THAT NINE LIVES MAGAZINE FROM QlQQ 161.9FM 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 * monaays: 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 jazz. ujeanesaays: manual (starting august) 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~ monoay: 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!) I tssabbobbsli 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 layout: Matt, Lyndsay, Pax photography and illustrations: Jay Douillard, Ben Lai Scott Malin, Zac Pennington, Ellinda Siu, Toby Van Veen, Barb Yamazaki production: 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 charts: Luke Meat datebook: Barberific distribution: Matt Steffich us distribution: Lindsay Marsak publisher: 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 shock anthony monday HOME ON THE RANGE LJ Of DiSC 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 , \\^^,:"-I ^fe?A ) iGr^d^TA ^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 press 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 Dim . The contributors (the Vansidian), which include locals like or own CiTR show host Doretta Lau and friends Sarah Lebo, 4 AUGUST 2001 ml \o\ all (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 place. 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 „,P|XM yoi >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, do ■ two things ith i herry 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 fags. 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/ www.andmoresound.co.uk) My hot pui > of the RED LIGHT STING single. True enough, this single's shaped e larger than il fod- orithel2"s ,lepa 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 vitha 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, MERCURY THE WINGED 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 ontei 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- phonic.com) 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- This bad >nth for records, as I hope a see, and I've only got a <rds 1C c/o -, #233- DiSCORDER Magazin 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 envelope. TO ALL WAVmANpS ON EARTH... !iikl 1 IH H: ik m ^^^^r^l kX&aIl/ H ii a! ^us MPv 1fV>a>aW ^H ^m * WI 1 ~~m -I Z *ww^ UMr ^M L^'jKrW^ Ml WESCALEROS /M <1 i *; m 0liU^w tit ja - a _— www.strummervl11a.som GLOBAL A GO-GO ma /JOE STRUMMER www.JoaBtrumaer.eom www.hall-sat.3om 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. KELLI DEETH 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 the 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 m pi IE GIRL piTHOUT ANYONE* 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 l-up, HARUKI MURAKAMI 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 >fSumire(whoi 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< when 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 DISPATCHES FROM DANCING ON THE EDGE RADIX Bewildered 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 alone theii 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- pois ed 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 ted The ;uules u.btn >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 EDGE 8 Sunday, July 8 Firehall Arts Centre assembled thematically. Not this one, though. The three that the 45 in And; as on interesting sensation. First came Porridge Flick by Yes, that Andy plav ird. 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 ■ellei domesticated 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. In.I 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 both 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 Eric on DiSCORDER's behalf: YOU GUYS ROCK THE SWANS! 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 b-side. 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. • c 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 THE BELLY IN THE BARN, THE OLD MAN SAID SHE WOULDN'T DO ANY HARM, SHE KICKED SHE TORE SHE PEED ON THE FLOOR, SHE RUBBED HER BUM ON A TWO BY FOUR...." 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 xpiTI •nted v /ery 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 Shit. 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- little •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 shit. 