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HOURS MON-SAT 11AM-7PM SUN 12PM-6PM BUY • SELL • TRADE 3296 Main St. (at 17th) Vancouver 604.876.9233 we carry vinyl... garage + oi! + hip hop + anarco-punk + ska + hardcore + emo + more major/indie labels new & used (we also have CDs & scooter stuff!) TOP $ PAID FOR PUNK VINYL Don't be a wiener!! Check out Ten Foot Pole's brand new album Insider." IN STORES NOW! The record is packed with blustery guitar rhythms and whiplash inducing beats, but it's rooted in simple melodic songcraft, recalling prime Bad Religion (and) early Offspring." -- Amazon.com "If Epitaph's first release of the New Year is any indication of the whole, we are in for a real treat...Definitely buy this album when it comes out, or just bum in hell...You pick." - Our scene sucks Thanks to Pacific Boarder for hosting the "Insider" record release party!! Features Local Drum and Bass St. Etienne hellacopters Hayden Vote Robot/French Paddleboat Coal 10 11 12 13 14 15 'Wis .OLUMNS Vancouver Special Grumpy Old Doof/C^ Demo Derby Interview Hell (is back!) Seven Inch Kinetoscope Printed Matters Staplegun Showdown Under Review On The Dial February Datebook editrix: miko hoffman art director: ken paul ad rep: maren hancock production manager: tristan winch graphic design/layout: kenny, robert horsman, malcom van deist, randal mindell, mitchell parsons production: ann goncalves, christa min, randal m, careyann schaefer, tim stuart, kirsten weisenburger photography & illustrations: nic bragg, jason da silva, ted dave, ann a, christine gfroerer, sean Taw, Caroline mangosing contributors: cody b, Joshua b, lauren b, nic b, chris c, julie c, justin c, mike c, tess d, glenn d'c, david e, greg e, anna f, kiley f, trevor \, andrea g, christine g, steve g, maren h, brian j, anthony k, blaine k, John k, paul k, rob k, sean I, katrina m, randal m, nardwuar, ken p, lindsay p, gabby r, dave t, shane v programme guide: anna friz charts: julie colero datebook: tristan/miko distribution: matt steffich us distribution: tristan discorder on-line: janet publisher: linda scholten Comics Botched Ampallang Good Tasty Comic 6 6 7 H 16 16 17 17 18 20 23 24 26 6 23 Cover Vancouver artist & musician Nic Bragg brings us a cozy cover of fine furnishings. watch for him at a gallery near you! © 'DiSCORDER* 1998 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 17, 500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the March issue is February 1 Oth. Ad space is available until February 17th and can be booked by calling Maren at (604) 822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call fhe CiTR DJ line at 822-2487, our office at 822-3017 ext. 0, or our news and sports lines at 822-3017 ext. 2. Fax us at 822-9364, *2-nrail us at: citrradio@mail.ams.ubc.ca, visit our web site at http:// www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA. Printed In Canada IN/IAFU LYN MAN5DN March 2,1999 - Pacific Coliseum y -'f-kf ^ yap* *. ^^ 1 ..fUe . CRIMINALS SATURDAY FEBRUARY 20 WITH SPECIAL GUESTS CROATIAN CULTURAL CENTRE MARCH 1, 1339 THE STARFISH ROOM Saturday March 13 m Vogue Theatre GOOD RIDDANCE • ALL • LIMP FRIDAY MARCH 12 • CROATIAN CULTURAL CENTRE KB&SfflS^SKS ■ii^inn'ii'^i^if.^iiii^ii'if.Hi1 E N D U L U M RESTAURANT LICENSED PATIO STO FOR LUNC! DESSERT •UNTIL 1 1 A WIDE VARIE INNER, m METHING lSTS served EVERYDAY . EGETARIAN ENTREES OPEN 7 am to 7 pm MONDAY TO FRIDAY OPEN 9 am to 5 pm SATURDAY / SUNDAY UBC • THE STUDENT UNION BUILDING • 6138 SUB BLVD. '-^CK M THE BOX. TV-P FA\/« 9f MMMKmMIJMM, hurai^vc 303 COLUMBIA ST GASTOWN 683-3757 Columbia THE PIRATES* PULLER • DISGUSTEENS KZZ=EI laT-rl ISOTOPIA • MICHEAL CHASE • SINGLE SEVEN MILK & MATCHES*FICTION CANADIAN WASTE • KAN • LIVIDS HELM'S DEEP • DRAGLINE & special guest bands EViJ»E GREEN EYED JEALOUSY ASBESTOS mjiSL SPLIT LIP ASTRAY & special guest bands TENDONITIS • HURT • MYOPIA JADES* OLD TIME RELIJUN • 4TH JULY TOILET L_J_L_i DR. ROIDS CHEMICAL SHOW SNATCH BANDITS * MR. PLOW BY PRODUCT • & SPECIAL GUEST BANDS Vancouver i-U-L ■ >nT/_jl Special ffffwn BY JANIS McKENZIE BIG COOKIE Plague and 1 wouldn't notice But fag-boshing, sexual identity, love Goldenhips in later tracks, Big Cookie also and loneliness, and even (don't (Yo' Mama) veers toward the funky, mixing it be alarmed) the Titanic. Sticking 1 know you should never judge a up with ominous or at least pen- to the Smiths analogy, don't ex- book by its cover, but sometimes sive moments in a few songs, and pect monumental guitar mo- when it comes to CDs, it's aw- sounds nearly Sonics-inspired in ments, a la "How Soon Is Now?" fully hard not to take the artwork the happy-speedy "Lost a Friend " although there are swirly bits into account Goldenhips is a "Leaves," towards the end, is and one song, "Red Sky," fea- good example: the Fabulous nearly noirish (and long), and tures a dreamy, repetitive and Freak Brothers cartoon-style cover includes some frenetic drumming. big twangy riff. My pick of the depicts a hairy, shirtless, bell-bot- And watch out for that last song, month, tomed hippie strutting across a a 5 1/2 minute funk-ska-fusion street, who is being admired by instrumental that pulls out all the WAYSIDE a scantily clad and darned cur- stops, and might put a more seri- ... Until Now EP vaceous hippie chick. The way 1 ous look on those hippies' faces. (independent) see it, the vivid blue of the sky Imagine early Green Day-ish and the bright colours of the let- DEAD MODEL SHOOT energy and harmonies, a voice terincj are supposed to say, "Hey! Dead Model Shoot much like Nick tones' from The It's summer!" and the hippies are (Androgyny) Pointed Sticks, and a bunch supposed to say, "Hey! We're Speaking of CD covers, what do of photos of the boys in the band cool and we're having fun!" (Or, you make of a close-up of a soak- playing live, standing and sitting just as likely, "Let's be in a band! ing wet, skinny tie? Never mind. around in various arty and art- What a great way to meet scant- Dead Model Shoot's quavery less poses, snowboarding, surf- ily clad chicks!") '80s style male vocals may lull ing, and even wearing hockey I'll admit that 1 was almost you into expecting the familiar, gear. Now submit to the relent- afraid to listen to this, but the truth but the lyrics are fresh and, while less hooks of writer/singer/gui- is that a good part of this long pretty Smiths-y, more pleasantly tarist Chris Deas, especially in CD lives up to the promises of specific. (Did Morrissey actu- the catchy first track, "Discon- sunshine and fun times: ska-ener- ally come out and say, "My right tent." This little six-song EP runs gized, mile-a-minute playing, wing friends don't know I'm a from poppy to pained/earnest bright guitars, and loads of har- fag"? 1 didn't think so ) In fact, to tinged with that Seattle sound, monies makes for such cheerful vocalist Cameron Allen covers a and doesn't wear out its wel- sounding stuff that these guys lot of ground in these five songs, come, either (are you listening, | could be singing about the Black singing about meaningless jobs, Big Cookie?) A promising effort Grumpy OldDoq Protecting copyrighted material in itself is not a bad idea. But the new hidden tax on blank cassettes and recordable CDs (CD-Rs) that took effect on January 1 to compensate songwriters and musicians for pirated material is just not the way to do it. The tax was born from Bill C- 32, introduced in 1996 to update the Copyright Act. The result is that those who legally use "for personal use" cassettes (to tape seminars, dictation, demos) or CD-Rs (for backing up computer files), are now paying a tax (called a "levy" by a spokesman for the Canadian Independent Record Production Association) which was designed to punish pirates of copyrighted material. The Canadian government, in an honourable attempt to protect musicians and songwriters from fhe theft of their copyrighted material, is operating under the misguided assumption that all Canadians are pirates and that all recordable media is purchased to steal copyrighted material. Artists' collectives (like the Society of Composers, Authors, and Mu sic Publishers of Canada [SOCAN]) have proposed taxation rates based on the length of the recordable media: for 15 minutes of time, 25 cents for cassettes and 50 cents for CD-Rs, which translates to an extra $ 1.50 for that 90-minute cassette, or a whopping four dollars for a 1 20 minute DAT. Some European countries also tax recordable media; 37 cents per cassette is the average. Not the United States, however, a country that always gives the benefit of the doubt to the innocent; in this case, those who are innocent of piracy. Regardless of your approval or disapproval of the tax, the manner in which the Copyright Board of Canada is implementing the tax leaves much to be desired. All we really know is that if you want to purchase cassettes and CD-Rs, the price has gone up. While the Copyright Board had to begin collecting the tax "by law" at the beginning of the year, they have yet to make final decisions on how much the tax will be, who will receive the funds collected as a result of the tax, or /ed. note: as of jan. 22> this nightmare actually won't be happening, but next year, Vmight... BY BLAINE K how it will be paid out to musicians and songwriters. The Board decided to defer these decisions because of the volume and intensity of protest they received about the new tax. Official rates will be set this fall, after the Copyright Board has an opportunity to hold public hearings. Therefore, the Board will be collecting the taxes from the manufacturers retroactively. The manufacturers, on the other hand, not willing to make a balloon payment when the tax is assessed, started charging retailers at the beginning of the year. The retailers, in turn, are already charging you. So if the Copyright Board decides that the tax should be less than $ 1.50 for a cassette, does that mean you'll get the excess back from the store you bought the tape from? Not likely. And therein lies the biggest issue: how can the government demand that Canadian consumers pay an undefined tax? The next recordable media slated for taxation: digital cassettes and videos. Let's hope that the Copyright Board can get their files in order before then.