is a considerably better place because
of the existence of this record.
Album of the millennium.
Sam Macklin
Tlie Ox and the Rainbow
(Secretly Canadian)
Close your eyes. Wait, you can't
do that if you want to continue
reading this review. Here's a
better idea: activate your third
eye, close your remaining eyes
and breathe. Let the voice of
David Fischoff carry you from
the depth of your crazy, whirlwind, campus radio listening
life into the amniotic depth of
chants and rhythmic ballads in
the third person's perspective.
Sounds painful? 1 sympathize.
Sounds like your cup of tea?
Check it out, especially if you're
into intelligent lyrics. Now if
you'll excuse me, I have to go
change the fuse on my third
Blow'n Chunks
I don't know what it is about
Flipper that makes their short
inch u
nent today. Perhaps Flipper':
time has finally come, but I
doubt it. For whatever reason
ROIR records has finally re-
released this classic, and formerly cassette-only, live at
CBGBs Flipper recording, and
it's the ugliest beautiful mess
I've heard from hardcore in too
long. Originally, Flipper was the
Bay area's most notorious pariah. They always seemed on the
untouchable side of the
California hardcore scene,
owing to their "only joking"
exterior and perhaps that they
were just some scary bastards.
The sound was all fucked up
nauseating guitar rumble, plus
their slow-is-better pace, kept
them on the far side of acceptable and some have coined the
sound as weirdcore (especially
in regard to the first full
length—Generic Flipper). A few
northwest bands would pick up
on this sludge and eventually
become known as The Melvins,
Mudhoney, and Nirvana.
Flipper is still my favourite, and
unfortunately most of the
band's prime movers have fallen prey to the needle (RIP). So
here we have the digitized version of this November '83 "performance." Nine tracks
including "Way of the World,"
"Ha Ha Ha," "Love Canal,"
"Life is Cheap" and the underrated "The Lights, The Sound,
The Rhythm, The Noise" and
"In Life My Friend" which the
Gone Fishin' LP-only version
made me an immediate fan
back in '83. Now with room left
on the disc the fine folks at
ROIR decided to add four
bonus tracks from the show.
"Life," "Sacrifice," "If I Can't Be
Drunk," and "Ice Cold Beer"
sung to the tune of their "You
Not Me." Flipper still rules, but
don't buy anything after 1985.
Precious Blood
(Six Gun Lover)
Ghosts   and   Vodka   are   an
instrumental band with members of Tetsuo, Joan of Arc, and
Cap'n Jazz. "Cause I've never
heard Tetso, I can only say that
the Joan of Arc and Cap'n Jazz
lineages are quite audible. I
picked up this CD 'can
rt of a
stark but really cute "millenial"
cartoon style. I realize
thathis is not a respectable way
to look for music, but I don't
really care. It is really cool.
There are also individual insert
cards with neat little pictures
for each song. So I guess you
16 AUGUST 2001 rs continued...
probably want to know more
about the music than the packaging. Well, it's really good. It is
much more grounded than Joan
of Arc and less abrasive than
Cap'n Jazz although there is
still the recognizable bouncy,
clean guitars, and verbose guitar riffs. Although in print it
sounds more boring than the
two "ex-members-of" bands, I
think that this really works in
an instrumental format since
the intricacies of the guitars
keep it interesting and always
changing, but the mellower
approach keeps it flowing and
listenable. The best analogy I
can come up with is this: If
you're sitting at home on a
Sunday morning in Vancouver
and it is really fucking pissing
like it always does and you really want to be outside in the sun
'cause it's your only day off,
Vodka instead of getting mad
istening every-
music. Listening to this is awe-
inspiring. The music on this
album ranges from distorted
guitar and drums, to sparse and
melodic piano, to eerie tape
loop compositions, all of which
capture perfectly the mood of
the different poems. The poems
themselves are captivating in
their story-telling delivery, and
are all threaded together with
themes of trains, death and setting. Together they are glitter
and gold. Comparatively, this is
somewhat reminiscent of
Godspeed You Black Emperor
when lhe\ put samples of people telling stories over top of
their brooding i
of Trai
an aside, this CD is also just
part of a larger and quite
impressive multi-media project
debut of good times is all about
excitement, short but snappy
songs that leave smiles on faces
and twinkles in toes. Wearing
your influences on your sleeves
is one thing, but for the New
Town Animals it's like a uniform that fits right, looks sharp
and sounds good. And this disc-
is proof of that.
Bryce Dunn
Shined   Nickels   And    Loose
(K Records)
Good name for this record as it
contains new gems (the shined
nickels) and previous 7" and
compilation tracks (the loose
change). What I've always liked
about the new-wave sock-hop
these guys and gals pimp is
Lil Richard
LU Richard
Singles Round Up
(Damaged Goods)
Being able to shake the notoriety of being in a group such as
The Headcoatees (known for
being the voices behind their
male counterparts, The
Headcoats) seems to have been
relatively easy, judging from
the sheer quantity of material
released from this British
songstress. Other Headcoatees
have wandered down the same
road but only managed less
than noteworthy results. What
makes Holly so special?
Methinks it has to do with her
effortless ability to shift from
smoky ballads to gritty rockers
without so much as a swig from
a bottle of whiskey—her voice
has a presence that sticks and
stays stuck. Having a crack
team of backup musicians and
the warm, full-bodied production of Toe Rag Studios (from
which most of these sessions
were pulled) doesn't hurt either.
Taking the rough-and-tumble "I
Can't Be Trusted" with the
smooth honky-tonk of "Come
The Day" showcases a dynamic
singer who, while familiar in a
group, shines even more when
given the opportunity to
explore outside her element.
Bryce Dunn
CLIVE HOLDEN    (featuring
Jason Tait, Christine Fellows,
John K Samson)
Trains of Winnipeg
(Endearing/    Cyclops    Press
As you might have guessed
from the title and co-conspirators (Jason and John of The
Weakerthans), this is a CD
about      personal      histories,
belonging... and trains'. The CD
is thirteen tracks (plus two
bonus) of Clive Holden reciting
his own poetrv while lason,
Christine, and John set it all to
Moon Patrol
(Haute Couture)
Montreal's Les Jardii
set to push aside fellow camp
en talis
off o
Add N to (X) or the boringly
repetitive Daft Punk. Beginning
with the Morricone influenced
"West World" and continuing
through with genre-absorbing
tracks like the boogie-woogie
soaked "Molokai" and The
Residents-like "Spacegirl,"
which stands out as my
favourite so far. Mimosa joins
Les Jardiniers for the sultry
"Sassysonic" and the elusive
@ri lends vocals to the urgent,
Chemical Brothers-sounding
"Poupee Folie" and the following "Freelance." In fact there's
not a loser in the whole 15
tracks on Moon Patrol. From the
sublime to the ridiculous, Les
Jardiniers aren't afraid to goof
around with whatever it takes
to build a perfect melody which
can screw with your head and
get you moving at the same
time. Skilled execution mixed
with some old-school beats and
lots of humour. A truly great
Conrad Bleek
Is Your Radio Active?
(Mint Records)
Many times have I joked with
O (whoops, I mean New) Town
guitarist [efty Pop on his obsession with Brit-punk heroes The
Toy Dolls, their American compatriots The Dickiesfwhich I'm
sorry to say, Jeffy, you'll never
be as good as Stan Lee, hahaha)
and other melodic punk and
rock and roll that he loves, and
still retaining the catchir
hooks all the way. No shortage
of that here, and thev even
make Madonna's "Like A
Prayer" head-bopping fun.
Fans of early B-52s, X-Ray
Spex, Casios and sugar highs
will dig this.
Bryce Dunn
(Grand Royal/ Virgin)
Umm... No, no thank you.
Really I'm okay. Thanks, but no
thank you. Really I'm not interested. No thanks, it's not my
sort of thing. Really no thank
you. No, not interested. No I
think you might be wasting
your time, really no thanks. No
more really, just stop. Really,
please... just fuck off!
Heather Termite
The Sound of the Color of the
(Sonic Unyon)
Is making music that is good to
fall asleep to something that
musicians should be proud of?
Probably not. I personally have
nothing against Sianspheric. I
even own one of their old
albums, and listen to it occasionally. The problem is that I
only listen to Sianspheric while
I'm trying to fall asleep. Their
simple, drone-ridden, heavily
distorted, wall of sound guitar
riffs and their soft, wispy vocals
are relaxing to an almost
painful degree. Even now, try-
bedtime environment, I just
start to feel drowsy or like
watching TV. Are Sianspheric
making boring music? Am I a
boring person for liking it? My
friend Dan says that all of the
after wat
lung thes
'■ gu.vs play
think that it's
wrong, nee
a number
of times, I
realize now
ly, to like bor
ig music.
that this
group  is
really  all
a lot of peoi
le who IL
about un
recreating a
music   that's
time ,n p
ink rook v
^hen music
stoned to," a
id I don't
was fun,
lyrics we
ren't deep
against "them
.As long
and fille
with inn
uendo and
useful for si
when go
ifing off v
vas part of
this album ce
what  m
de  band
like  The
can be alright
Dickies e
editing to v
/atch. Their
mn m
Greatest Spits
(Mr. Lady Records)
At Rock For Choice last year I
surprised myself big time. I had
long since foiled myself into
thinking that I didn't like spoken word. Spoken word? Oh,
sure. Fruitcake new age feminist lesbians whispering about
trees, their bodies and their
selves, and how vaginas are like
(insert favorite vagina-shaped
fruit here). I'm a dink, I'm a
dink, and Sister Spit proves me
right that I am a dink. They
arrived at Rock For Choice, got
drunk and   put on  the most
ing, show I'd seen in a long
time. Sister Spit's Ramblin' Road
Show is a collection of amazing
too), bringing with them their
both. The performers range
from Sini Anderson (who is
performing at this year's Under
The Volcano Fest!), to Michelle
Tea (author of Valencia) to
Lynne Breedlove (of hyper gay
Tribe 8 fame). Spoken word can
be a bit difficult to listen to
recorded; you miss out on facial-
while you're waiting for the
ladies to show up in your town,
this CD will hopefully do until
Go Plastic
Tom Jenkinson returns, and
despite his reputed arrogance to
electronic music's past, he really
reaches deep here to blend a
solid groove—picking up on
dub and house basslines—with
intricate and extreme d'n'b
manipulation patterning.