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, sampled by the Beat- uts such as "Boo mp Boomp Chop?" Personally, I'd ther com e across that record on my o A nd voi go to Jap. n it's the same shit. n the ecord sto es "Beatnuts," vvhatevt r. Tyre ne Davis In the Mood" >r somethii g. Th. t's crazv i nan, but that's i on this a bum .ve made sure we were hehea d with so me crazy shit. at's almost impos >ible to find. I had people askin' mt what was name s of shit and I look for th tslut. 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 rbliii n.lu v radio. We whatev- like, "Yeah t a little cipher oi like, "What up, whatever? oblm e that m me up. a go v e that ,i I Mm up. Try of 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 Tittie Titt ■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 mles n got Up What do you think of n 10 AUGUST 2001 utile shit. 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 shit. 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 MSM hmB 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 ffip®[pte OGoofflfc W® Bfflgfe [ffl®[iD®jy0 w® Goaw@ mmng9 sri p@ft teams® o ©noiil mp ®nn ftw a map™© ®(? fo@@ain§@ \?\n\ (ftotag 0®oolt@ te^/ ftRoofflfc o g®ft Lift oMXik Lf (H Life ft® Llaoog Go noo teoL? fta@® toaoos® §®[u]®ta@@ tog/ wsimf, ft® fe® ora® ®\? ft® DSw® \E$ Doffed 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 together? 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 ban 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 expert nental 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 inglc. , 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 t'til the 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 Perspective. 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. [Laughs], 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 Formerly... aking fun of that and we thought we'll just keeping changing the name so it will be "Formerly Formerly... 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 anyways." 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 anyways. The last album had a nature theme to it. With sounds of birds chirping and song titles like "The Animals" and "Driftwood." 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 something. You nd Eleva, AND CINEMUERTE FILM REVIEWS. BY L.SUNG AND H.TERMITE 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 Uh g'ggli", . 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 genre. 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 difference? 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 havt 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 For ng peo] zing, i n them be 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 you? 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 thing. 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 in;; 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. 15 EtfelSRSE 59 TIMES THE PAIN 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 BELLE AND SEBASTIAN Sing...Jonathan David (Matador/Jeepster) Sometimes I get the impressii that Belle and Sebastian an Ph past. 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 cLOUDDEAD? 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 AMERICAN STEEL fugged thoughts (Lookout!) 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 CLOUDDEAD cLOUDDEAD (Big Dada) ics really can't thint ich, thi; Kit repri nt a the late angst inpt- 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 FENNESZ Endless Summer (Mego) 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 tius light, 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 purpo hearing Christian Fennesz's third solo full-length, Endless thai ■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 But ? that cLOUDEAD appears as a truly remarkable record born from a deep understanding of hip hop's inner workings and a des- iting. 