* i-_>A^«L/_, Demo Derb On January 16th, activists from the Ogoni Solidarity Network (OSN), the Sierra Club Amnesty International, and the Sierra Club Lower Mainland Group came together for an evening with Dr. Owens Wiwa, a medical doctor, activist and the younger brother of Ken Saro Wiwa. He is also the coordinator of the Movement for the Survival of Ogoni People (MOSOP) in Canada The OSN, host of the event, is a group mode up of students, environmental and human rights activists, and concerned individuals and was inspired by the struggle of the Ogoni people who have been protesting the presence of Shell in the Niger Delta since 1958. Dr. Wiwa's presentation gave a report on the situation in Nigeria The Ogoni are a minority ethnic group from the delta region of southern Nigeria. Approximately 500,000 Ogoni live in the Rivers State of Nigeria. Shell began operations in Ogoni in 1958. The Wall Street Journal reports that "Shell has extracted $30 billion US worth of oil from the Ogoni since then, with no benefit to the local population." The Ogoni people are desperately poor. Their homeland surrounds the Niger River delta in Rivers State in Nigeria This rich coastal wetlands, which encompasses only 1050 square kilometres, is one of the most fragile ecosystems in the world. The land of the Ogoni people has been poisoned by the oil and gas production. Shell's actions in Nigeria have caused wide-scale environmental devastation and human suffering. The climax in this conflict came on January 4, 1993 when 300,000 Ogoni joined Ken Saro-Wiwa, leader of the MOSOP, and celebrated The Year of Indigenous Peoples by peacefully protesting against Shell's activities and the Ogoniland. It was the largest demonstration against an oil company ever. The OSN and Sierra Club have been boycotting Shell for three years. Shell Canada is the target of these boycotts because it is a 78% owned subsidiary of Royal Dutch Shell and Shell International Trading and Transport, which control Shell Nigeria. In the situation of the Ogoni people, it was Shell Nigeria that requested and received the assistance of the murderous Nigerian Mobile Police Force. It was Shell Nigeria who provided the Nigerian Military with the guns and supplies. On November 5, 1995, Ken Saro-Wiwa and eight other Ogoni activists were murdered by the Nigerian military dictatorship of General Sani Abacha with the complicity of Royal Dutch Shell and Shell International Trading Transport. Last summer, then-dictator General Abacha died suddenly of a heart attack. He was replaced by General Abubakar. Since his come to power, General Abubakar has withdrawn the troops and released the 21 detained Ogoni. In early October, the General initiated his government transition program and Nigerians started registering to vote at 1 10,000 centres throughout the country. The local elections were held on December 5. On February 27, 1999, there is to be the first presidential election in Nigeria since 1993 and hopefully the first non-military government since 1983. Dr Wiwa expressed his gratitude to Canadian activists and especially those in Vancouver who have taken on the issue with a tenacity that has lasted three years. He also thanked the Canadian Government who has spoken out against the situation in Nigeria at international forums. However, Dr Wiwa also expressed his great Volunteers needed. Are you an outgoing, spontaneous man or woman over the age of 19 with a never-say-die attitude and a good sense of humour? We are a non-profit society that help**, young offenders and children ages 8 to 18 who are a' ri_k of getting in trouble. .. -_. __ r\ U, \ w PLEA fa ll^_.V-'. P™9,.n,,,.,v™,h \flf t»* * 708-2606 m disappointment with the Canadian government's unwillingness to grant entry to Ogoni refugees. Of the 300 Ogoni refugees interviewed by Canadian Immigration, there have only been six families allowed into the country. It seems that the Canadian government is once again all talk and no action about human rights. For more information and to get involved, please contact the OSN at 604.915.9600 or by e-mail at osn@vcn.bc ca"» S N Other Events; YOUTH DRIVEN YOUTH ACTION, a three-day conference February 19-2 J af Langaro Students* Union Building (100 W. 49th, Vancouver, BC). This is "a youth community initiative ta bring together youth driven organizations and interested young people to build on the skirts we have os organizers, activists and individuals," To register, get more information or to volunteer contact Youth Driven — Youth Action c/o The Environmental Youth Alliance, PO Box 34097 Station D, Vancouver, BC V6J 4M1 or phone 604.801.5752. CHECK YOUR HEAD A YOUTH FORUM ON GLOBALIZATION "Dissecting fhe Corporate Agenda and Building a Vision for Global Justice." The conference has been billed as three days of action, education, and fun organized by and designed for youth. Workshops include globolization and fhe environment, becoming active in your community, who's who in the Corporate Zoo, efc. For more information, Coll 604.515.6200 or contact Kevin Millstp at 604.688.8846. The 1999 BCEN Annual General Meeting and 20th Anniversary Celebration BROADENING THE AGENDA Friday, April 9-Sunday, April 11. For more information, please contact the 6CEN office at 604.879.2279 or e-mail <info@bcen.bc.co*>. Comin' up next month: our fourth ANNUAL Women's Issue! IF YOU WANT TO CONTRIBUTE OR HELP OUTLET US know! call Miko at 822.3017 EXT. 3 t! playing! *th &»* +S3S!* Landspeed recording artists OTh/teeul DISEPTIKOHS Need info? Call 473-1477! www.landspeedrecs.com FRIDAY FEBRUARY 19th '99BU^GES LANGLEY CIVIC CHIE. an- «lpafit„ Doors 7pm. Show ends around 11pm. Tickets $8advancelSl0althedoor. Radio Inter view Dissent. Who are you (names and instruments played)? Mark T: Dissonant Distorted Delirium No.l. Sean K: Vocular Armageddon. Jeff G: Sub-End Vexation. Sean S: Dissonant Distortion Delirium No 2. Mike K: Hyper Cans. What's going on with you guys? You've been going for quite a while without getting an official release? MT: As always. Dissent, the black sheep of the Vancouver hardcore scene has been repulsing 'the kids' with our sick brands of thrash. JO: Our latest demo-lition crushes1 Seven tracks of relentless brutality! Who was here at Thunderbird Radio Hell the last time you played? MT: Rick Philip A.K.A. Lover East Side and Leanne Chapman. For performing with cock-rockers The Francophobes, Rick was banished to the dark reaches of Calgary, Alberta and Leanne one day just got lost and was never seen again. SK: To unlock the mystery of Leanne's disappearance, watch the first X-F/7es of the year 2000. Sean S., have you really played in Death Metal bands? SS: Yeah man, a whole slew of them: a band called Tumult with the famous Bloated One, Kelly Solar, Procreation ... remember half of th< was too stoned I MT: Dissent's sonic attack is heavily influenced by Satanic Death Metal Raw heaviness is the basis of any Dissent riff MK: And hurricane blast beats! How many members of Burden (ex and present) are in Dissent right now? MT: Two ex, Mike and myself, and one present. Sean S. Burden's straight-edge ballads were simply too catchy and non- horrendifying. I think Sean hangs Bell 'secrets?' JO: The 'secret' to major label stardom lies at the warm, moist centre of the Seven-Layer Tito. n for fin cial n MK: Totally. SS: It's all about selling straightedge to the masses. Dissent love Taco Belli What's the deal? MT: Taco Bell is the fuel behind Dissent's fury. Before any per- with a meal of hot, beany ooze and then after, because of the massive energy expenditure of any gig, we return to recharge. Can you tell us any Taco even SK: Another secret is that the luse I entire menu consists of only four righteous ingredients. Jeff, you were once a Gorilla, Gorilla! Where are the other members of Gorilla, Gorilla today? And what exactly did you learn from NOFX after hanging out with them for so long? JG: All of Gorilla, Gorilla are mixing sound or making music and touring. NOFX taught us all to enjoy life FAT! Anything else to add? None of what has been said is a distortion of the truth. We are the shocking, ugly reality of the underground hardcore Discography: 5-track demo 1997 7-track demo 1998 1-track on Rubber Room comp. 3 tracks on Northwest Hardcore comp. (Division Records) Contact: Dissent c/o Mark Thomson, #2- 911 West 23 rd Avenue, Vancouver, BC, V5Z 2B2 or 604.733.1790.» Kaich 22 Who are you? Jon Truefitt, 21, guitar/vocals; Brandon Lee Frail, 1 8, bass; Jon Rozinsky, 18, drums/porn star. C'mon guys — honestly, how did the band Sidewinder influence you as musicians? JR: The structure of their songs made us realize the true meaning of music. JT: Shut up, you don't even know who they are. BLF: Next question. What's been happening in the Richmond scene these days? JT: Well, there's been plenty of community centre shows which have been well supported. BLF: Hey, don't forget those groovy coffee houses JR: Oh yeahl Those happen one Friday of every month — not too many people, but then again not many people know about them and where they