Spliced vocal work corrodes the
acidic and linear programming—always changing,
always morphing, always
inventive. Analysis: Highly
danceable and Highly listenable
(please note the capital "H").
This High i
it and o
plex speed-screeches and
analogue squelches, adding that
a-pool-of-blood element that
only Squarepushercan pull off.
Read: IDM is here, or was, but
is currently being run through a
blender. And sometimes even
slowed down into loveliness
and honey bellybuttons—
melody makes an unexpected
return, but alongside gong-hits
of noisy, pitched ab
How   many
This is the qe
ready for the lovin' of "Plaistow
Flex Out." And yes, "My Red
Hot Car" is everything it is supposed to be and a bit more. Face
it: this album is, like furry handcuffs and Merzbow, the best
thing to destroy my speakers
and bedstrings since....
tobias v
Muscler's Guide To Videonics
This is what would happen if
The Need injected themselves
with sparkles, black plastic,
arcade games, and keyboard
blood. The year in which this
ild    happen    is    a    year
n to pe<
be the year between
983 and 2005. They would shit
ut a sparkly golden egg, and
mid be Called Tracy +
under the black spotlights I
glassy '80s hand claps
toms. Tracy + The Plast:
Avantgardism: Drum V Bass
Volume One
(Unitone/Law & Auder)
Jungle, d'n'b, drum 'n' bass-
whatever you want to call it,
has gone through several phases and name changes. At first, it
all sounded so good, the tch-k
tch-k boom rummmble rum-
mmble was refreshing. It
evolved out of hardcore and the
simple sped-up break into
everything from minimalism to
ambient and dub influences.
This compilation attempts to
latch onto a few styles, but like
those cars
of dri
Disneyland, stays middle of the
road, never branching very far
in any particular direction of
argued, innovation. Doppler
20:20 hits off the first track with
which are heard again on
Friends, Lovers & Family's
track "Dark Fader," but there
;n't tin
schizoid drum programming a
la Squarepusher or pure madness a la UFO! The compilation
Garde" title. Instead, this is a
goexl compilation of jazzy, easy-
listening  anel   ambient  d'n'b
does very well. Bedouin Ascent
shows what can be done with
d abstraction.
and  editing
n one album?
ion Tom asks
sical onanism!
Force of Angels. The only
tracks that really push the very
sound of d'n'b itself are DJ
Hustler's "Get," which uses
over the place:
several different drum sounds
and twists of direction in the
fs Trajectory,"
ling   through
hell,  disinte-
track to destroy complacency in
Pearl's "New Life," which is
constantly on the musical move
a   backdoor
ving you  all
over engaging rotational terrain—building its frenetic pro-
grammed activity. For those
two tracks alone it is worth getting.
Clicks & Cuts II
Mille Plateaux
Clicks & Cuts II is the ultimate
fetish item for those who yearn
post-millennial Zeitgeist.
Containing three CDs of glitch-
ing, sputtering electronics, by
weight alone this seems like a
serious-minded, important
work. Throwing this onto your
stereo is among the best ways of
astounding and confusing your
patiently explain that no, noth-
like that.
Mille Plateaux has built its rep-
can only hope that the label and
its listeners reaiize the irony
present in grafting static to an
off-kilter house track and calling it a ileionsfructionist statement. They do realize it's still
just disco, right? Tracks by
Geez 'n Gosh (another project
of Uwe Schmidt, creator of
Senor.Coconut) and Rude Solo
demonstrate that at least some
of these bedroom recluses do
have a sense of humour.
Clicks & Cuts 11 is a more
pleasant listen than its predecessor. That release, only a double-CD set, contained
significant amounts of droning
bass, chaotic unstructured dis-
ing frequencies (apparently, the
longevity of one's hearing is
trivial   to  intellectuals).  Two
boldly exploring the outer limits of sound, the digitally-
enabled sonic trickery of that
release is no longer enough to
sustain interest. Realizing people are no longer amazed by
many of the artists contributing
spiffy new sounds. Nearly
every star of the laptop
equipped   nouveau   musique
concrete scene is accounted for
described as funky, particularly
if you spend most of your time
working with a computer or obtuse, for the most part on C &
CII chaos is tempered with delicate use of listener-friendly
melody and rhythm. One
begins to wonder how long it
will take before we start hearing
f Madonna
vill  have  to chart
ne  Of   flight,   read
East-Westercism Volume One
(Unitone/Law & Auder)
I'm very skeptical about the
various strands of "Eastern"
influenced d'n'b. Notice Talvin
Singh's new album, Ha. It's
"alright." There is only so much
you can do with Eastern drum
sounds and warbling sampled
Eastern throat singing because
if you fuck with it too much,
then it no longer sounds
"Eastern." The Western View Of
The World is only too apparent
here, and we can thank Allah
that it is slightly warped on this
compilation featuring Wagon
Christ, Pearl and Ansuman
Biswa, among others. The first
clue was the title—Ensr-
Westercism—and the tracks
backed up with hard evidence.
Biswa opens the CD with the
requisite Eastern bongo sounds,
but the programming is intricate and utterly different. By the
time "Namaste" by Syzygy,
rolls around, you know this will
be a good exploration of the
sound possibilities of the
"East," as a harder-edged track
with only hints of "Eastern"
sounds rips up what is hopefully a dark and evil dance floor.
This label just put out another
compilation by the name of
Avantgardism that truthfully did
not live up to its name. I think
they just got the names mixed-
up—this album is far more
experimental in its beats, and
not afraid to laugh at itself—
notice the "hoi" karate-chop
samples on Doppler 20:20's
"Bhang!" Many of the same
artists are on both CDs, and
when it comes down to it, the
best of both CDs would make
for one incredible compilation.
Little Darla Has A Treat For
You, v. 17
I'll be the first to admit that my
taste leans towards the saccharine. Pink is good. So are creatures with large eyes and no
noses. This album doesn't
involve anything pink, but has
the requisite creatures with
large eyes and no noses. Even
better: they are playing drums,
programming blips on fancy
machines. I thought this would
be the recipe for love. If not
love, then like. Or at least a
good Wednesday morning
crush. Usually I like poppy
music, but I can't decide
whether to dance like a happy
fool or claw my eyes out.
Maybe I didn't get enough
sleep. Maybe I was disappointed that Legally Blonde wasn't
funny. Maybe I just want to
shout "sucks to your ass-mar"
and poke people with sharp
What am I talking about? I
must have been very upset by
the fact my tea wasn't made
with boiling water when I
wrote the first half of this
review. Many of the songs are to
my liking: tracks by Transient,
Flowchart, LU and David
Shouse and The Bloodthirsty
Lovers are up to par. In fact, the
Flowchart song is oh-so-good
and minimal, a departure from
some of the super Nutrasweet
tracks. Okay, the more I listen,
the more I like the album, especially the second half. It's like
Diet Coke: I used to be hate it
but now I'm addicted.
Doretta Lint
what we listened to during production madness
at good ol' DiSCORDER mag. thanks for the
good times, little skippin' panasonic.
thalia zedek, been here and gone, the
residents, the american composer's series
volume II. silkworm, libertine, the tindersticks, nenette et boni. the ex, dizzy
spells, angels of light, how i loved you.
tracy +the plastics, muscler's guide to
videonics. John hammond, wicked grin.
matmos, a chance to cut is a chance to
cure, the go-betweens, bella vista terrace.
three inches of blood, s/t. trail vs. rus-
sia, s/t. wener's barbeque! eating is a
sport! CiTR. you're a good station, thanks. THE FUCKING CHAMPS
Thursday, June 21
Graceland, Seattle
"The solitary aim of the C4AM95,
Taken      froi
And destroy, they did, on
this hot, summer night. You see,
the day of judgement has
arrived, my brothers and sisters. Hair shall, again, grow free
and in abundant proportion,
below the shoulders, as well as
above the upper lip of those recognizing epic synth-rock as
their saviours. Unicorn sweatshirts will be pulled from their
dad's gardening wardrobe. Oh
yes. Lord Dickinson has
returned, as if he had never
departed and Vangelis cassettes
are now being savagely hoarded. Skid-vested young men,
worldwide, will now safely,
and without persecution, publicly confirm their love for early
. '70s German synth compositions. The Roland GR-707 guitar
synthesizer, Korg Poly-
6,Yamaha DX-7, and the octag-
electronic drum set will assume
executive management position
within pseudo-Maiden style
rock groups. As young, mustachioed pioneers, unleash their
Jarre-inspired magic, upon
their unsuspecting, Dio-wor-
shipping friends. Indie rock
"wusses," fear not, as a precaution, The Champs have made
this transition easier, releasing
their epic battle hymns on Drag
City records.