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 toi len 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 DAVID FISCHOFF 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 FLIPPER Blow'n Chunks (ROIR) 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. GHOSTS AND VODKA 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 while 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 Winnipeg of 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 THE RONDELLES 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 HOLLY GOLIGHTLY 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 Experimental) 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 LESJARDINIERS Moon Patrol (Haute Couture) Montreal's Les Jardii set to push aside fellow camp •xperi en talis off o .lightl like 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 THE NEW TOWN ANIMALS 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 SCAPEGOAT WAX Okeeblow (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 SIANSPHERIC The Sound of the Color of the Sun (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 bashedly recreating a music that's "good 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 mething, 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 SISTER SPIT'S RAMBLIN' ROAD SHOW 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 SQUAREPUSHER Go Plastic (Warp) 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 lates it and o plex speed-screeches and analogue squelches, adding that monkeys-fixing-cars-on-acid-in- 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 TRACY + THE PLASTICS Muscler's Guide To Videonics (Chainsaw) 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 + The 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 laza ivertoi 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. V/A 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- Mtl, your 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- -shatti 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 ickhn popping, f Madonna vill have to chart ne Of flight, read V/A 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. V/A Little Darla Has A Treat For You, v. 17 (Darla) 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 DRUNK HORSE Thursday, June 21 Graceland, Seattle "The solitary aim of the C4AM95, put lull.n, ush, 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 SMOG AND THE SADIES AT THE STARFISH ROOM. BY BARB YAMAZAK! 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 GILLES PETERSON CINEMATIC ORCHESTRA 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 npos danci 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, 8. 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- SMOG THE SADIES DAMIENJURADO 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. ,keoi 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 eqim li the Of the Beach 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 RICHIE HAWTIN DJ BRIAN 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 mine 'hich would •en pit singer. 1 wa ered betv ied to thin udo kol heard t lgs to lat Dix e^sDeath' er, 1 had sou id prol lems and ci utd- n't hear set. Ace membe ore! ing to Christa he band heir the playing their la differe ne. So cklustt that expla r performs the ned Xiu Xiu, a foursome from San Jose , took the stage sh artly Hopefully -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 tobi 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 THE BEANS XIU XIU DIXIE'S DEATH POOL 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 olio's Cinde phing fro place was pie were Beans. I sr pie of tim rich, I v ?. Part o ed; (h object 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 AIR SEBASTIENTELLIER 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 Italia 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 und. 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. Ofcc e had te alktt . 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 FUGAZI Wednesday, July 5 Stageworks, Kelowna FROG EYES 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 CHIN 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 CEX STARS WITH EYES 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 KID 606 AT SONAR. PHOTO BY TOBIAS 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 back." In a nutshell. tobias v & j Wijit LUCINDA WILLIAMS JIM LAUDERDALE 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 REVEREND HORTON HEAT BARE, JR. 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 ... THE REVEREND HORTON HEAT." 