take place, the u Pavilion. BLF: Don't forget the one-legged midget wrestling competi JT: Actually, we don't play gigs there, Lee just goes there by himself JT: Yeah, we have enough trouble getting three people together to practice. BLF: Although some more vocals or another guitar would be kinda cool. JR: And glam gear? Why the hell would we sport that sh* *? Well, Jon would ... JT: I'm going to kick you in the Not many bands have done a ballad on Thunderbird Radio Hell, yet you guys played one as your second song! Are you attracted to these types of songs? JT: Well, I think that having a good mix in your music and being able to go against fhe graii that little fal midget with all the acne that Lee wrestled last week that stuck that car taloupe up ... JT: Maybe we should If you could play a SUPERGIG with three C a - nadian bands and three British bands who would they be? JR: I gotta go with I Mother Earth and Noise Therapy. BLF: Matthew Good Band. JT: Well, for the British bands it has to be Oasis of course, the old Stone Roses and Tom Jones. JR: Wait, could you guys hold on a sec? I gotta go ralph with the aftertaste of Oasis in my mouth. Oasis? C'mon Jon Besides, Tom Jones is a wanker! JT: Hey, I like Oasis so shut it or I'll kick your teeth in! BLF: We're all good friends by the way ... oh and I want to play a gig with the Spice Girls. Actually it doesn't have to be a gig, maybe I could be their towel boy or something. Suppose you were presented with the opportunity of adding a scratcher, Mick Ronson, mod suits or glam gear to the band — which would it be and why? JR: We don't really want to add anything, we're happy the way listen to. What is your favourite Simpsons outtake? ft got to be in the 'Who Shot Mr. Burns?' episode when Moe is on the lie detector! BLF: No, it's when Homer gains 300 pounds to work, at home — the entire episode. JR: Anything Wiggam. Contact: Jonathan 604.275.591 604.274.5159, <fleefly@excite.con vith Ralph Lee Frc m The Maneaters outfits were inspired by the October 1970 issue of Playboy Magazine. It featured Playboy's first twin Playmates, wearing dresses that each had the Playboy Bunny logo on the side. When the playmates stood side by side, as on the cover, fhe image created was that of a whole bunny. Our look was manifested by Jeff, the bass player of Dissent. Are all your songs about ex-boyfriends? Yes, all of our songs, to date, are about ex-boyfriends. We get all of our song inspirations from past Maneater experiences. Is there a kind of Maneater/Dissent connection? Well, Dissent are our gear-slaves and they will do anything we ask them. They melt under our pow- What's the deal on the vs. Clover Honey rivalry? It all stared way back in high school. Clover Honey were that 'cool clique.' They wore name brand clothing, frosty lipstick, and fancy perfume. One day, the Maneaters were in the 'girls basement B' bathroom having ^^^^ " before When 'they' walked in, looked at us ith disgust and con- empt, and went ight to the principal's office. Thanks we got nded, be- ^^^ "then we formed the Maneaters. Karen, what songs do you like to Karaoke to at the Dufferin? 'These Boots Are Made for Walking' by Nancy Sinatra, 'Welcome to the Jungle' by Guns'N'Roses, The 'St. Elmo's Fire — Man in Motion' theme song. Imagine the Why do you cover Agnostic Front and not the song 'Maneaters' from the H.G. Lewis movie from which you take your name? It's plain and simple ... two reasons. The Agnostic Front song, 'Fight,' is one riff, 1 1 seconds long, and the Maneaters like to fight. Tell the readers of Discorder the CUKE story, please? Well, this infamous chain of events began one crisp winter eve. We [unnamed members of the Maneaters and Dissent] de- e aneaters Who are you (names, instruments played)? Julie Maneater: Vocals. Stacey Maneater: Guitar. Amber Maneater: Bass guitar. Karen Maneater: Drums. Your 'outfits' tonight are quite amazingl Could you please describe them? cided to make a run for the border, our weekly excursion to Taco Bell. Unknowingly, we smuggled undeclared fruit across the border, as we discovered it ter v I had c . We : pleased with ourselves, so we decided to try something similar the next week. We What is your lineage, Thurston S? Moreover, why '5' if there's only two of you? Furthermore, why 'Thurston?' Thurston from THURSTON — fhe boat and the prison, the Howell, the risen, the Passion Forgiven. 5 is from the man Revelations, the Saturn, the Jacksons, the pattern, Hawaii Five- Overly done. Why, oh why, Thurston 5, do you lug around a 2001b Wurlitzer when you can buy a lighter, more modern version that will do the chose a BC Hothc cumber to be the next item of undeclared agriculture. Once again, no probl* ot the border, so we decided to take it one step further. Near our fa* Taco Bell restaurant is a 24-hour supermarket. It was <tplan of agricultural sabotage took place We, unsuspectingly, walked in and headed for the produce department. Withi Hoth< placed amongst all of the unnaturally perfect American cucumbers, and the only witnesses being us, and maybe Anything else to add? We would like to warn anyone out there that is considering dating any of the following guys on our BLACKLIST: Liam — total #@*&l; Patrick G. — AKA 'virginity power;' Johnie W. — likes to call girls c_nts until they cry; James J. — pretends you're the 'one,' not including the other two; Fritz C. — plain old ugly bastard; Ryan E. — lil' shjhead, simple as that; Chris G. — psycho girl beater, and the takes her money and runs; Rich W. — please contact the address below to repay the Maneaters their money. Ask yourself two questions and then answer them. How many combined nights have the Maneaters spent in the drunk tank? Approximately 23 nights, at press time, but feel free to check the records. During your past eight years together, how many bar brawl injuries have you inflicted upon each other? JM: Hey remember that time Karen broke my arm at the Balmoral ... AM: Oh yeah, she got a black Maneaters photos by Caroline Mangosing Are there any other bands you feel kinship to in Van- c o u v e r ? Canada? New Zealand? USA? We really are in a world of our eye for that. What ever happened with that twoonie that Stacey swallowed? SM: Well that was nothing, considering the time Julie's cig was tossed into my bourbon-soaked hair, [everybody laughs] KM: You guys suck, that's noth- mpared t when you backed i. Maneatermobile after that last Contact: The Maneaters Fan Club, Box #2-91 1 West 23rd Avenue, Vancouver, BC, V5Z 2B2*» Dan, what's the scoop with the salmon capital rivalry between Campbell River and Port Alberni? Do you fish? Any plans to play in Port Alberni in the near future? Dan: Ever since a boat from Tacoma caught the last salmon, C.R. and P.A. have called a truce, signs have come down, to soon be replaced. 'Welcome to Port Alberni, Teenage Pregnancy Capital' and 'Campbell River — The Sunshine Place.' We want to do some all-ages shows on the Island, but THURSTON Who are you (names, ages, instruments played, height)? Dan O'Connell Singing/clarinet, 6'4". Fraser MacKenzie: Piano/ acoustic, 6'2". Ben Galbraith: Sampler/ moog, 6'. Sometimes guests — Sarka: drums, 5'8"; Shane Wilson: drums, 6'; Brian Minato: bass, 5'11"; Sean Ashby: organ, 5'11". Had he looked closely at my backstage pass, he would have discovered that it was actually a laminate from Guy Jones, a python-wielding, makeup-wearing Alice Cooper impersonator. Eventually my ruse was discovered and I was unceremoniously escorted out of the land of Lilith. Ask yourself two questions and answer them. What aboul your dubious past? It's all true. Dan was an Air Cadet and Fraser starred in a Red Robin commercial. How can the general masses hear Thurston 5? Hey, glad you asked. "Lonely Little Flowers" on CiTR now. Debut CD out in March. Live February 5 at the Picadilly Pub and February 18 at the Railway Club. Contact: thurston5control@hotmail.com or #128-1896 West Broadway, Vancouver, BC, V6J 1Y9.*» dates yet. Coffee, tea or Lilith Fair? Dan: I'm probably the only person to be ejected from any Lilith Fair show ever. Always on the prowl for free ligging (I heard the wine and catering for Lilith were a class act all the way!). I bluffed a security guard at the band entrance. 