This was to be a most excellent night, by my estimation;
and this was quickly affirmed
by the opening act, Drunk
Horse, who are represented by
the Man's Ruin record label.
The Champs had been kind
enough to tote their esteemed
brothers of metal with them on
this royal tour, and they sharpened their swords vigorously,
preparing for the battle at hand.
We took to our seats within the
smoky enclave and settled in
for the "knights-in-their-own-
right." Sword technique obviously derived from the
legendary Fucking Champs.
Head horseman, Elijah Eckert,
provided a rich, "hashish 'n'
Henley" inspired voice, as
Drunk Horse proved to be
scholars of the classic rock tutelage, and a most formidable
conduit for the C4AM95 mandate. During the performance,
the red haired stepson that
pledges guitar allegiance to the
Tight Bros, was compelled to
baptize    these    surprisingly
straight swordsmen with copious amounts of malted nectar.
This was extremely amusing,
as Drunk Horse met
this chaotic outburst with pure
glee. Shaking the evil brewfrom
their manes, they continued to
rock. And they did so, with
even more panache than they
began with. Not alarming,
though, really, considering that
these Tight Bros have known
the healing qualities of the golden elixir for ages. Drunk Horse
did a superb job of holding
down the fort, while The
Champs rested in their quar-
If I were to describe the
Drunk Horse brand of crotch-
rockery, conjuring up some relevant comparison, I would say
they sound like a technical,
almost mathy Zeppelin, ZZ
Top, or even a 1970s Fucking
Champs. But only if we agree,
also metaphorically, that The
Champs are indeed a 1980s
Maiden-Styx-Van Halen band;
with Mike Post, of TV acclaim,
conducting. Well, the moment
of truth had arrived, and at
every table, the ale flowed
freely from hand to mouth. The
crowd was ready... this was it.
Fucking Champs time. The first
thing I noticed, upon their
entrance, was the apparent
exclusion of electronics that I
had so eagerly anticipated. Not
a 707 in sight. Nor were there
any synths, for that matter. (I
later learned this is the norm.)
True but alas, on this night it
was to be strictly a guitar concerto, and The Champs were
more than able to deliver.
Playing a nine-string custom
axe, Tim O, began to unravel
the mystery of The Champ's
epic lead guitar(s). The sound,
which I so foolishly assumed
studio-derived, is rather simplistic, in theory. Fifteen strings
played by two guitarists, amps
cranked to eleven, and a drum
set. Seem minimal? Hardly, my
friends. When these lads get it
on, the proverbial "majesty of
rock" is obliterated. I blushed,
realizing that my estimations of
post-recording molestation,
were false. Miscalculations
were smashed by the nine-
stringed "harp," that was tuned
to sound like a pair of guitars.
Former Nation of Ulysses guitarist Tim Green provided
ample support with his sword,
a Hagstrom six-string. And
between the two guitarists, who
had captivated my gaze for
about fifteen minutes solid with
their duelling and simultaneous
delivery, I started to feel like a
British tennis fan, eyeing a semifinals match at Wimbledon. The
concentration needed to play
what they play, and as tightly as
they play it, would answer why
there is little body "partici-
paction." I displayed an uninhibited, ear-to-ear grin as they
belted out hit after classic hit.
"Andres Segovia Interests Me,"
"Thor is Like Immortal," and
"You've Got a Thirst, Portland"
seem to be the crowd favourites.
To summarize my lengthy
account, The Fucking Champs
blade. Drunk Horse did their
ailing  to do so,  with t
Monday, June 25
walk fi
Cinematic Orchestra. Upe
entering the club, however,
quickly bee
ing  fro,
the  spi
-, as he forced a crowded
: floe
o adjust t.
r   of   I
ing   i
styles. En Vogue's "Never
Gonna Get It (My Lovin')" has
never sounded so good.
Peterson expertly guided
Sonar's patrons through a journey encompassing house, Latin
house, hip hop, a smattering of
boppy jazz, drum 'n' bass and
two-step. Peterson's mixing is
utilitarian, but his taste and
uncanny ability to always knew
the exact moment to shift the
cross-fader made a potentially
,sv s
logical. The overall effect was,
well, acid jazzy.
At the best of times, I find
MCs distracting. At the worst
of times, I have to resist the
uncharacteristically hostile compulsion to tear the microphone
from the man's hands and wrap
the cable around his neck. Even
with my pre-existing bias,
Peterson's MC performed
admirably, alternating between
beat-boxing, singing, rapping
and melanin-deprived Jamaican
toasting. Clearly, a knowledge
of Peterson's tracks and styie
allowed this MC to accentuate
the tracks rather than overwhelming them with braggada-
Fortunatelv, I was in attendance at the Commodore for
the Saturday performance of
Cinematic Orchestra, so I can
speculate that pre-Peterson they
delivered another shuffly set of
quality instrumentais. The
Orchestra's appeal lies in their
combination of chops, admira-
tion   for  jazz   tradition,   and
notes away from what  they
familiarity with the dynamics of
were playing. Vibraphone play
loop-based electronica and hip
er Paul Aucoin was a treat to
watch, though his work was
drowned in the mix, which was
that    Cinematic    Orchestra's
otherwise quite balanced. CDP:
music could still be a perfect,
It would make sense that
for your parents' next cocktail
the man who penned "Ex-Con"
party. The Commodore show's
should be the most impressive
minimal    staging   contrasted
with  Sonar's  deployment  of
Oddly  enough,  the man  has
ins. While the spartan lighting
..mmodore does imbue pro-
Tuesday, June 26
Starfish Room
In 1975, avid rock climl
Williams Jr. fell 442 ft
fetishism. Bill Callahan's Smog
filled the floor, but the stage
itself looked pretty empty.
Backed by the Dirty Three's
another guitar player, Callahan,
through standards from his last
While Bill's voice is still the
corn's cob, reaching lower in
the   manner   of   Raveen,   he
,. Moi
I. Prev
point, he was a clean cut-out of
his father, covering old country
classics to the delight of Grand
OleOpry fans. But he landed in
the worst way, shattering his
next   two   years   of   his   life
reconstructing some semblance
Of his former self. What we now
see of Hank Jr. on Monday
Night Football ("All My Rowdy
Friends") is a modified form of
cross dressing marked by some
Stetson and the lost beard of
Stonewall Jackson's teaching
days. All of these things are a
vith  hi
■r up the real Hank.
this make the senior
junior Williams a pioneer?
Damien Jurado was carrying
his flame. Backed by a full band
that featured a particularly simple and clean pedal steel player
(this is a good thing), this darling young man played songs
that were old and sad. Even if
the cliche wizard has pinned
him as an "old soul," his best
songs were the least timeless,
while everything else came off
as hallow tribute. It should be
noted that at one point, the
place went silent in the middle
of a song, which means he must
have been doing something
right. Cross-dressing points
(CDP): 8.
Hank would be proud of
The Sadies. By day, they are
normal human beings who rent
videos, but by night they dress
up in suits and pretend they are
old/family style. Their frenetic
two-minute songs sweated out
genres of tasteful appropriation.
Be it bluegrass and noise or surf
and folk, Toronto's Good brothers made it work, even if something about who and where
they were seemed a million
li the
Of the
Boys opening up with "Heroes
and Villians" and then playing
songs off of Mike Love's solo
album for the rest of the show.
From that point on, the show
nothing left to build to, unless
vou consider a marginal song
like "Bloodflow" to be some
sort of temple. Hank Williams
Jr. wouldn't see it so, but then
again, he only likes musical
cross dressers. CDP: 5.
Randal Mindell
Sunday, July 1, 2001
The Commodore
Vancouver has been waiting for
some time for Richie Hawtin
to deliver. He's played here
several times, anel while each
time has been good, it has also
been unremarkable, staying on
the more accessible side of ban-
gin' techno. With the hype surrounding this event—Richie
was supposed to play a three
and a half hour set—expectations were high that Brother
Hawtin would finally deliver a
real mindfuck on the nation's
birthday. I would like to say
that Hawtin did deliver, but the
night went something like this:
Brian from LA's Moontribe
opened the night, playing techno like he just discovered it two
trance.   Hawtin,   meanwhile,
about the time—it's 11:30 and
he should be on bv now.