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 He 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 gui wed h fingers ode the g tar like a demon motorbike. They were dudes from Corpus Christi, Texas where they brand cattle, l egg- breakfast and smoke cigarettes and chew tobacco and mount guns on their pickup truck and nition 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 night. lonah ADDNTO(X) RADIO BERLIN 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 VIDEO IN STUDIOS we offer technical training m video, audio and new media production and post production including: final cut pro avid xpress protools digital audio editing / sound design camera, lights and sound aftereffects flash photoshop we also have a 2000 sq. ft. studio available for rental for production purposes, screenings and audio and music events, for more information contact Tricia Middleton at 872.8337 hours of operation: 11 am to 6 pm Monday to Saturday videoin@telus. net www.videoinstudios ® 21 E^gSS®! UrWr7y - 90'Q»rl ■ ^-€b> I VV\f i>ior\c\Vfci>rd M)urir^tnpA l^o\5-<!NLOorMV\»0 ffmg»T\ v\di? Ay (fg) resin -M MT)^e c4&f t"Tc£, . - .;\aonc>i ^ o^rrt\ft?\/? i o^o <xvAys r#te JS c\c?ro"t"Vi y +Vc? (pj4<vTve1V A.0GU " joV\fM\>y S'wiiixc riAh rAS<\\Us/>n -?o'6^r | r\«£ ^<wf frndk klCK. ^A? 0UJ7rr]£ a pedes' ^^ f&VUMW Ml FRIDAY, AUG. 31 MINT RECORDS/f^ 10th ANNIVERSARY \\%£<£ COMMODORE BALLROOM The New Pornographers The Smugglers I Am Spoonbender Duotang The Evaporators The New Town Animals 9pm $fSAM. WWW.MWT6ECS.COM • WWW.H0e.CA SATURDAY, SEPT. I THE RIDGE THEATRE 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. ,**,*»«*«, RIDGE BOWL 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! 16TH & ARBUTUS Ph 738-6311 M lllfl.lt SUNDAY, SEPT. 2 PURPLE ONION CABARET mm Join DJ'S ALAN and SHERRIFF FATMAN in 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 mum "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 Warp Sonic Unyon Zum Media Island Matlock Emperor Norton Mint Mint Go Plastic SAT- Crane Wars Essence Tonight... Beautiful 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 Blowback Land of the Free? Dogz2 Letters From Frank WXBD Volcanic Dub Kindercore Independent Hollywood Epitaph I groove Top Quality Grand Royal M Records August Short Vinyl Indie Home Jobs 1 New Town Animals Lose That Girl Mint 1 MC Potbelly Horizontal 2 The Evaporators Honk the Horn Nardwuar 2 Pet Fairies Boner For Betty 3 Red Hot Lovers 4 Lost Sounds 5 Tijuana Bibles 6 Les Sexareenos S/T 1+1=Nothing Mexican Courage Ruby D Redline Empty Trophy Telstar 3 4 5 6 7 Six Block Radius Solasis Xeroxed Brother Red Hot Lovers Kill to Hide Latest Thing Digiworld Fragmented Fuck or Fight 7 The Pattern Feverish GSL B Joel Heartx50' Woman 8 Planet Smashers 9 Heart Beats Red 10 Electric Frankenstein Inflate to 45RPM 911 The Perfect Crime Jump Start Scaredycat Sub Pop 9 10 11 Garnet Sweatshirt Victorian Pork The Switch Girl Nobody A Girl Named Sue American Woman I Just Wanna Beer Las Vegas Laser Child Alone 11 The Pinkos To My Valentine Empty 13 Odd 12AndyVotel Girl on a Go-ped Twisted Nerve 14 Closer Than Kin Stand Up 13 Gapers Delay 14 Sunset Valley Pretty Song Parade on my Rain Proshop Sea Level 15 16 17 18 19 Nice Green Cone The Lollies Coupon 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 Telstar Skull What's For Dinner S/T 17 Moonbabies Air Moon Stereo EP Duckweed 20 The Metrics Sand Crawler 18 Hot Dog City Citiwoman Proshop 19 Lucky Motors The Package... Ojet 20 Guided By Voices Chasing Heather Crazy TVT f HOW THE CHARTS WORK ") 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 ARE YOU SERIOUS? MUSIC 9:00AM-12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00- 3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00-5:00PM Real-cowshit- caught-in-yer-boots country. CHIPS WITH EVERYTHING alt. 5:00-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00- 6:00PM International pop (Japanese, French, Swedish, British, US, etc.], '60s soundtracks and lounge. Book your jet set holiday now! 