5 Good Coffee Fine Wine Kind Buds" Incredible Sex ztw mwztvb f'* J >{:. From Mew York City wjtn %f^f^J North Americas' Finest 4A Quesl Grateful Dead Cover Band / ifc* 23rd 8pm \W ■flrtieketMaster Outlets/Charge by phone 280 4m< ^Coming March 6th to the Vogub_ ^%1 AiString Cheese Incident i\ Sacrilegious Mix of Bluegrass, Calypso* Salsa, Afro-pop, Funk, Rock and Jazz. INCIDENTS HAPPEN ! A Terripin Production 9 E^SEgffi STRONG LIKE TRACTOR SIOBHAN DUVAU LBS Pffll MOMDAVS SECTOR 7 PHAT TUESDAYS WEDNESDAYS $1.49 DAY "It really is a UK thing." DJAndyB To understand any type of culture, it is important to know the history. Drum and Bass of today has its roots in British Jungle music. Break beat, the basis of jungle, can be traced back to the early street sounds of the Bronx, pioneered by Jamaican immigrant Kool Hero Here started cutting (looping bars from two of the same records together to create a continuous break beat) and pioneered fhe famous Apache break which was taken from the Vancouver-produced Incredible Bongo Band. In the UK, society, politics, parties and drugs all played a part in influencing the artists and fhe sounds they were creating. In the late 1980s, the British rave scene shifted from happy house to a harder and darker ambiance. In part, this was caused by a recession in the economy, but it was also influenced by the exploitation of the rave scene. Raves had become so large that parties were being constantly shut down. Ravers were also being scammed by money hungry parly promoters and drug dealers who pushed snidy "e"s. Soon the music started to have a faster, harder, more manic edge, with bpms rising to 160. Sped-up beats and vocals created the distinctive sound of Hardcore. The music went from Happy Hardcore sounds to a sound that reflected the deeper and somewhat darker sounds that preceded jungle. The term jungle itself triggers mixed feelings. There is a debate of the origins of the term, either referring to the black artists that pioneered the music, or referring to it as a sound that originates from the urban jungle. The first tractable use of the term is the Ibiza white label "Jungle Techno." Jungle spawned from hardcore, ditching the cartoon influences for a sound that emphasized more the break beat and bass incorporating the influential sounds of reggae, ragga and dub. The intense subsonic bass, MC chants, and use of the newest dub plates — characteristics of jungle music — were fused from these styles. Unlike the more elite House scene, jungle was associated with more of a "bad boy" image. But by the end of 1993, jungle began to gain popularity with the mainstream. Radio play previously only came from pirate radio stations, but by 1 994 moved to BBC 1 's popular Kiss FM. By the end of 1994, jungle music started shedding its bad boy image when artists started recreating sounds in the studio. Jazzier elements were added to more thought-out breaks, dividing the so-called more "intelligent" sounds of drum and bass from the raw sounds of jungle. Artists added a more atmospheric and funky side to the music. This was the sound that started drum and bass. By 1996, different subgenres had formed: there was the jazzier music- Jump up, which reflected elements of mainstream hip hop; and then darker music, which has seen the most recent technological development. OOOQ Drum and bass has its own history in Vancouver. Prior to 1994, Vane music scene was dominated by indie bands or top-40 music. The underground electronic scene was very small. "A drum and bass scene only started to develop when people who were interested in the music got to know each other, and started playing out." DJ Andy B Besides a few nights here and there, the first regular drum and bass night, Jazzmine, started at the Red Lounge. Jazzmine started as an eclectic night with a bit of down tempo, break beats and jazzy drum and bass. "That really started exposing people to the music without them knowing." DJ Luke M. Drum and bass in Vancouver started developing through the club scene rather than through raves because there was no cfru that preceded it. Many of the people who follow drum and bass here have crossed over from hip hop or other areas unrelated to the party scene. The scene started developing through odd drum and bass nights at various clubs around Vancouver and from there, jungle rooms started appearing at large raves. When HQ communications started in 1995, Vancouver saw the emergence of parties with an emphasis purely on drum and bass, along wifh bigger name djs stopping in Vancouver. In 1996, the Chameleon Lounge opened and against all speculation started the longest running and most successful night, Airtight. The type of music that started at Airtight was on the jazzier side, developing over the years into a harder style. Then MCs were added into the equotion, most coming from a reggae or hip hop background. Through the success of Airtight, Presha at Sonar was born, as a venue to hold larger drum and bass events. The opening night of Sonar featured LTJ Bukem, which marked a high point in the scene. Since then there have been many monumental acts and nights, including the V Recordings tour and two Formation tours. OOOQ "The one common aspect I've seen between Vancouver and the UK's scene is the level of enthusiasm." DJ Matty. The forecast for Vancouver's drum and bass scene is optimistic. Months ago, the music reached its first peak of popularity. The pessimists will tell you that drum and bass has had its day, but like any genre its popularity comes in waves. Those who followed drum and bass as a trend have moved on to Swing and what remains is a dedicated group that has a genuine interest in the music. Currently there are three popular club nights, Airtight, Presha, and Tecknowledgy, but still, the local drum and bass nights have not reached their full potential. Although there have been nights that have really gone off in Vancouver, such as the Formation tour at Sonar in July where there were 600 people there for the music, the local nights just don't bring in fhe huge crowds. "What people don't realize is that to have fhe big names such as Goldie and ft ^ ^ ..I m '•V* Formation, with the crowds going off, people have to come out and support the local nights." DJ Remedy. "People in Vancouver don't realize fhe amazing drum and bass scene we have here. The local djs that play out are right up there wifh some of the top drum and bass djs. That's why guys like Andy B are getting such respect. Top guys are sending him promos because fhey know what a good dj he is." R. Adams (HQ Promoter). Although its popularity is not fully reflected in the club nights, drum and bass is a mad seller, with production stepping up all over. Production from North America has been lacking in the past and fhe leading edge music has always come from the UK, but now many of Vancouver's finest are starting to produce fheir own. "Production is a good thing for Vancouver. To put out good tracks it takes a real comprehension of music and time. People will become better musicians and they will have no time for distractions such as politics." DJ Vince C. In general, anybody who is involved with the music or just really enjoys drum get people in to it. "I love it when people come up to me after a set and tell me that they enjoyed it or want to know more about the music. I'd like to help people who want to get into it." DJ Lemon. Radio has always been an important tool, as it is one of the most efficient ways of exposing people, who would never go to a club, to the music — stations such as CiTR and Taxi Radio have contributed to this. Live drum and bass acts such as Oftobon and Third Eye Tribe have also played an important role in recruiting new jungle fans, as they usually play with eclectic bands for se groups of people. "With new people getting into rOh differ there is going to be a change in the music that is being played out. Ambient/jazzy, jump-up, and live drum and bass might develop larger fallowings in Vancouver." DJOtaku.* BBVHI SBB BBSS SHI BE: Sunday: dirtight • Chameleon Lounge SOI III Georgia St. Ill/ Bi Vince C. BiSyan Lee. Bi Baoen Bi Luke IB. ani Bi Bniy B. futsday-. fest FIB on laxt Baito fbursday. Presha • Sonar SS Slater St. w/ Bi Bniy B. Bi Bemeiy. Bi Blatty. SIC Sffect. friiays: fechnouiledgy • Fluid Lounge <*7 Ulater St. suss io mmci. BiBniy B. Bi Baoen. Ottobon (lioe). Bi Celcius. fhirdCye fribe (live). (BC Cffect. 0 J Sigh tower. Bi Luke IB.. Bi Lemon. Bi Blatty. BiOtahu. BiByan Lee. Bi Vince C° ^L>AM*A^ by Chr & Que photo I here was ortce a time when fans of Brit- I ish ond European pop bands had plenty I to be happy about. For a couple af years the toast of the British music scene would journey from their home country, turning their backs on national television shows and stadium gigs for a couple of weeks in order to perform to a few hundred fans in club-sized venues across North America. Dodgy, Space, Ash, The Monies, Blur, Gene, Tindersticks and The Charlatans were more than happy to show Vancouver that the old saying about British bands being "afraid to rock" was 95% wrong (the Charlatans kind of sucked, but we'll put it down to jet lag). By 1998, however, Northwest pop fans were beginning to feel like they were stranded in a Brit-pop desert, scanning the horizon for another Oasis — the existing one seemingly running dry at the end of 1996. A shortage of appropriate venues, combined with North American record companies showing (understandable) lack of confidence in the new British bands, Vancouver audiences had to be satisfied with bigger electronic acts and the more established, mainstream touring bands. Thus, when it was reported this summer that London-based kings and queen of pop St. Etienne had finally left their label Warner to sign with Seattle's Sub Pop label, the initial questioning looks and communal head scratching were soon overtaken by a sense of optimistic excitement. The more speculative of us started thinking that anyone signed to a Northwest label would naturally want to combine business and pleasure and come and do a few gigs for their employers. When the five date West Coast tour was eventually announced, no Canadian dates were included, but a trip to Seattle was no problem for most fans. After all, this was the legendary combo who had a finger in every musical pie cooked in Britain since 1988. In their many roles as musicians, producers, remixers, promoters, djs, journalists and record company executives, the various members of St. Etienne have been instrumental in laying the foundations for almost everything worth listening to for over 10 years. After pioneering the now familiar blend of '90s club music with classic pop, they made it okay to start liking synth- pop again, casually inventing trip-hop on the way ("Avenue," which reached the British top 20 in 1992, was probably the earliest example of this genre which had widespread commercial success). Their record labels Caff, Icerink, and Emidisk provided early platforms for various lechno, Brit-pop, indie rock and new wave bands, while founding member Bob