Tension increases anei cheers
erupt as he heads toward the
stage, and by the time the bald
head appears behind the decks
and laptop, it is close to (continued on next page)
19 E^gSg©SIi reviews continued...
creeps over the Rockies like an
midnight. So no three and a half
Albertan driver. As a friend of
hour  set.   The   first   hour  is
mine put  it:  "No mindfuck
absolutely solidly-mixed hard
Music to make everyone go
and clinical techno with incredi
boing, boing. But I've heard sto
ble and talented use of the efx
ries...."  Haven't we all.  And
and     digital-record     system
someday  Vancouver may be
(which from what I could see
supplemented the six crates of
those "Hey do you remember
vinyl). But the tracks are very
when   Richie..."   stories   that
straightforward, and be>cause
make up the fabric of pride that
the Commodore system is lack
even us Westcoasters feel for
ing in any midrange definition,
Windsor,   Ontario's   minimal
ing cowboy hats—I thought
they were going to play some
rocking country. Boy was I
wrong. Their set started off with
space sounds. I thought they
were going to do a half hour set
'hich would
•en pit
singer.   1   wa
ered betv
ied to thin
heard t
lgs to
lat Dix
er, 1
had sou
id prol
lems and ci
n't hear
set. Ace
ore! ing
to Christa
he   band
their la
ne. So
that expla
r performs
Xiu, a
foursome from
San Jose
, took the stage sh
-s seeing the
with Lsolation-cold techno. 1 like
light w
now be
minimal techno. But the tracks
were isolated in that they were
neither funky    on isolated funk,
Ricardo Villalobos style—nor
album. Due to the na
called Xiu Xiu The
I Don
Girl) and the fact that Yvonne is
in the band, I thought it was
going to be some Asian girls
rocking out.   I  should   really
gritty a la Jeff Mills, nor even
neurotic a la Hawtin's own
Plastikman material. They were
isolated from anything sonical-
ly meaningful. Synopsis: no
Concept records, no Spastik, no
Sheet One or Musik, no Artifakts,
no Consumed, no Pete Namlook
remixes, not even "Yello" (the
"Orange" or Nitzer Ebb. No
minimalism, period. Still, he
rocked it, and dropped some
classic acid techno at the end,
but he left us faithfeil and lewal
Canadian listeners once again
out in the cold in terms of his
own material and legend, which
20 AUGUST 2001
Thursday, July 5
The Starfish Room
I got to the Starfish Room a little
too early for the show. The last
couple of times I've been there,
I've missed part or all of the
opening act's set. This time
around I resolved to not miss a
thing. As a result, I waited
around for nearly an hour
before Dixie's Death Pool
played and I sat around watching them set up. Seeing their
pre-show attire—nearly every
member of the band was wear-
outfits. Xiu Xiu is fronted by a
boy with a strong voice that has
a super-earnest tone. He sounded a little like Daniel from The
Danielson Familie. Xiu Xiu's
sound is poppy, upbeat and
fun. They cewered their equipment with felt cloths cewered in
felt cut-out people. It reminded
me of Sunday School. Only
instead of a felt King Solomon
there was a felt figure that
looked suspiciously like
Chairman Mao. More on the
band: all  four members can
will. Instead of a drum kit, they
have pans and possibly a drum
don't know much
about musical toys). The band
appeared so energetic and
earnest that my friend Janey
turned to me and said "They're
fucking with us," to which I
replied, "They're so earnest,
they're ironic."
At this point, I began to
dnight  and   like
didn't  try  to  picture
lounging on on expensive B&B
phing fro
place was
pie were
Beans. I sr
pie of tim
rich, I v
?. Part o
ed; (h
me before the show that I
would dig The Beans live
because I dig their albums.
What if I felt let down? What if
Tygh Runyan wasn't as wicked
FASHION Magazine? What if
Ida didn't play the trumpet? I
had so many concerns about
seeing Vancouver's instrumental rock heroes take the
stage. All my fears were for
naught. From the first beats on
wooden blocks to the last computer generated whispers off
the laptop, The Beans
rocked. There's something to be
said about being together for
seven years. Before their set
ended, they plugged their 48
hour show—which Tygh swore
wasn't a stunt—tei a dwindling,
but appreciative crowd.
At the end of the show,
Christa asked me what I
thought. I said, "Let's go to
their 48 hour show."
Doretta Liu
Thursday, July 6
The Commodore
Every  time  I  listen  to Air's
album, Moon Safari (1998), every
second of it reminds me of
Wallpaper magazine. You know,
that ultra cool European magazine of an unattainable lifestyle.
During this show, however, I
i  We
t Coasl
modernist style apartment—no,
beach house. They played
mostly songs from their new
album, 10 000Hz Legend, which
hae! less of the optimistic
Wallpaper milieu and more of a
darker Pink Floyd-like art rock
i I s
some of the most memorable
highlights of the show? Well
for starters, the opening act,
Sebastien Tellier, had this
strange, but surprisingly versatile and beautiful sounding
instrument, that appears to
operate on sensory motion. The
woman, when she played that
mysterious instrument, had a
placid, contemplative look,
when out of nowhere she let out
a freakishly blood-curdling
scream before pretending to collapse onto the floor during their
third or fourth song.
When Air finally came on,
they opened the set with
"Electronic Performers" with
Jean-Benoit Dunckel looking
Dracula cape. I also have to
mention that Jason Falkner, the
bassist, looked a little like my
first childhood idol, Jon Bon
Jovi, but with a Beck haircut.
His solid performance, constant
smiling and eye contact with
the front row, where my friends
and I were standing, seemed to
turn my respectable mid-20's
friends into a gushing group of
giddy boy band-like fans.
During the fourth or fifth song,
they played "Playground Love"
from the Virgin Suicides soundtrack where Jason, who sang
lead vocals and played the
acoustic guitar, was perfectly
bathed in two intersecting
beams of light behind him.
What is worth mentioning is
that Air managed to perform
the memorable and obvious
crowd-pleaser from the L'Oreal
commercial, "La Femme d'ar-
gent." Also worth mentioning
because it is somehow related
hat during tl
encore, Nicholas God in took a
request from my best friend to
play "Sexy Boy." After the
show, my friends and I spotted
our Prince Charming, Jason,
hanging out in front of the bar.
e had te
. To o
?nds gushed so
surprise, JaS
spoke perfect English and he
isn't even French at all; he is
from LA and lives in
Hollywood. The most surprising but not memorable moment
was when I realized that maybe
I was gushing and being giddy
Ellinda Siu
Wednesday, July 5
Stageworks, Kelowna
Friday, July 7
The Sugar Refinery
YOU MISSED OUT... on a better venue, nice sound, and a
manageable number of people.
It was well worth the trek to
Kelowna(land of fruit & lakes),
to experience the bliss that was
Fugazi. So I got my Fugazi Fix
two days early, and here lies the
icing on the cake. Upon my
return to No-fun city, I was welcomed back in style. Frog Eyes
style that is. Could life get any
better?? I LOVE THIS BAND!
I'm not giving you the caps for
just any old reason, I mean
business. While you were all at
the larger, less fun Fugazi show,
I was getting down with one of
the best live shows I've ever
been too. Now I imagine you
just think I'm an overzealous
rock journalist, who is probably
getting paid off to make such
endorsements. So next time this
Victoria outfit heads into town I
suggest you take note. If all
bands put on live shows like
these two specimens, I'd get out
of my house a little more often.
Thank you Fugazi; thank you
Frog Eyes for proving to me in
during one of the best three day
spans ever, that fun and music
is still a possible thing.
\ay douillard KINNIE STARR
Tuesday, July 10
Richard's on Richards
Kinnie Starr concerts are pure
indulgence. In the midst of
chaos, Kinnie makes the world
a happier place. Kinnie makes
it all okay. I ogled the crowd
while sipping my outrageously-
priced drink; people watched
people-watching others and
admired their demeanor, coolness and colorfulness. The
opening acts managed to move
and shake the sparse, Tuesday-
ridden crowd physically and
emotionally. Chin and his gang
started the show with some
fluffy, bouncy funk. For those of
you who are tuned to the mainstream, Chin was a member of
Base is Bass, and his set was
pretty much in that style.
Highlights were a fun remake
of that famous Supertramp
song. I can't remember what it's
called, but you know the one I
mean. This was followed by the
mellow guitar of Marlow,
Kinnie Starr's ex-guitarist who
left her band in pursuifof a solo
career (Kinnie is all about the
musical family). Marlow's rendition of "The Pslam of St.
Francis of Assisi" induced
many a teary eye in the audience. When Kinnie finally
opened with her electronic version of "Praise," the crowd was
welcoming and ready to get
into the groove of whatever she
had to offer them. Things were
interrupted when a disco ball
fell from the ceiling of the club,
unfortunately landing on the
head of a guy in the audience.
He was out for a while, and it
took the bloody paramedics a
bloody long time to show up.
Kudos to the medical student in
the audience who looked after
him until the paramedics
showed up. Also kudos to the
woman who silently channeled
energy to this guy, at least she
did something about it. It was
nice to see that the bouncers at
Richard's on Richards were still
useless, at least they're consistent that way. There were cheers
as the paramedics took the guy
away; the concert resumed and
Kinnie finished in fine fettle.
KID 606
Tuesday, July 17
Yours Truly Reviewer arrived at
this show at 11:30pm to discover that things had kicked off at
10pm and that 606 was already
doing his spastic Peaches-remix
encore and that Cex had
already stripped to his skivvies,
leaving the dance floor barren
amidst the noisy assault of laptop glitches on crack and Stars
With Eyes nowhere to be seen.
In my defence, I WAS NOT
ALONE as I heard from practically everyone I knew that they
had shown up "late." Lame,
lame, and so in the spirit of
postmodern bricolage, I bring
you the infamous DJ J Wijit
from Edmonton and his take on
the whole shebang that I missed
99.99% of (and I am disappointed because I was really really
looking forward to this, and
p.s., if you see Cex or 606 give
them a Nirvana CD).
"Tigerbeat6 records brought
the circus to town with the
superstars hauling out their laptops for a little electronic acrobatics. Stars with Eyes were
experiencing some technical
difficulties when I arrived. But
just when they were walking
away in defeat, the gear restarted spontaneously and we were
rewarded with a bit more of
their pleasant melodic IDM.
They dutifully returned to finish things off.
The one man extravaganza
known as Cex took a different
approach. As he said, "I'm from
Baltimore, and people in
Baltimore don't take anything
seriously." He liked tracks, and
he liked to sing, which, loosely
translated, meant that he
rapped and ranted his way
through songs about bees that
go bzzz bzzz and other crazi-
ness I couldn't make out. His
stage show was one massive
attempt to debunk the polite
chin stroking of most IDM
crowds—he came off unpretentious because he was dead
earnest about it and ready to
have fun. With a really long mic
cable, he pranced all over the
dance floor striking classic rock
singer poses, satirizing chin-
stroking, and ultimately stripping down to his underwear
and dollar sign link belt. He
played his sharp sounding
tracks straight off the laptop,
and they bounced around from
disco to heavy metal to hip hop
to what must be Baltimore
Booty, all with a techno twist.