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. HELLO GEETANJALI 8:00- 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. SALARIO MINIMO 6:00- 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 LOUD, FAST, AND AGING RAPIDLY alt. 11:00- 1:00PM GIRLFOOD alt. 11:00-l :00PM PARTS UNKNOWN 1:00- 3:00PM Underground pop for the minuses with the occasional interview with your host Chris. STAND AND BE CUNTED alt. 3:00-4:00PM 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- 4:00PM 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 grave. WENER'S BARBEQUE 5:00- 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 Nature." Movii 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 elec I 7"s VENGEANCE IS MINE 12:00- 3:00AM Hosted by Trevor. It's punk rock, baby! Gone from the charts but not from our hearts—thank fucking Christ. PSYCHEDELIC AIRWAVES 3:00-6:30AM demo here and there. Go figure. THE JAZZ SHOW 9:00PM- 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 Tow Hall .ring "The 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 Henderson. PACIFIC PICKIN' 6:30-8:00AM Blueg !, old-tir :, and it: rthur and "Ths Lovely Andrea" Berman. WORLD HEAT 8:00-9:30AM THIRD TIME'S THE CHARM 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! <3rdxcharm@home.com> BLUE MONDAY alt. 11:30AM- 1:00PM Vancouver's only industrial-electronic-retro-goth program. Music to schtomp to, hosted by Coreen.lWe miss you Coreen!) ELECTROMAGNETIC PULSES alt. 11:30AM-1:00PM PARTICLE 1:00-2:00PM Incorporated into the soul are of digital sound. Sunday Monday Tuesday Wednesday Thursday Friday Saturday I Wol SALARIO MINIMOl [Rg] REGGAE LINKUP ARE YOU SERIOUS? MUSIC ROCKERS SHOW BLOOD ON THE L SADDLE QUEER FM m HELLO GEETANJALI "H FILL-IN BREAKFAST L~l WITH THE BROWNS Po LOUDj FAST, AND AGING RAPIDLY PARTS 13 UNKNOWN IDf^T] f EVIL VS. GOOD M REELS TO REAL BY THE WAY m THE JAZZ SHOW VENGEANCE IS MINE! PSYCHEDELIC AIRWAVES Cf= conscio • Hk= Hans Kloss • Jz= jaz I 24 AUGUST 2001 PACIFIC PICKIN' THIRD TIMES THE CHARM Ul^ BLUE r-J-n ELECTRO w^kir.»JGi MAGNETIC MONDAYl4_l pulses CPR PLANET LOVETRON 10,000 VOICES (Tk) H FLEX YOUR HEAD VENUS- FLYTRAP soulI— SONIC WANDERLUST AURAL TENTACLES IE] SUBURBAN JUNGLE FOOL'S PARADISE L! THE NORTHERN WISH ANOIZE [____ THE SHAKE ET RADIO FREE PRESS \1 -g MOTORDADDY m RACHEL'S SONG STRAIGHT OUTTA L^_ JALLUNDHAR HANS KLOSS' MISERY HOUR FIRST FLOOR SOUND SYSTEM FIRST FLOOR SOUND S"i m END OF THE WORLD NEWS m THE ANTIDOTE m CANADIAN \E\ LUNCH 13 RHYMES & REASONS OUT FOR KICKS ON AIR E| WITH GREASED HAIR LIVE FROM... L~ THUNDERBIRD HELL HIGHBRED VOICES PLUTONIAN NIGHTS SHADOW AT ' DAWN CAUGHT IN THE RED SKA-T'S SCENIC DRIVE s THESE ARE THE BREAKS | Uh I LEO RAMIREZ SHO^ Rts ivVH NARDWUAR PRESENTS NOOZE & ARTS (Tk) FAREASTSIDE SOUNDS AFRICAN RYTHMS BREAKING \l WAVES IN YOUR HEAD Ttej THE SATURDAY EDGE SOULSISTAH RADIOL! POWERCHORD CODE BLUE [Rts RADIO FREE AMERICA SYNAPTIC SANDWICH SOUL TREE PIPE DREAMS REGGAE LINKUP 13 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. .vshrui 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... PLANET LOVETRON 3:30- 5:00PM 10,000 VOICES 5:00-6:00PM Poetry, spoken word, prefor- FLEX YOUR HEAD 6:00- 8:00PM Hardcore and punk 1989. ANNABOUBOULA (formerly Radio Ellenikathiko) 8:00- 9:00PM Greek radio. www.angelfire.com/atr/annobou <annabouboula@angelfire.com> A WALK ABOUT THE WORLD 9:00- 10:00PM VENUS FLYTRAP'S LOVE DEN alt. 10:00PM-12:00AM <loveden@hotmail.com> SOULSONIC WANDERLUST alt. 10:00PM-12:00AM Phat platter, slim chatter. AURAL TENTACLES 12:00- 6:00AM Ambient, ethnic, funk, pop, dance, punk, electronic, and unusual rock. WEDNESDAY THE ELECTROLUX JAM BAND HOUR 6:00-7:00AM THE SUBURBAN JUNGLE 7:00- 9:00AM Bringing you an entertaining and eclectic mix of new and old music live from the Jungle Room with your irreverent hosts Jack Velvet and Nick The Greek. R&B, disco, techno, soundtracks, Americana, Latin jazz, news, and gossip. A real gem! <suburbanjungle@channel88.com> FOOL'S PARADISE 9:00- 10:00AM Japanese music and talk. THE NORTHERN WISH 10:00AM-12:00PM Spike spins Canadian tunes accompanied by spotlights on local artists. ANOIZE 12:00-1:00PM Luke Meat irritates and educates through musical deconstruction. Recommended for the strong. THE SHAKE 1:00-2:00PM The manatee is my spirit animal. Me RADIO FREE PRESS 2:00- 3:00PM Zines are dead! Long live the zine show! Bleek presents the underground press with articles from zines from around the world. MOTORDADDY 3:00-5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat." RACHEL'S SONG 5:00-6:30PM Socio-political, environmentally activist news and spoken word <rachelssong@lycos.com> 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 Workshop." POP GOES THE WEASEL 6307-30PM AND SOMETIMES WHY alt. 7:30-9:00PM sleater-kinney, low, sushi... these are a few of our fave-oh-writ things. (First Wednesday of every month.) REPLICA REJECT alt. 7:30- 9:00PM Indie, new wave, punk, noise, and