stine Gfroerer ntin Wright by C hi J stine -■::vri Stanley is established os one of the leading authorities on pop records of the '50s and '60s. The line-up of the band has remained virtually unchanged for most of their career. The public face of St. Etienne is SarahXrackneil, a woman whose looks and demeanor suy-***st it would be a tragedy foi hr-f to be nnythi than a pop star. Bob Stanley and Pete Wiggs remain the principle band and are usual architects of the group's exist* and diverse career makes St. Etienne a fascinating interview subject and it was with mense excitement that a telephone interview from London, England was arranged with Sarah Cracknell. Immediately the question was raised of the enormous influence St. Etienne has had on a generation of bands, most obviously fhe many copycat band; that have appeared over the years such as Dubstar, Mono and early Cardi- . gans. Sarah explained that J they were not bothered by the sincere attempt at imitation: "It's always very dif- | ficult to say whether some- 1 one's being very influ- 1 enced by us or whether j they have the same influences as we do. I mean, ' Dubstar quote dub as an influence. I've actually met the singer, Sarah [Blackwood] and she's very nice. As for the Cardigons, I know what you mean by 'early' Cardigans because I certainly don't think they sound anything like us now and I don't think they are influenced by us at all. / for Mono, I don't know much about them. The thing is, even if anyone did kind of copy us, it wouldn't last very long because I do think we tend to move on and change quite a lot. We seem to change pretty much with each album." Indeed, the new St. Etienne album, Good Humor, presents a much more organic, acoustic sound, the result of a further connection with the Cardigans — the album was recorded at Tambourine Studios, Stockholm with their producer, Tore Johansson. This move was apparently the result of chance as much as by design: "Bob is a friend of Magnus [Cardigan's bass player] and he asked Bob if he would dj one of Tambourine's yearly parties. So Bob dj'd and really ended up loving the area and the studio. He came bock to me and Pete and said it's a really brilliant place, you've got to come and maybe we should do our next album there. The studio has a very unique in-house sound for recording and production, for instance, there's hardly any reverb on the drum sounds because of the very small room and the vocals are more dry. It was nice for us to get away from London as well, because we always record there and then we'd go home every night and we tended to get distracted by friends and paying bills, etc. In Sweden [the band] shared a flat together and we'd be more focused on what we were doing. It was good for us to go out there, but it was cold," she laughs. This change from electronic to acoustic instruments has also meant some changes to the live presentation. Expanding the old four- or five-piece bands of the past to their present eight-piece, the show sometimes resembles a Sarah Cracknell cabaret act, the band lingering at the back of the stage as Sarah performs centre stage. The whole focus of the performance is on her, so much so that the absence of Bob Stanley, who apparently "doesn't like touring," is barely noticed. The St. Etienne live experience has become astonishingly slick, with the new songs sounding fresh and exciting next to classic older numbers that would be criminal to omit. This smooth mix of old and new is the result of frequent live outings last year: "We've been touring in the summer playing festivals and things," explains Sarah, "and we've been rything live, including songs like 'Like a Motorway,' which was quite a challenge, but it actually worked really well. We're rehearsing this week and for the older, more electronic songs we're going to start bringing in sequenced bass and percussion loops and other bits and pieces to enhance it while playing live, but everything off of Good Humor will be played live because of the nature of the recording." Another big change for the band is their recent signing to Sub Pop. Sarah explained that the band is more comfortable with their relationship with their new label: "We're much happier being on Sub Pop. Sub Pop is much more sympathetic to what we want. They seem to understand us more and know what to do with us more. Warner was very nice to us, but they didn't seem to understand us. It was very frustrating when they used to do all these dance remixes and change the [album] sleeves and everything because they were promoting us as a dance band and we're not. It must have pissed people off when they'd go and buy an album and wonder, what's the connection? Especially if they bought Tiger Bay, they must have thought we were a different band altogether. [Being on Sub Pop] is much more liberating for us. It's not really a new direction for us, just a new label." The Pacific Northwest content of Good Humor is strengthened by the inclusion of liner notes penned by Vancouver's own Douglas Coupland. Sarah enthusiastically praised his work and explained how the connection came about: "Pete or Bob read an interview with him where he mentioned us, which made us think, 'Ooh ... maybe he likes us,' so we just got in touch with him and he said he'd love to do the sleeve notes. We're really big fans, so it was quite an honour. We nearly got to meet him once when he came to London fo do a book signing and we arranged to meet up with him, but we were working in the studio and couldn't get down to meet him." Although still relatively obscure in North America, St. Etienne has had consistent critical and commercial success in Europe. Over the last ten years, they have had numerous chart hits, although the realms of superstardom have so far eluded them. Quite surprising, considering the accessible nature of their music. Sarah agrees: "For a long time, we had a habit of shooting ourselves in the foot - when something was looking like it was going to happen we'd be really contrary and turn around and do something completely I different, or not follow up on opportunities. There's a part of all three of us that is slightly scared of having a | big hit because it would re- | ally change things. We 1 have so much freedom | now to record anything we I want in any style we want. | But if you have a big hit, I you're under pressure from people to follow up that hit all the time and record in a similar way because the formula works. Plus, there is the lack of privacy thing which I don't think any of us would particularly like. So there's a little part deep down that is a bit frightened. But at the same time, it has been quite a long time now that we have been f at the same level — we've plateaued and it does get a little bit frustrating when singles like 'He's on the Phone' and 'Sylvie' reach number 1 1 on the pop charts. We've never had a top 10! I think we've got to the point where we would like a top 10 hit, please." The current focus of the North American music industry will probably ensure that neither St. Etienne nor many other British bands will be seen in the Canadian top ten for a while; however, Sarah confided that a spring 1999 tour was planned and that Vancouver would probably be one of the cities on their list. As anybody who attended the Seattle show will testify, this is definitely a concert that is worth missing Seinfeld for. • )) ®^g£S®D_I} n Decern* Hellacoi triple-sli Spitfires* resulting amount ofh soundcheck got Red host S" Hellacopter. Robert Hellc guitar), Boba 14, 1998, Swedish rock merchants The came to town. Their show at The Starfish (a >wout with Bellingham's Watts and Vancouver's <) was one of incredible sonic bombast,.:::' yife^i few instant converts (and probably a fair >ss, too). As preparations for rway before the show, Caught In The d an interview with bass player Kenny her band members at this show were I Nicke Hellacopter [vocals*. ■j and Mattias Hellacopiet :(g& land where, did The Hellacopters start? Kenny: In late '94 in Stockholm. We're based in Stockholm. Nicke and I are the onl^yjatives of Stockholm, but we all live there I've got your first album [Supei The Max) but not your (Payin' the Dues). Is it similar oi different? The music is the same. Basically, opportunity to take more time thinking al we were doing. At fhe time we record- had weekend shows and would work dio during the week, then go out on the road for a couple of days. So in between the thing for all of us Like I sum). Scott showed up and we did a couple of Sonic's Rendezvous and MC5 sotkjs. Mattias actually got to borrow Fred Smith's guitar. Oh, wowl Yeah! So he was all trip iin'. Fred Smilh, os you know, is deod. was one of his Rickenbackers JjBJf^Vy * who Rendezvous CD sludk ehad time to figure out where we wanted the percussions, if we would need piano on a song or not, stuff like that, which we just didn't have time to do on the first one. But the music is basically the same, still high energy shit. When I listen to you guys, the three points of reference that spring to my mind are The Nomads, The MC5 and The Stooges. Would you say those c fair assessments? Yeah! Sure, I mean, Nomads pretty rr us and I guess both Nomads and Hellacopters are raised on The MC5 and Stooges stuff: we're all in for fhe Detroit shit! Any other groups you would give props to or name as an influence? Tl.e Quadrajets. I guess you would have to mention (Fred 'Sonic' Smith's) Sonic Rendezvous Band. Those guys sort of taught us everything we know. We actually recently had an opportunity to jam with Scott Morgan from Sonic's Rendezvous Band at some shows in Chicago and Detroit. Is this your first time over to North America? We did the CMJ thing over in New York a month ago, that was the first time. That was only two shows, though. What's the itinerary this time around? We've been on the East Coast. We flew v from Minneapolis last night, then dro After tonight we are going to go down the West Coast to California. Speaking of California, Supershitty was leased to Man's Ruin [poster guru Frank Kozik's label]. How did that happen? band: I heard We did foi Any funny storie* The whole trip was s the only one that's band, but, still. Just close and the way p the payroll of Kiss, much effort. But it was cool, for like ... five minutes, shook and took a photo and stuff. and Ace Frehley's girlfriend were hai with us — they all [smoke] cigarettes don't, so they were hangin' out with us. Kiss don't smoke cigarettes, huh? They don't do shit! 