Cex referred to Kid 606 as
the guy that would give us our
money's worth, and while it
was true that most people were
there to see 606, he rocked
things out in no uncertain way.
The Kid started off crunchy and
jackin' and wasn't stoppin' for
anyone to get off. Playing from
two Mac laptops and two Korg
Kaoss Pads, he threw out the
craziest sounds and got a few of
us dancing. He blasted through
style and track transitions with
lightning speed, and I
briefly moved into some of his
minimal tech hemse material.
The remainder of his set showcased the breadth of his music,
from delicate to noisy and
In a nutshell.
tobias v & j Wijit
Friday, July 20
Orpheum Theatre
Minus the hippies, the leather
pants, the deep knee bends
(guitar solo, feet planted, knees
pressed together, bent, like
you're feeling the music so bad
you're trying to steip from pissing all ewer yourself), the name-
dropping, the sound guy's loss
of hearing in the high frequency
range, the light show, and Jim
Lauderdale, it was good.
Lucinda Williams sings good.
Christa Min
Friday, July 20
The Commodore
"Layydees and Gentle-men...
and now the moment you've all
been waiting for... three talented fellas from the state of Texas
sure to bring the house down ...
Bare, Jr. opened for The
Rev, coming on at 9:30pm to a
half-empty house and giving a
well-rehearsed, tight performance. Their act was five
pieces: two guitars, a mandolin,
drums and a cock-eyed lead
singer with a heavy Cheap
Trick influence. Bare, Jr. gave
up thick guitar rock and finished their set strong with a
tribute to The Cars by singing
"My Best Friend's Girlfriend."
The Rev and his band were
next, swingin' at the
Commodore, throwin' it all the
way back to the '50s with a
whole lot of rock and more than
a little billy. The man Horton
Heat on geehtaar looked like an
old dude but moved his fingers
up those chords faster than any
teenager, while his man in
behind pounded at the drums,
and Jimbo, the Rev's best
buddy—a 250 pound kinghell
greaser—wailed away at his
r bass like a big old kid.
The Rev was a showman with
bravado like Chuck Berry,
dressed all to kill in a tailored,
vintage black suit with a black
bowtie, and red flames painted
on his slacks. He posed for the
crowd as if there were a camera
and TV lights, and always kept
the show humming like the
engine of a '57 Mustang. Jimbo
was alongside the Rev acting
like his kid brother, inakin' wild
with his greasy
hair fallin' in fro
boyish curls, wl
look like even m
like ,!
engine red bass which was la
timed on the back with name
of people and places he knev
The Rev glanced at h
buddy occasionally but moi
often kept his i
wed h
ode the g
tar like a demon motorbike.
They were dudes from Corpus
Christi, Texas where they brand
l egg-
breakfast and smoke cigarettes
and chew tobacco and mount
guns on their pickup truck and
shooting out of Horton Heat
instruments like bullets coming
at you in rapid fire. Their three
loaded weapons exploding at a
tempo just right for surfin' with
Dick Dale or drag racing down
a California strip. Somewhere
along the Rev's hot rod journey
between California surf and
Texas twang he stopped at the
train station diner, slowing it
down   to   play   a   tune   like
"Lonely Train Whistle." Then
he fired back up again and
moved his fingers fast enough
to keep pace with a locomotive,
and took the crowd along with
him for a steam engine ride on a
Not an altogether safe trip
though, because the passengers
in the mosh circle went wild for
the Rev and were bumpin' and
knockin' against each other like
ing, falling, crashing, scratching
themselves then crashing some
The engine Revved until
about one o'clock, and after
humming for about two heuirs,
she shut down before overheating, well exhausted. The Rev
gave the crowd a good ride
in a hot rod muscle convertible
Revvin away all through the
Wednesday, July 25
Starfish Room
Oh joyous day when the
DiSCORDER gang gets together for a show! A few beers in my
gut, mad peeps in the house,
ready for a rock spectacle to
unfold. Local quartet Radio
Berlin sound like that '80s Goth
mix tape you kept in the glove
compartment of your first car.
Eighties hair to boot! I overheard Hancunt singing Cure
lyrics in front of me, which
aptly accompanied more than
one tune.   Spot on if yem just
can't shake those '80s, but I'm
more a fan of Joshua Wells'
other project, Jerk With A
Bomb. Next Add N to (X). The
stage is banked with no more
than six synthesizers, a
theremin, a sampler, and some
other noisemakers. The Add N
to (X) trio look like they graduated with honours from rock
school. Their first song is a subdued electro track from their
latest album but then they
kicked into older stuff, which
was more raw, and balls to the
wall. Third tune in, a fool from
the crowd jumps up onto the
stage, grabs one of the synths in
front of one of the three males
on stage (Barry Smith, Steve
Clayton, or their touring drummer) and throws it to the floor.
Short-haired band member
dives into the audience, a scuffle ensues, and a bouncer breaks
it up. A rock first for this con-
cert-geier. Noticeably shaken,
the band starts the number
from the beginning and plows
forth like troopers. The rest of
the evening was filled with
good and really good tunes
from the band's three albums.
Not only were certain people
inhibiting the band to truly
shine1, but also the microphones
ally. Nothing like watching an
Despite their external constraints Aeld N to (X) delivered.
Next time, let's hope the show
terrorists and those responsible
for the sound stay in the drunk
tank until the band finishes.
Robert Robot
we offer technical training m video, audio and
new media production and post production including:
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we also have a 2000 sq. ft. studio available for
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contact Tricia Middleton at 872.8337
hours of operation:
11 am to 6 pm
Monday to Saturday
videoin@telus. net
21 E^gSS®! UrWr7y
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10th ANNIVERSARY \\%£<£
The New Pornographers
The Smugglers
I Am Spoonbender
The Evaporators
The New Town Animals
9pm $fSAM.
Groovie Ghoulies isauamemo)
Girl Trouble (Tacoma)
Chris & Tad (Seattle)
The Down-n-OutS (Derived
Thee Skablins (Canada)
• Film Premier 'American Mod'
• Art Exhibit by "Atomos"
• Fashion Show
• Prize Giveaways
7pm sump $14 ADV. ,**,*»«*«,
Glow-ln-The-Dark Bowling & J
Dancing w/ the 60s Now Sounds M
of DJ Todd Tomorrow tW
?PM$4AT POOR l»X,K*rUK,   |j|j!
Ph 738-6311
for "THE UNION", Vancouver's only genuine
'60s-'90s brit night. Special guest DJ SKA-T
spinning the best in ska and rock steady.
Special live pertormance by Blue Lodge O-Uartet
"THE SCENE" is a truly switched-on sixties
happening. As DJ OFAY gets things swinging
with hard-hitting memphis jazz and rhythm,
resident LEE MODERN sorts through stomping beat and northern soul.
9PM S? AT DOOR Pbeo2#td2
11 AUGUST 2001
Advance Tickets  available at:  Ridge Theatre (no service fee), Zulu, Scratch,
Highlife, Singles Going Steady (Seattle) • (individual tickets and weekend passes available) August Long Vinyl
1 Squarepusher
2 The Dirtmitts
3 The Beans
4 Lucinda Williams
5 Weights and Meas..
6 Fantasitc Plastic...
7 Duotang
8 New Town Animals
9 Basement Jaxx
10 The Beta Band
11 Freeworm
12 Built to Spill
13 Ashley Park
14 Radio Birdman
15 Monstre
16 Jerk With A Bomb
17 MIA
18 Dimitri From Paris
19 Mumia Abu-Jamal
20 Eno and Schwalm
21 Dump
22 3Nippleson Her...
23 Veda Hille
24 Good Riddance
25 Ron Sexsmith
26 Mensen
27 I Am the World...
28 Fuzzer
29 Tricky
30 Pennywise
31 Jon Thor
32 The Hissyfits
33 Buffalo Daughter
34 Twilight Circus...
35 Ex-Girl
Sonic Unyon
Zum Media
Emperor Norton
Go Plastic
Crane Wars
The Bright Side
Is Your Radio Active?
Rooty XL
Hot Shots II Regal
Vegetation=Fuel Outside
Sabonis Tracks Warner
The American Scene Kindercore
The Essential... Sub Pop
Sucre3 Alien8
The Old Noise Scatch
Lost Boys      Alternative Tentacles
Rewind DMC
175 Progress Drive  Alt. Tentacles
Drawn From Life Virgin
That Skinny Mother... Shrimp
Operation Sunflower Raw Pear
Field Study                 Independent
Symptoms of a... Fat
Blue Boy Linus
Delusions of Grandeur Gearhead
Out Of The Loop
Detached Retina
Land of the Free?