other. FOLK OASIS 9:00- 10:30PM Roots music for folkies and non- bluegrass, singer-song- Drldbec ragel cfolkoasis STRAIGHT OUTTA JALLUND- HAR 10:30PM-12:00AM Let DJs Jindwa and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay." HANS KLOSS' MISERY HOUR 12:00-3:00AM Mix of most depressing, unheard and unlis- tenable melodies, tunes and voices. FIRST FLOOR SOUND SYSTEM 3:00-6:30AM THURSDAY FILL-IN 6:30-8:00AM END OF THE WORLD NEWS 8:00-10:00AM THE CUTE N' CUDDLY SHOW 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). CANADIAN LUNCH 11:30AM- 1:00PM From Tofino to Gander, Baffin Island to Portage La Prairie. The all-Canadian soundtrack for your midday snack! STEVE AND MIKE 1:00- 2:00PM Crashing the boy's club in the pit. Hard and fast, heavy and slow. Listen to it, baby (hardcore). THE ONOMATOPOEIA SHOW 2:00-3:00PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:00- 5:00PM Back in full effect, Jan-9 and DJ Hedspin. LEGALLY HIP alt. 5:00-6:00PM PEDAL REVOLUTIONARY alt. 5:00-6:00PM Viva la Velorution! DJ Helmet Hair and Chainbreaker Jane give you all the bike news and views you need and even cruise around while doing it! http://www.sus- tainability.com/dinos/radio OUT FOR KICKS 6:00-7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn right we have fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30-9:00PM The best in roots rock 'n' roll and rhythm and blues from 1942-1962 with your snap- pily-attired host Gary Olsen. <ripitup55@aol.com> LIVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local muzak from 9. Live bandz from 10-11. HIGHBRED VOICES 11:00PM- 1:00AM PLUTONIAN NIGHTS 1:00- 6:00AM Loops, layers, and oddities. Naked phone staff. Resident haitchc with guest DJs and performers. http://plutonia.org FRIDAYS SHADOW AT DAWN 6:00- 8:00AM With DJ Goulash. CAUGHT IN THE RED 8:00- 10:00AM Trawling the trash heap of over 50 years worth of real rock V roll debris. SKAT'S SCENE-IK DRIVE! 10:00AM-12:00PM Email requests to <djskaJ@hot- THESE ARE THE BREAKS 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 breakbeats. THE LEO RAMIREZ SHOW 2:00- 3:30PM NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-5:00PM Please ke< Kick aroun d the fre world c : a good breakfast. Rock on, Nardwuar and Cleopatra Von Flufflestein. NOOZE AND ARTS 5:00- 6:00PM FAR EAST SIDE SOUNDS alt. 6:00-9:00PM AFRICAN RHYTHMS alt. 6:00- 9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa, and African music from around fhew rid. HOMEBASS 9:00PM-12:00AM Hosted by DJ Noah: techno, but also some france, acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more. BREAKING WAVES IN YOUR HEAD 12:00-2:00AM SATURDAY FILL-IN 2:00-6:00AM FILL-IN 6:00-8:00AM THE SATURDAY EDGE 8:00AM- 12:00PM Studio guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways. 8-9AM: African/World roots. 9AM-12PM: Celtic music and performances. SOULSISTAH RADIO 12:00- 1:00PM POWERCHORD 1:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattlehead, Dwain, and Metal Ron do the damage. CODE BLUE 3:00-5:00PM From backwoods delta low-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy, and Paul. ELECTROLUX JAM BAND HOUR 5:00-6:00PM RADIO FREE AMERICA 6:00- 8:00PM Extraordinary political research guaranteed to make you think. Originally broadcast on KFJC (Los Angeles, CA). SOUL TREE alt. 10:00- 1:00AM From doo-wop to hip hop, from the electric to the eclectic, host Michael Ingram goes beyond the call of gospel and takes soul music to the nth degree. (Welcome back Michael!) PIPEDREAMS alt. 10:00- 1:00AM 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 REGGAE LINKUP 4:30-9:00AM Hardcore dancehall reggae that >chondria quake. Hosted by Sister B. www.citr.ca I ( I I I 25 H#?§25KEa SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE SEPTEMBER (LOCAL MUSIC!) ISSUE, THE DEADLINE IS AUGUST 28. FAX LISTINGS IN TO 604.822.9364 OR EMAIL <DISCORDER@CLUB.AMS.UBC.CA> FRI AUG 3 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 SAT 4 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 SUN 5 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 MON 6 CiTR PRESENTS PEACHES, TAYLOR SAVVY, CANNED HAMM@STARFISH ROOM; american hi-fi, crystal method, tricky, black halos@plaza of nations; texas flood@yale TUES 7 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 WED 8 CiTR PRESENTS TRISTEZA, BEANS, ATLAS STRATEGIC@STARFISH ROOM; dougie maclean@wise club; k koncept@sugar refinery; sa/esman@blinding light!!; young guns@yale THUR 9 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 CiTR AND STEVE AND MIKE PRESENT "IT'S A PUNK THANG" FEATURING OCEAN3, NUNSTALKER, AND SPECIAL GUESTS, AUTHENTIC CAR CRASH PUNK FROM EAST VAN'S UNDERGROUND DESTROYERS!