'I can't believe you guys are smoking still! It's almost year 2000!' [laughter] Anything crazy happened to you on this tour? Crazy shit happens all the time. Detroit was the That's pretty c< Yeah, way cool. So 11 as I got home, sent him a T-shirt. B 'Ain't Nothin' To Do' on a 7" with Bl The Dwarves singin' on it. I sent him a copy ol He showed up this last time, too. Lovely g On your record, I see that jroo make note of the places you like to nppjo out at home. What do you guys ^0* when ; you're .not playing? •'«.. I would like to say 'as little at possible,' because we play aU the time, pretty much. What we realty need when we're not ploying is to be as far ' apart frtffff each otl]er-_'s tf»fc**pe«?b1y can, not .'ejVpn talljlj each ofHtet on the phone. It's all good • feelings, but we've been together playing without a week-and-o-half off at once in the last two years. Usually when we get home it's nice to meet up with the friends that you missed. Hang around your favourite bars, kick back and read books and get high. There seems to be a lot of really good rock coming out of your section of the world right now. Do you have any theory or explanation for that? It's something that happened two years ago where everybody started a band again. I Ik that's the situation with almost any itsort of comes and goes in waves. In the L'80s we had The Nomads and Union roductions, Shoutless, Stomachmouths, parage bands back then. They sort of I faded away. In Stockholm what hap was that a lot of the kids that used al — our generation that grew up Venom and Slayer and stuff — that sort of killed itself and in the end fPantera or Korn. So I guess those peo- 1 and started nipping through musical pckwards instead of forwards because i't much out there. I guess that might sned. But like I said, it comes and goes, seems like, in Scandinavia, it is on a soon as a couple of bands get out 3 bound to influence others. Now we , with young kids playing and of tell from listening to them which I song or which Backyard Babies song So that's really cool. Give bands two more years and they're going . probably. Lst thing. Any all-time records you want to recommend to erybody already knows Funhouse by Jges. Umm ... Pharaoh Saunders! Some y stuff. If you want high energy, then ■u're not gonna get no guitars, but you e gonna get some amazing horns blowing in your facel And The Quadrajets, of course!* )Z. X_>A^UIA« __________________ EN without a band, the When I caught up with Hayden before his concert at r Richard's on Richards in December, I expected him to be distant, uninterested, and mhelpful in this interview. f Fortunately for me, he was quite the opposite. Maybe he was in a good k mood for a change, but wow, W considering I even mentioned the whole f major/indie label debate quite a few times in the interview, it made me think that rock stars can be nice guys too. by Chris Corday DiSCORDER: So when you were younger, were you an indie rock 'scenester' or part of that kind of music scene at all? Hayden: Well, when I was in high school I was in a crock band and we were obsessed with early R.E.M. and, actually, the band I was in before that band, we were really into U2, like remember when Under a Blood Red Sky came out? It was a live record from Denver. I think that during that time I was quite obsessed with U2. Anyway, then R.E.M. and then I started getting into bands like Dinosaur Jr. and Sonic Youth and other bands that weren't necessarily on the radio. Were there any local bands that got you interested in playing music when you were growing up? I remember my friend Noah and I, when we were 17, we got fake ID cards made up so that we could go to downtown Toronto on weekends and see indie bands play. And I remember two of the first bands that I saw that were in the Toronto scene were a band called U.I.C. and a band called 13 Engines. And for sure, 13 Engines were influential on me, seeing them live and they were from where we were, it was exciting. When did you start playing guitar and did you take lessons or were you self- taught? When I was 1 3, I think, my best friend at the time taught me the basic five or six chords at the bottom of the neck of an acoustic guitar. Just from that basic point I learned whatever else I've learned since, which isn't much. I'm not a great guitar player, I just use the guitar as a tool to help me write my songs more than anything else. I'd like to become a better guitar player and I think in the past year I have, but I'd never classify myself as a great guitar player. So how are you enjoying playing with a full band? I love it. I was saying to another guy earlier that, of the band I've put together, everyone had been playing in bands in the last five years that had played a lot and I hadn't. I'd been playing by myself for so long that throughout the seven months we've been playing, I feel like I'm fhe one who's slowly got more and more into it, and I've learned from them how to play with other people again. It's been an interesting experience for me and I've felt that I've grown a lot playing with them because of how accomplished they all are. A lot of times when you were playing media wrote you up as a 'folk singer.' And when I think of folk singers I don't really think of Hayden, I think of Joni Mitchell or Bob Dylan or whoever. So I was wondering how you feel about that... Well, you know, some people classify anything that's just an acoustic guitar and a voice [as] folk music. Other people classify folk music as political statements through an acoustic guitar and a voice that's not necessarily focusing on the melody of a song, but more so trying to make a statement. I would say Joni Mitchell, her style of writing songs, she's telling a lot of personal stories. If she's folk, then a lot of my songs are probably folk, too. We all knew Hayden on your older records as sort of a basement rock guy, and then you changed that whole impression we all had of your music on The Closer I Get. So why did you decide to go the hi-fi route for that, and did the label [Universal] have any say in the matter? They might have. I didn't really get a chance to say anything. I took the opportunity of having an actual recording budget this time and the chance to actually do something in a studio because I knew there was the possibility I'd never get this opportunity again. I can always go back to recording on a four-track. It was jusf a personal decision to try it out, to see if I could make a great sounding record that everyone could enjoy. I wasn't forced into it, I wasn't purposely trying to exclude the basement of my first record. It was just the next step for me to take. What -was it like being an independent artist being pursued by a major label? Was it like bribery and all the expected glitz and glamour, or was it all very subtle for you? Well, after the fifth prostitute, I kind of... It was a mind- blowing experience. I don't think I've thought it through, what went on there. It was just a dream — not a dream in the sense of something I've always wanted, but just like a hazy moment in my life, it still doesn't seem real. How are you being treated in the United States, with your record sales and performances, and does that really concern you a lot considering your popularity in this country? We spent a lot of time there in spring, fall and summer of this last year. I'm not on the radio there and my videos are never played there, so the only way for us to be exposed is by playing live and we went back to several cities more than twice. Every time we went back, there were more people and they seemed more into the songs. By the last tour, I really felt like people were there for the right reasons. They liked all of the music, they weren't there because they saw one video of a guy playing one song or whatever. It's nice. I feel like I'm in a good place in America. So it seems to me that your songs are more about very personsal emotion than they are about impressing the listener with dynamics or overtly intellectual lyrics, or other superficial aspects of some pop music. Do you think this is true or do you sometimes intend to write stuff that is a completely accessible pop rock song? I don't know if I've ever intentionally tried to make anything accessible. At the same time, I'd also say I might naturally have this pop aesthetic that I can't really get rid of. I tend not to get too screwy on certain songs or get crazy. I don't often stray too far from the pop structure of songs. But you don't feel guilty about that, do you? No. It's just the way I write. I'm very into some experimental music, but my own songs are just the way they come out, more straightforward than the stuff I listen fo. Are you a reader at all and do you have any book recommendations for your readers? I read, although I've found in the last six months that it's been hard to concentrate on reading, being surrounded by people who are constantly talking and watching movies and listening to music. I read a Norman Mailer book called The Deer Park, and I'm reading Coming Through Slaughter by Michael Ondaatje right now. My favourite author is Milan Kundera. What's next for Hayden? There's nothing in fhe works and I have no idea what's coming up next. [After] taking time off in December and January, [I'll have] to think of what's next for me. But I have no idea right now.