Letters From Frank
Volcanic Dub
I groove
Top Quality
Grand Royal
M Records
August Short Vinyl
Indie Home Jobs
1 New Town Animals
Lose That Girl
MC Potbelly
2 The Evaporators
Honk the Horn
Pet Fairies
Boner For Betty
3 Red Hot Lovers
4 Lost Sounds
5 Tijuana Bibles
6 Les Sexareenos
Mexican Courage
Ruby D
Six Block Radius
Xeroxed Brother
Red Hot Lovers
Kill to Hide
Latest Thing
Fuck or Fight
7 The Pattern
Heartx50' Woman
8 Planet Smashers
9 Heart Beats Red
10 Electric Frankenstein
Inflate to 45RPM
The Perfect Crime
Jump Start
Sub Pop
Garnet Sweatshirt
Victorian Pork
The Switch
Girl Nobody
A Girl Named Sue
American Woman
I Just Wanna Beer
Las Vegas Laser Child
11 The Pinkos
To My Valentine
Girl on a Go-ped
Twisted Nerve
Closer Than Kin
Stand Up
13 Gapers Delay
14 Sunset Valley
Pretty Song
Parade on my Rain
Sea Level
Nice Green Cone
The Lollies
Vancouver's Shame
Amarillo Stars
Fuzzy Blue
Be My Bad Boyfriend
15 Cecillia et ses Amis
16 The Malcontents
J'aime le popcorn
Liquor Store EP
What's For Dinner
17 Moonbabies
Air Moon Stereo EP
The Metrics
Sand Crawler
18 Hot Dog City
19 Lucky Motors
The Package...
20 Guided By Voices
Chasing Heather Crazy
Back to the Mono Kero!      Ipecac
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, "August" charts reflect airplay over July). Weekly charts can be received via e-mail. Send
mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts". •
goodbye to me, maren hancock: ad bitch, this is what
two years of working for this magazine has done to me.
so i must move on. to all my beautiful clients:
working with you went far beyond pleasure.
your new ad representative will be Steve DiPo.
1' i @ G0k882.3Q]7x 3 and advertise with us.
em ©j ^©fole
Ska -T and Julie M
Sfca-T's Sc«ne-ik Drive, Fridays, 10:00am ■
Record played most often on your show:
Hot Knives, In My Dreams.
Record you would save in a fire:
Ihe Skatalites, Scattered Lights.
Record that should burn in hell:
Five Iron Frenzy Complete Discography
Book that you would save in a fire:
S: My Michael Slade collection. J: Mr.
Vivian Walsh.
Worst band that you like:
S: Fastball. J: Destiny's Child.
' ast record you bought:
S: Ska Chart Busters. J: Canned Flamm,
First record you bought:
S: The Beatles, Help! J: Wham, Fantasti
Musician you'd like to marry.
S: Bjork. J: Mark from Dissent.
Favourite show on CiTR:
S: Nardwuar The Human Serviette Preset
Strangest phone call ever recieved wl
actually phoned in to win a date with Ska
for Cheap Trick tickets. •
anything by Save Ferris.
mch Takes A Plane Ride by J (
J: Venus Fly Trap's Love Den
■ on air: It was a tie betwee
nd the person that tried t
the people that
'■Usl-V-H  >3 1kf.r;   ",r,c4
(stttesS) ybfisiS gnIo3 SUNDAY
9:00AM-12:00PM   All of
time is measured by its art. This
show presents the most recent
new  music  from around  the
world. Ears open.
3:00PM Reggae inna all styles
and fashion.
3:00-5:00PM   Real-cowshit-
caught-in-yer-boots country.
alt. 5:00-6:00PM British pop
music from all decades.
SAINT   TROPEZ   alt.   5:00-
6:00PM    International    pop
(Japanese,   French,   Swedish,
British, US, etc.], '60s soundtracks and lounge. Book your jet
set holiday now!
QUEER   FM      6:00-8:00PM
Dedicated to the gay, lesbian,
munities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
great music.
10:00PM Hello India combines with Geetanjali to create...
Hello Geetanjali! Geetanjali features a wide range of music from
India, including classical music,
both Hindustani and Carnatic,
movies,  Ghazals, Bhajans, and
also Quawwalis, etc.
THE     SHOW 10:00PM-
12:00AM Strictly Hip+Jop -
Strictly Underground - Strictly
Vinyl. With your hosts Mr.
Rumble, and J Swing on the 1 & 2's.
8:00AM Spanish rock, ska,
techno, and alternative music —
porque no todo en esta vida es
Your    favc
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
Tune in and enjoy each weekly
plate special.
nental, ti
RAPIDLY alt. 11:00-
GIRLFOOD alt. 11:00-l :00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt is in training for
Olympic party athletics —soon to
be a gold medalist in drinking,
drug taking, and reckless sex.
BLACK NOIZE alt. 3:00-
DJ Nat X still sez: "I'm taking a
break, back when I feel like it!"
EVIL VS. GOOD 4:00-5:00PM
Who will triumph?
Hardcore/punk from beyond the
6:00PM Join the sports dept.
for their coverage of the T-Birds
and some other goofiness, giveaways, and gab.
FILL-IN alt. 6:00-7:30PM
Beginning July 30th and running
until Sept. 10th, Rachel's Song
and CITR 101.9FM will be
broadcasting a mini-series of
talks taken from the Water
Conference conducted at UBC
during the month of.June, entitled "Water For People And
s and ci
FILL-IN alt. 6:30-7:30PM
BY THE WAY 7:30-9:00PM
I don't know what I'm up to any-
play lots of odd German
I  7"s
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
demo here and there. Go figure.
1 2:00AM Vancouver's longest
ing  prir
t pro-
Hosted by the
Gavin Walker. Features at 1 1.
Aug.6: Tenor saxophone great
Stan Getz at his hard hitting best
with Richie Beirach (piano),
Dave Holland (bass) and Jack
Dejohnette (drums).
Aug. 13: Resident piano giant Ron
Johnston and his new album
Remembering Tomorrow, is fea-
Aug.20:   A  famous  i
tenor saxophonist
Lester Young and vocalist extraordinaire Sarah Vaughan, a true
meeting of the greats.
Aug.27: Step Lightly, a fine album
by lyric trumpeter "Blue" Mitchell
that didn't come out until the the
'80s... with alto great Leo
Wright and the late Joe
!, old-tir
:, and it:
rthur and "Ths
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
9:30-1 1:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier
than the most dangerous criminal!
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only
program. Music to schtomp to,
hosted by Coreen.lWe miss you
alt. 11:30AM-1:00PM
PARTICLE 1:00-2:00PM
Incorporated into the soul are
of digital sound.
I Wol
PARTS     13
IDf^T]   f
Cf= conscio
• Hk= Hans Kloss • Jz= jaz
24 AUGUST 2001
MONDAYl4_l    pulses
10,000 VOICES (Tk)
ANOIZE      [____
ON AIR        E|
LIVE FROM...    L~
| Uh I
and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
• Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots
• Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world Unleashed, cryptic economies
accelerate the sound particles
through states of Becoming,
breaking the flesh, whirling,
hydra-head,     rhizomatic    sky.
ribe a
CPR 2:00-3:30PM
buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
10,000 VOICES 5:00-6:00PM
Poetry,   spoken   word,   prefor-
8:00PM  Hardcore  and   punk
Radio Ellenikathiko) 8:00-
9:00PM Greek        radio.
9:00- 10:00PM
alt.        10:00PM-12:00AM
alt. 10:00PM-12:00AM Phat
platter, slim chatter.
AURAL    TENTACLES     12:00-
6:00AM Ambient, ethnic, funk,
pop, dance, punk, electronic, and
unusual rock.
HOUR 6:00-7:00AM
9:00AM Bringing you an entertaining and eclectic mix of new
and old music live from the Jungle
Room with your irreverent hosts
Jack Velvet and Nick The Greek.
R&B, disco, techno, soundtracks,
Americana, Latin jazz, news, and
gossip. A real gem!
10:00AM Japanese music and
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local artists.
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended  for  the  strong.
THE SHAKE 1:00-2:00PM The
manatee is my spirit animal. Me
3:00PM Zines are dead! Long
live the zine show! Bleek presents
the underground press with articles from zines from around the
"Eat, sleep, ride, listen to
Motordaddy, repeat."
Socio-political, environmentally
activist news and spoken word
Aug.     1:    Amy    Goodman    on
"Democracy Now!"
Aug. 8: Parabola Magazine's issue
on Light and remembering
Gandhi's "Quit India" speech.
Aug. 15: Dr. Kumi Naidoo,
Secretary General and CEO of
Civicus, on "Current Context And
Future Trends For Civil Society
Aug. 22: Harvard Design
Magazine's issue entitled "What
Makes A Work Canonical?"
Aug. 29: "The Down To Earth
Building Bee-A Cob Construction
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things. (First
Wednesday   of  every   month.)
9:00PM Indie, new wave, punk,
noise, and other.
FOLK OASIS 9:00- 10:30PM
Roots music for folkies and non-
bluegrass, singer-song-
HAR   10:30PM-12:00AM Let
DJs Jindwa and Bindwa immerse
you in radioactive Bhungra!
"Chakkh de phutay."
12:00-3:00AM Mix of most
depressing, unheard and unlis-
tenable melodies, tunes and voices.
FILL-IN 6:30-8:00AM
10:00-11:30AM Two hours of
non-stop children's entertainment
including songs, stories, poems,
inteviews, and special guests with
your host Christina (On hiatus,
will return in Sept. at a new time
and day).
1:00PM From Tofino to Gander,
Baffin Island to Portage La Prairie.
The all-Canadian soundtrack for
your midday snack!
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow. Listen to it, baby
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
5:00PM Back in full effect, Jan-9
and DJ Hedspin.
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! http://www.sus-
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1942-1962 with your snap-
pily-attired host Gary Olsen.
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11.