@ANZA CLUB; rock 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 walker@yale 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 .ale 9 gal- TUES 14 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 THUR 16 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 yve TUES 21 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!! THUR 23 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 CiTR PRESENTS HIM, DAVE PAVEKOVIKS, AND FCS 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 TUES 28 skye brooks and masa anzai@sugar refinery; digital hardcore@gib- sons (seattle); chicago new works@blinding light!!; downchild blues band@yale WED 29 amy's rocks@sugar refinery; bikesummer dr. z and the md's@yale THUR 30 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- mals@commodore Special Events VANCOUVER, VANCOUVER, YOU MAKE ME SO HAPPY. 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 <discorder@club.ams.ubc.ca>. NEW FORMS FESTIVAL 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. LGBT RADIO FREE POINT GREY! 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. UNDER THE VOLCANO 2001 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): JAND/MUSICIAN _REC0RD LABEL/DISTRIBUTOR _MANAGER/AGENT ZINE NAME: .PROMOTER JIVE MUSIC VENUE _STUDIO _OTHER DESCRIPTION (15 words or less):. CONTACT(S):. ADDRESS: _ EMAIL: PHONE: FAX: URL: 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!! evMdto BANDSI MUSICIANS! FLUTE PLAYERSI 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: "SHINDIG IS FOR MEEEEEEEI" c/o CiTR RADIO # 233-6138 SUB Blvd. Vancouver, BC V6T 1Z1 CANUCKLAND 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. THANKS TO OUR SPONSORS! chart 'Iff Columbia (Academy SOW .„\$U HIVE wftw.doliiffbe.coin Cafe AVOElE ayonedrums.com #.) stomal* mmm, );? NEXT PIERCINGS Beatstreet IBLINIURMIGHTIU isgniuiiEiiggai Voqville Recordings MUSHROOM STUDIOS ONE LOCAL SELECTION... COAL 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 DAVID AXELJtOD I David Axelrod CD/2LP 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 BUILT TO SPILL Ancient Melodies CD 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 OTHER NEW RELEASES: 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 THE HEAVY BLINKERS Better Weather CD TWO LONE SWORDSMEN Further Reminders CD/LP POETS OF RHYTHM Discern/Define CD/LP various NUGGETS: LUKE VIBERT'S SELECTION 2LP/CD NO LUCK CLUB Happiness CD/2LP local beats on 75 Ark - out August 7th. ARLING AND CAMERON We are ASC CD/2LP out August 7th. HIS NAME IS ALIVE Someday My Blues Will Cover the Earth CD 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 DELTRON 3030 Instrumentais CD/LP 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 ^3 PREFUSE73 Vocal Studies & Uprock Narratives CD/2LP 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 Various ALL TOMORROW'S PARTIES CD 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 La Tengo! AVAILABLE AUGUST 7 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 STROKES!! TWO INDIE HIP-HOP COMPS.. Various LYRICS OF FURY CD/LP 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 Various FUNKY PRECEDENT VOL. 2 CD/LP PRECEDENT , 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 Various TIGERBEAT6INC2CD 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! JERK WITH A BOMB 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. I AM SPOONBENDER 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 S&atvuty ^•^r-r_-""r-rr^'"7/' -QQQJlBro t869 TVett 4t£~?lve«ue 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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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-08-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2001-08-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2001_08 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 32c42e06-5aaa-45b5-821e-238af5cae6f0 |
DOI | 10.14288/1.0050162 |
AggregatedSourceRepository | CONTENTdm |
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