* FEBRUARY LISTINGS WEDNESDAY, FEBRUARY 3 SIR HEDGEHOG MY BLUE HEAVY NEW TOWN ANIMALS THURSDAY, FEBRUARY 4 DIRTMITTS JESSE'S GIRL STATION A FRIDAY, FEBRUARY 5 STRAPPING YOUNG LAD OCEAN MACHINE INFIFNITY SATURDAY, FEBRUARY 6 RANDOM DAMAGE ABBERATION RAW WEDNESDAY, FEBRUARY 10 COZY BONES LITTLE GORPHIN ANNIE BROWNING THURSDAY, FEBRUARY 11 PEPPERSANDS FRIDAY, FEBRUARY 12 GRAMES BROS SATURDAY, FEBRUARY 13 QUEENS OF THE STONE AGE UKE WELL WEDNESDAY, FEBRUARY 17 HARD RUBBER ORCHESTRA THURSDAY, FEBRUARY 18 G.B.H AGAINST ALL AUTHORITY BILLYCLUB FRIDAY, FEBRUARY 19 GREEN ROOM SUCK FRIDAY, FEBRUARY 26 FRED EAGLESMITH SATURDAY, FEBRUARY 27 ELLIOTT SMITH MONDAY, MARCH 1 FUN LOVIN' CRIMINALS n E^MiSffi £ by Nic Bragg Style was caving in. Unable to sustain popular interest in any unified music genre, "the major labels" dreamed up a very suitable solution Theorizing that the music industry was nearing critical mass and thai the sheer number and diversity of artists and releases had escalated beyond any conventional marketing strategy, music's economic brain trust devised a truly novel scheme. With the multimedia possibilities of the Internet providing both an appealing and effective communication technology in place, as well as the desire-driven star making hierarchy, why not create the last rock star of them all — a machine! Dubbed HAMLET. (Home Audio Musically Learned Entertainment Technology), this forward thinking machine, fully capable of musically animating your living spaces, while matching your cultural tastes with a whole host of popular music genres, is fortunately still only in the prototype stage of development; however, with the high hype courting the emergence of digital radio and virtual sound shopping, HAMLET's unveiling in the marketplace cannot be too far Now, if this is at all alarming to you then perhaps the sounds of comrades VOTE ROBOT and FRENCH PADDLEBOAT may be of interest. Together these two "gestalt sound collagists"3 have quietly attracted the attention of fans both at home and abroad (their 1998 vinyl-only release moving at a steady mail clip throughout the UK and Germany), leading some to rename their home town "Koln- owna." Equally versed in the recent styling of high profile artists such as Tortoise ond Oval, os well as their historical antecedents. Can and Sockhausen, the collective Vote Robot/French Paddleboat collaborators, Scott August (M) and Kevin L. (C) are clearly sonic sculptors on a mission. DiSCORDER: What have you heard recently about the HAMLET project? C: Very little. Everything I hear is second and third hand Sounds kinda like woosie art, you know, the music they make for kings. How did you first become involved in your counter-attack efforts? C: You never know what will get started once you start taining in your own ballpark. Tend fo get held up. Has keeping a low profile benefited your work? M: Yeah, it's great. Everyone thinks R.U.R. was a Morrissey album. Explain the terms Vote Robot and French Paddleboat. What are the differences? M: French Paddleboat is more like the kind of music you'd keep in your house call kit. When I first heard your music, it seemed ideal. 'Music for Banks' — there is a sense of discreteness. A fascination with currency and transactions. Do you concur? C: I'm in banks everyday. Yesterday I was standing in a bank [and] the lady behind me was nice enough to whisper the words to 'Losing My Religion' on the back of my neck. M: Yeah, banks are in fine shape without our help. C: Maybe M-Banx needs us. How exactly do you create your music? M: Whose side are you on, anyway? Are you obsessed with the idea of obsolete technologies? Do they figure in your counter battles with the HAMLET device? C: I used to be obsessed with the route that I took to school and the way I walked it, also with the way people went down flights of stairs Have you heard the recent Eno work with Microsoft? Could he be a spy gathering information for the HAMLET technicians? M: That's great, Roger could use the work. C: Look what it did for the Stones. Can you dispel the rumors that you are leaders of a 'wolf-pack'-like cottage industry of ambient music makers located in Kelowna? C: The 'wolfpack' tag goes a ways back. When we were kids we used go to all the shows and help bands setup, teardown ... M: ... sell shirts, tapes, work the door ... Did you have a band then? C: Nah, we were real young, like 12. M: My brother had a band, Anti-Socio That was your 'in?' C: We were real organized f setting up a show, they would call us before called the hall to see if we were available. I re ber one Gentlemen of Horror/Flies in fhe Buttermilk show. The Flies in the Buttermilk guys were the first ones to call us the 'wolf-pack.' I think they stole it from D.Y.S. il Zap. e they them? They were from the island. They did that kind of Aggressive Woo-Pitching Rock a la Jim Dandy. M: Not the second-string farmteam stuff, neither. C: Nah, the real gold medal stuff. M: We still get 'wolf-pack' calls from the elders. C: Now it's basically dumped on us as a reason why fhey can never put us up when we come to town. Sometimes you don't have to try so hard. M: You'll scare fhe cats. Is straight-edge ethics something that fits in with Vote Robot ambience? M: We only carry in Salt Lake. C: Those ethics fit in some places, remember Dave Collin's drum solo? What is your relationship with Jim O'Rourke/John McEntire? C: I once knew a guy who paid McEntire so much lip service you'd think he was on the payroll. Or at least close to getting it. What labels do you represent? C: Wha? Like bankroll? M: Triple Crown and Vegas-p. What are your up and coming releases? C: Vote Robot has an album out in February. It's limited fo 100 copies [and] has a bunch of new tracks as well as folks like the Climax Golden Twins and Ralph Haxton reworking tracks from the R.U.R. LP. We're also finishing up a single for Hell's Half Halo's lathe cut series, I think they're planning on doing 50 of those. When can we expect the new French Paddleboat album on Scratch Records? Is it really called Market Valve? M : It's called Conversions in Metric and it's been done for over a year. I finished it at the same time as the Union Pole tape which was actually fhe out- takes. Now we're waiting for a nod. C: You'll get your nod. Tell us about your recent show in Seattle with Scamella. C: That Saturday I was a king. They said, 'Hey, you're probably a king.' 'Wha? Alright.' M: That night I realized that a dream is alive. C: Okay. M: I have another dream. M: One day, someone will come up to me looking for a boy with curly brown hair to join the space program. I won't think twice about it. I'll go. C: What? M: Well, think about it, I don't know anything about space. C: Yeah, I guess. Okay, so Saturday I was probably a king. That's what my ears told me. I understand that Nels Cline likes you? M: That's what his people say. What can pop music learn from electronica and vice-versa? C: Who knows? M: Cares? C: Let's stay tropical. How will HAMLET effect the underground that you represent? Will your frequency band grow or shrink? C: Who knows? M: Cares? C: Let's stay tropical. What is New Hedron? C: New Hedron is local slang for a morale killer. Is it emo? M: It's sturdy. Recently, Richard James aka Aphex Twin said the only exciting developments in his music this year will be his continued programming aimed at smart computers capable of creating their own music and interacting with other like minded machines. Your thoughts? C: Kinda like what Raymond Scott was frying to do for a while? It worked real well for him, that stuff is great. Then I guess something slipped because, at the very end there, he was making albums that were capable of putting the Melachrino Strings to sleep. M: Be careful, Richard. Following the nod of architect Frand Lloyd Wright who, when designing a home, did all the details including furniture and dishes, textiles and even clothes for the inhabitants, TODAY'S ARCHITECTS are seeking music technologies to animate their structures ... in the future each device, each chair etc. will have its own identifying sound, extending to your car — as, now, most cars do. C: A door is a jar. There have been recent reports citing another counter attack on the HAMLET project, this one spearheaded by a right wing assembly of 'rock musicians' who are taking responsibility for inserting the Y2K bug into the systems ... effectively wiping it out and making computer-generated ambient music impossible in the new millennium. January 1, 2000 is going to be one huge power chord. Any thoughts? M: No Bliss-Out. Is Sudden Death signing? C: Two-thousand, zero, zero, party over — oops, outta time. Bye.» DISCOGRAPHY Vote Robot: s/t cassette (shelter), R.U.R. LP (Catsup Plate/ Vegas), Versions LP (Vegas), [tba] 7" (Hell's Half Halo) French Paddleboat: Constantinople cassette (Cathederal), Rome Loves Tan cassette (Union Pole/ Granted Passage), Conversions in Metric CD (Scratch), Conversions in Metric LP (Vegas) Keeping up with the Jones' has never been much of a concern for Coat. Since carving themselves a niche in the Vancouver music scene in the category of "western