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
Email requests to <djskaJ@hot-
12:00-2:00PM DJ Splice AV
Shack, and Promo bring you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain
trip, focusing on anything with
3:30-5:00PM Please ke<
the fre
world c
: a good breakfast. Rock on,
Nardwuar and Cleopatra Von
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
Hosted by DJ Noah: techno, but
also some france, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
HEAD 12:00-2:00AM
FILL-IN 2:00-6:00AM
FILL-IN 6:00-8:00AM
12:00PM Studio guests, new
releases, British comedy sketches,
folk music calendar, and ticket
8-9AM: African/World roots.
9AM-12PM: Celtic music and performances.
Vancouver's only true metal show;
local demo tapes, imports and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
CODE BLUE 3:00-5:00PM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
8:00PM Extraordinary political
research guaranteed to make you
think. Originally broadcast on
KFJC (Los Angeles, CA).
SOUL TREE alt. 10:00- 1:00AM
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes
soul music to the nth degree.
(Welcome back Michael!)
PIPEDREAMS alt. 10:00-
THE RED EYE alt. 1:00-4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.-
Guy Smiley
Hardcore dancehall reggae that
quake. Hosted by Sister B.
I       (
I   I    I
dark circus v@wise club; vague demons@sugar refinery; new town
animals, operation makeouKg>the cobalt; the primate 5, the zombie
4, the mirrors, vegetable f@gibsons (seattle); hot hot heat, the instru-
men, disco incognito, the ewoks@anza club; millencolin, sprung
monkey, instant winner@graceland (seattle); short attention span film
wright@gmplpce; denzal sinclaire@jazz cellar; flash bastard, the
backstabbers, filthy rocket@picadilly pub; new forms festival@various
venues (main street); allstar blues revue@yale; bocephus king@arts
club theatre; hinterland@silvertone tavern
girl pride dance@wise club; mike zachernuk with dave sikula@sugar
refinery; old man smithers, public safety, trash brats, ward a@gibsons
(seattle); d.r.i., sworn enemy, positively negative@graceland (seat-
tie); uzume taiko, almost transparent blue, dj aural@firehall arts centre; short attention span film and video festival@blinding light!! jason
mccoy@agrifair (abbotsford); new forms festival@various venues
jp carter@sugar refinery; orchid ensemble@ryerson united church;
air: eating, sleeping, waiting and playing@blinding light!!; icarus
line, all-state champion@picadilly pub; new forms festival@various
venues [main street); brickhouse@yale
HAMM@STARFISH ROOM; american hi-fi, crystal method, tricky,
black halos@plaza of nations; texas flood@yale
skye brooks and masa anzai@sugar refinery; digital hardcore@gib-
sons (seattle); saves fhe day, dashboard confessional, hot rod cir-
cuit@graceland (seattle); squarepusher, plaid@sonar; the guess who,
joe cocker@pacific coliseum, so/esman@blinding light!!; luther wright
and the wrongs@starfish; leslie harris@yale
ROOM; dougie maclean@wise club; k koncept@sugar refinery;
sa/esman@blinding light!!; young guns@yale
to all the peeps we've loved before@wise club; goodnight street-
light@sugar refinery; toots and the maytals, tropical breeze
band@commodore; throat mottle, carnival of 8, medula pinata@gib-
sons (seattle); boognish rising (ween tribute band)@ms. t's cabaret;
the time trave//ers@blinding light!!; cowboy junkies@port theatre
fess@blinding light!!; brickhouse@yale
MON 13
i   mudder   accordion@sugar   refinery;    the   beaut;
tantrums@gibsons (seattle); kirn cascone, brian alle
nite@blinding light!!;
io); i
aid@yale; slow
s actio
FRI 10
against prisons featuring loud, ani kyd, tiyoweh, manik and osl2,
jen paches@wise club; beans 48-hour show@sugar refinery; cowboy junkies@commodore, benefit for eat the state feat, the pinkos,
mea culpa, august spies@gibsons (seattle); c.o.c.o., plastiq phantom, diagram of suburban chaos, aspects of physics@i-spy (seattle);
gipsy kings@plaza of nations; khac chi ensemble@dr. sun yat sen
classical chinese garden (578 carrall); rhiannon@norman rothstein
theatre; blinding light 3rd birthday party@blinding light!!; wailin' al
SAT 11
ember swift@wise club; beans 48-hour show@sugar refinery; byron
lee and the dragonaires@commodore; high beams, kill the hippies,
7 letter alphabet@gibsons (seattle); askmasters, donkey engine,
bystander@ms. t's cabaret; under the volcano political prisoners and
resistance night@blinding light!!; spitfires, felchers, cock
rockets@picadilly; wailin' al walker@yale; dirtmitts, mazinaw@sil-
SUN 12
beans 48-hour show@sugar refinery; under the volcano festival of art
and social change featuring dj kuttin kandi, tribal wizdom, chief
leonard george and children of takaya, the dickel brothers, swarm,
swollen members, cirque de toilet, subsistencia, and much much
V">*P~~>~'s r-'k (north van); the strokes@starfish room; i con-
26 AUGUST 2001
?i-spy [!
le); t
9 gal-
skye brooks and masa anzai@sugar refinery; digital hardcore@gib-
sons (seattle); pranks!  (part one)@blinding light!!; jason buie@yale
WED 15
carnivalesque musical theatre festival@sugar refinery; pranks!  (part
two)@blinding light!!; nigel mack@yale
reggae dance@wise club; carnivalesque musical theatre festival@sugar
refinery;  mannafest featuring rha godess,  rich  medina, vanessa
richards, tanya evanson, wade compton, kia kadiri@sonar; chief,
smokin' halos, nervous tics@gibsons (seattle); journey to the centre of
f/me@blinding light!!; tricky woo, bionic@starfish room; deke dikerson
and his eccophonics@marine club; yvr@yale
FRI 17
carnivalesque musical theatre festival@sugar refinery; the load levellers,
the octabites, otha@gibsons (seattle); plaster caster: a cockumen-
fary@blinding light!!; soulstream@yale; star collector@silvertone tavern; kataklysm@starfish room
SAT 18
susana's salsa party@wise club; jazzmatic@sugar refinery; facefest
2001 benefit@grandview legion; millhous, flamethrower, gun
crazy@gibsons (seattle); citizen fish, shitlisr@graceland (seattle); edge-
festOlhunderbird stadium; fhe moody blues@queen elizabeth theatre;
plaster caster: a coc/cumenfary@blinding light!!; soulstream@yale
SUN 19
unrefined@sugar refinery; eric's trip, projektor@sfarfish room; plaster
caster: a cocfcumenfary@blinding light!!; brickhouse@yale
MON 20
e sancho@sugar refinery; disengage, sludgeplow, argonaut
ns (seattle); dilute@brickyard; texas flood@yale; northern pike:
id adam@pne
skye brooks and masa anzai@sugar refinery; living legends, mystik
journeymen and more@richard's; digital hardcore@gibsons (seattle);
pranks! (part two)@blinding light!!; vp and the hammerheads@yale;
danny michel@railway club
WED 22
girl nobody@sugar refinery; black umfolosi@shaughnessy heights united church (1550 w 33rd); pranks! (part two)@blinding light!!
tim lawson band@wise club; resin with spygirl@sugar refinery; lonesome teardrops, squares elife@gibsons (seattle); heavy metal parking
lot    15th    anniversary    compendium@blinding    light!!;    siegel-
schwall@yale; david gogo@pne forum; painting daisies@silvertone tavern; nigel richards, jay tripwire@sonar
FRI 24
orquesta goma dura@wise club; beefy treats@sugar refinery; the briefs,
the rc5, the expoxies@gibsons (seattle); conflict, against all authority,
fartz, resist and exist@graceland (seattle); maceo parker@commodore;
heavy metal parking lot 15th anniversary compendium@blinding
light!!; powder blues@yale; chin injeti@pne
SAT 25
colorifics@sugar refinery; lost sounds,  10-4 back door, the girls@gib-
sons (seattle); heavy metal parking lot 1 5th anniversary compendi-
um@blinding light!!; powder blues@yale; bocephus king, split lip
rayfield@railway club
SUN 26
NORTHOSTARFISH  ROOM;   lush  life jazz trio@wise club; jp
carter@sugar refinery; heavy metal parking lot 1 5th anniversary com-
pendium@blinding light!!; brickhouse@yale
MON 27
jason michas@sugar refinery; texas flood@yale
skye brooks and masa anzai@sugar refinery; digital hardcore@gib-
sons (seattle); chicago new works@blinding light!!; downchild blues
WED 29
amy's rocks@sugar refinery; bikesummer
dr. z and the md's@yale
reggae dance@wise club; dorothy@sugar refinery; mint records' J 0th
birthday bash feat, neko case and her boyfriends, the corn sisters,
carolyn mark and her roommates, and tennessee twin@richard's on
richard's; andrew ross collins@element sound lounge (801 georgia);
sasshole, short fuse, third rail delivery@gibsons (seattle); cineworks
presents@blinding light!!; chebon tiger band@yale
FRI 31
mint records' 1 0th anniversary bash featuring the new pornographers,
the smugglers, evaporators,  i am spoonbender,  new town ani-
Special Events
Every year since time immemorial, DiSCORDER has
devoted its September issue to an in-depth, impartial,
and exquisitely edited overview of all things exciting and
musical in the Vancouver area. There'll be the Local
Music Directory (send in your listings by filling out our
form on p. 27), there'll be interviews galore, and there'll
be a general sense of local camaraderie and togetherness that you just can't get from any other Vancouver
publication. If you have story ideas, artwork, or just want
to help out, contact Lyndsay at 604.822.3017 ext. 3 or
It's sponsored by the new, raver-identified Eatons, which
is kind of weird, but a billion local artists, authors, musicians, and DJs are being given the opportunity to do
their thing at various Main Street venues, August 3-5.
Wristbands for the whole shebang are $20 at Futuristic
Flavour, Bassix, Boomtown, Plastic Robot, Concrete, and
FWUH. Check out www.capitalmag.com or call
604.710.5383 for information.
August 4th, Saturday, CiTR 101.9fM presents our annual day of proud programming: Loud and Queer. Tune in
for arts, entertainment, music, news, politics and partying.
Wow, 12th annual? That's insane. Art and social change
on the North Shore, part 12. Scheduled performers
include Swarm, Red Hip Hop featuring Tribal Wizdom,
Manik & Chilli and Osl2, Dickel Brothers, Swollen
Members, Kuttin Kandi, Jerk with a Bomb, tons of speakers, spoken word artists, booths, merch and revolutionary thought. Cates Park, August 12, all day, rain or
shine. Call 682.3269 (box 6903} for information. And
check out fhe Under the Volcano film night at the Blinding
Light!! on August 11 from 7-1 1 pm. • COMMUNITY-
Join hands, friends. Electronic knob twiddling fingers, link digits with duelling metal guitarists and emo crooners.
Experimentalists and goths, singer/songwriters, hip hop
heads, all ages kidz and wiener dogs unite. We here at
DISCORDER wanna help build a big old list of bands, promoters, organizations, kids, groups, musicians, venues, art rockers, etc. for the Vancouver community. So dig yer heels into
this one, dawg. Fill this thing out, email, snail mail or fax it
our way and you will be listed in our giant, special keeper pull-
out, The Local Music Directory, in our September issue.
Deadline for entries is August 15. Totally awesome.
you are a (Check one):
DESCRIPTION (15 words or less):.
Mail/fax to #233-6138 SUB BLVD., Vancouver, BC, V6T 1Z1.
Fax number (604) 822-9364. Email:
discorder@club.ams.ubc.ca. Rock on Vancouver!!
Yes, despite a striking population and a No-Fun
City Tolicy (TIM), Shindig 2001 is about to get
underway! So that means send us yer minimum
three song demo with contact information by
September 15th at the very, very, very latest to:
# 233-6138 SUB Blvd.
Vancouver, BC V6T 1Z1
Questions? Tobias 822-1242
SHINDIG! runs every Tuesday at the Railway
Club, starting September 11th and sprinting hard
to the marathon finals on December 5th.
'Iff Columbia
.„\$U HIVE
Cafe    AVOElE
#.) stomal* mmm,
Voqville Recordings
Beautiful Afterbum CD
I believe it was 40 years ago that Leo Fender first experimented with a 3 spring 'reverb tank'. The results were
stunning. Suddenly the electric guitar shimmered like the
reflection of a cold moon over an enchanted lagoon. Local
music noir players, COAL, are well steeped in the reverberations of this historic experimentation. Specializing in dark
moody songs that spook the same woods as Mazzy Star,
the bizzaro world of Chris fesak, and most certainly the
denizens of the Tart Gallery walls!
CD 14.98
I David Axelrod
lead vocalist whose ego is a spiral staircase with stops at
the various floors of destruction. No, word on the street has
it that the 70's arrangers and composers also dabbled in the
theatrics of excessive madness, thus channeling their creative passions into some ballsy scores! Enter DAVID
AXELROD...aka the Axe! What we have here is some vintage 1969 bed-tracks, which needless to say ooze with
steamy sensuality, at last getting the finishing
touches.. .after some coaxing from long time admirers DJ
Shadow and James Lavelle! This is ripe - Further proof
that genius is a helix double bound with chaos!
CD 16.98    2LP 26.98
Ancient Melodies
BUILT TO SPILL fans, you
have cause to rejoice.
Unfamiliar listeners, we suggest [ i t-1 -. s'
that you enlighten yourselves to
the joy of sound that is DUILT TO SPILL. After a teaser of a
live album last year, Doug Martsch and team players return
to brighten our lives with stories and sounds enchanting on
a myriad of levels. Never content to offer what is expected,
the band marches on to new territory, sounding an alarm
call to those who thought that cleverly-crafted pop songs
were old hat - BUILT TO SPILL have the skill to lead a new
generation of top-40 children to the indie side!
CD 16.98
HIM New Features CD/LP
DE FACTO Megaton Shotblast 2LP/CD
DEVOLVER The Pilot's Inside His Mind CD
ERIC'S TRIP The Eric's Trip Show CD
TWO LONE SWORDSMEN Further Reminders
NO LUCK CLUB Happiness CD/2LP local beats on 75
Ark - out August 7th.
August 7th.
Someday My
Blues Will
Cover the Earth
Ever the innovators, cult favourites HIS NAME IS
ALIVE arrive back on our scene with an excursion
in R&B. Go figure. Never predictable, always engaging, this album provides the perfect excuse to sit
back and do absolutely nothing for the better part of
an afternoon. How else is one to soak up the subtleties of such a finely-produced gem? Enjoy.
CD 16.98
Check my freestyle: D-
Tron, running recon -
without an MC, send up a
flare, an APB, 'who you
think I am?' first name Kool, last name Keith, million
dollar yacht - stuck up on a reef, here I come to the
rescue, Travis Bickle Robbie D. Niro, Deltron three
zero... you get the picture. Kid Koala handles the
decks, Dan the Automator handles the producing.
The new dope for alia yous to freestyle along to as
you're cruisin' the hot summer streets.
CD 16.98        LP 16.98
Vocal Studies &
Under the name Prefuse
73, Scott Herren (Savath & Savalas) produces a
very listener-friendly hybrid of hip-hop and downtempo electronica. Guest input from star names as diverse
as Sam Prekop, Aesop Rock and MF Doom has created quite a buzz around this album. If you're looking for
some seriously advanced dinner-party beats, you
won't be disappointed. Be the first household on your
block to own one. You'll make your smart-Alec neighbors crazy jealous!
CD 16.98      2LP 19.98
The trip to Sussex would have been nice. A weekend hanging out in the country with Tortoise and
their hand picked selection of bands. A wee snifter of
cognac - the post rock drink of choice - before retiring to the cabin that was included in the ticket price.
A sporting good time, you still remember a momento
for your friends back home: a smashing comp featuring exclusive tracks from: Autechre, Boards of
Canada, Broadcast, Calexico, Cannibal Ox featuring
El-P, Mike Ladd, The Sea and Cake, Tortoise and Yo
CD 19 98 A"prices in effect
until August 31, 2001
Mint Records 10th Anniversary! The home of the New
Pornographers, Neko Case, the Smugglers and myriad others celebrates its 10th birthday with a 2-nite bash: Thursday August 30 @ Richard's
on Richards with Neko Case, Corn Sisters, Carolyn Mark, and Tennessee
Twin; and Friday August 31 @ the Commodore with the New Pornographers,
The Smugglers, I Am Spoonbender, The Evaporators, Duotang and New
Town Animals. Special 2-nite combo tickets are available here at Zulu that
come with a coupon for a free copy of the TEAM MINT VOLUME TWO Mint
Records CD sampler, plus 20% OFF any instock Mint titles at Zulu!
The title is an Eric B and Rakim |
reference. It comes to you
courtesy of Battle Axe records. So |
you know what this is: straight
up, uncut, stone-cold Van City-style hip-hop. It features 18
hard-hitting tracks from the likes of Moka Only, LMNO, Buc
Fifty, Mr. Brady and, of course, Swollen Members, plus
five production credits for The Alchemist (Nas, Mobb
Deep, Cypress Hill). The empire goes from strength to
strength. Come run amongst them and conquer someone.
CD 19.98      LP 19.98
second compilation of intelligei
Californian hip-hop from the No
Mayo organization! Designed to support music education in
urban public school, this pure positivity disc contains all-
exclusive tracks from Skool Yard featuring Planet Asia,
Rasco, Anticon, Encore of Executive Lounge, Pep Love,
Zion 1, DJ Vinroc of Triple Threat DJ's, Live Human and
more. Sharp beats.
CD 19.98 LP 19.98
The addition of a computer at the back of detention hall
has had startling effects upon the population of first
world nations - every "badass" with time to kill now has the
opportunity to get up to terrifying amounts of digital mayhem! Posterboy Kid606 has rounded up a gang of like-minded computer-code shit disturbers, and, in celebration of the
success of his Tigerbeat6 label, is offering up an immense
collection (44 tracks!) of what the posse's up to these days.
Not only do you get label regulars Cex and bLectum from
bLechdom, you also get a chance to check out gems by foreigners like Dat Politics, Jean Bach, and Noriko Tujiko (a
current staff favourite)! This is the new wild style.
2CD 20.98
Zulu's Labour Day Weekend Plans:
ln-store Action!
In-Store: Friday August 31st 5:00 PM
This rouge duo has been coaxed out of the highlands to
deliver some of their 'The Old Noise' tunes. Certainly one
of the more exciting local outfits, J.W.A.B. are the stripped
down essentials - songs versed in the spectrum of hushed
misfortune. Come out.
In-Store: Sunday September 2nd 5:00 PM
To complement their Mint showcase, I Am Spoonbender
come down to the shack as their tele-ambient alter ego"
and in Eno-esque fashion invent some dreamy Music for
Stop by to check what condition your cognition
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alia t&e. ^ulu Sateticte St&ie — S&t/b 6y fin a
tuna  tit Auyttet ?SU
Ttext Sfoev (ofiettt, /4cccfuat ?%*):
t-lt *u*t4- 'til Sefite*td&i 12*


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