noir" in the early '90s with their self-titled debut on Zulu Records, the two founding members of the band, Nicole Steen (guitar, vocals) and Marcus Rogers (bass), have been more concerned with doing things their own way. They've been making their own videos to organizing their own shows, which would partly explain why it's been so long since they have put out an album. Nicole and Marcus are joined by Jon Wood on guitar and Ian Tiles on drums Together, they combine a torchy, nostalgic style of music with art, video, and the latest computer technology. With their new album, One Track Mind, Coal makes reference to the past while keeping a finger on the pulse of the future. Musically, subtle changes have occurred over the past six years, making their sound slightly less gentle and serene. Nicole's glossy vocals, however, are still prominent, giving way to the same dreamy attraction they created with iheir first album. Aside from recording, promoting, and producing their own videos for One Track Mind, they have also been working together on a film entitled The Widower, which Marcus describes as "Natural Born Killers meets On Golden Pond." One of their older songs, "Alone, I Honeymoon" loff the Dare To Be Aware CD), is being re-released on the movie's soundtrack and, as well, there will be tracks from local bands such as Joey Keithly, The Evaporators, and the now-defunct Colorifics. Having just wrapped up the filming of The Widower (which should be ready for release in February), Nicole and Marcus took some time to sit down and discuss their latest recording. DiSCORDER: How come it's been so long since your last recording ['92]? Marcus: We have a single on Mint [Records]. And we had some singles on compilations. We just took our time, really. We didn't go in [to record] every day, back- to-back. We'd go in one day and record, and then go away and listen to it. Nicole: We had some band member changes in the meantime, too. There was a point where we thought, 'Well, are we going to continue with this?' because it's not the same members. And then we just decided to finish [the album]. We released it ourselves, so we didn't have a lot of deadlines. We didn't have a lot of pressure to get it out. Where was your first gig? Man larcus: I think it was at a Braineaters gig ... Nicole: Our first gig was a party in this pretty cool building we lived in on Beatty Street. We had all played in other bands but we hadn't really done too much. Marcus: They were all kind of loud bands as well. We wanted to do something different, something quieter. We were practicing in our live/work building too, so that affected our hushed sound as well. Nicole: The people kind of responded to the music at the party. They said they liked it. Marcus: Our neighbors would say they liked it... How has your sound changed since vour last album? Marcus: I think it has changed a little bit, don't you? Nicole: Do you? I think it's gotten a little louder. It has a more expanded sound. There's less acoustic instruments. Still kind of western goth music, but a little heavier and maybe even a little darker. Marcus: It's a lot more stereosonic than electrosonic. Itwas recorded really loud. The old one had a smoky sound and the new one's [sound] is kind of sparkling. Nicole: On this new record, Ian Tiles wrote a song and sings it. It's the last song on the album and he played most of the tracks too on the recording, although live he doesn't do that. We added that and collaborated with a few of the guitar players that played on the record as well. I like to think we'll be doing more collaborations in the next little while. Why did you decide to finally record an album? Nicole: We four-tracked a lot of the songs and just had this accumulation of songs from over fhe years. I actually enjoy working in the studio. It's a creative experiment. It's a way of exploring the songs a bit further. You lay down the basics ana then add and layer on top of that. It was kind of exciting because I usually play rhythm guitar live, but when I get into a studio to record, I can do little leads here and there and add guitar parts and do harmonies. Did you make a video yet? Nicole: Yes, it's on the album, actually. Some by Andrea Gin people have asked, because they can't figure out how to make it work ... Marcus: It's a QuickTime file! It's on a universal, cross-platform ... Nicole: But I don't want to get super-elitist. I mean, I like having the video [on the CD] and I like people being able to see it. Were you surprised that the video for 'The Ace of Spades' got so much airplay on television? Nicole: Yes. I was really surprised. At the time, I was watching MuchMusic quite a bit and I would barely ever see any independent bands' videos. Tney would be in the indie spotlight and get played once or twice. But the fact that we got into rotation was sort of astounding. We just figured, well it's Motorhead [laughs]. We owe it all to Motorhead. Now, it we go out of town, people always say, 'Oh, you guys did "The Ace of Spades".' Do you think your band has a modern or a reminiscent sound? Nicole: I think there're elements of both. We're probably a bit nostalgic. It's got some elements of a torchy, ballad style, mixed with a bit of an '80s thing. Marcus: Some of the songs on the new album are very slow — I think they're the best — and there are other songs that are more intense. We are using technology. It is mostly a digital recording. It's definitely a combination of acoustic and electronic technology. Nicole: And it has a noir-ish feeling. That's sort of a retro style and imagery. There's sort of an aesthetic, not necessarily how we look, or what the band's image is, but how we present our visuals when we play, and the kind of videos that we make. Marcus: We take old movies and make them psychedelic and colourise them and mix them together, as part of our visual presentation. We realize that people have been watching bands for a long number of years now, and four or five people standing on a stage playing their instruments is a wonderful thing, but can be boring at times, right? We get together and come up with different collages of Nicole's favourite movies and my favourite computer stuff. So that's quite modern. But if you think of modern as Nine Inch Nails or hard-edged stuff or electronica, then we are a retro, nostalgic band for sure. Nicole: Although I think the goal for me is being timeless, rather than retro. Is this a good Hme or a bad rime to be on the Vancouver music scene? Nicole: I think the whole s > has reall broadened, but it's really lost a focus. That' what's sort of missing. There used to be a real mix of art and music in Vancouver — we used to play galleries and at art shows. It's kind of happening again, with shows at the Brickyard. They have art and music events. But I think a lot of it has to do with the lack of venues. Has it gotten easier or harder? Marcus: If you decided to try and make money doing it, then it's probably always really hard. If you do it just for the money, then you might not want to do it. But we love if._ Nicole: I think it has become a bit more difficult, just because there was a spirit back in those days, the independent spirit. And it's a bit of a lost dream. There's still a strong independent scene but a lot of the bands signed with majors and you know, it just sort or petered out a bit. I think it's tough for independent music, but the whole great thing about it is that people continue to do it, regardless. We went to Toronto this fall and we felt the exciting part was meeting and networking with other bands. That's why we did it, so we could meet other musicians. I think the future of independent music is for bands to get together and play and work together. What is the future for Coal? Nicole: I would like us to be completely autonomous. Make our own videos and put out our own records and record ourselves. The thing is, we don't want to be alone. We'd like to hook up with other musicians. I do think the musicians have to take more control over their own careers. I know it's hard because a lot of them are not interested in the business side of things, they just want to play Marcus: I'm really proud of the new record. I think it's kind of silky, kind of sensual, it's really not your catchy pop song you might play on commercial radio. We've never really endeavored to create those kinds of songs, anyway. We've always thought that we'd make the kind of music that we would like to listen to. Nicole and I used to always go and see hardcore bands. We love that kind of music but when you come home from a show, you maybe are a little bit on edge and it's nice to have something a little bit softer. Like a warm bath to slip into. • Coal v. ill be playing the Railway Club on Friday, February 1? vith another local band, IS E_^5SEG__ 7 h # inch BY THE INVISIBLE CLAIRE There are over fifty 7" records in the stack next to my record player. Ironic, then, that the only one to suffer the effects of heat-warping in a recent freak accident was a highly- prized single whose value to me simply cannot be comprehended by outsiders. Fortunately, my original, mutilated copy has been replaced thanks to the good sense and kindness of a certain music director. However, since not all of us are blessed with such sympathetic friends, I am here presenting some basic rules for vinyl care and storage. Heed my warning, or you too may someday know the agony of vinyl warpage! • Store records in their sleeves, preferably with a poly jacket overtop. These can be bought quite cheaply at collectors' or vinyl specialty stores. • Store your vinyl away from sunlight or other heat sources. A cool, dry, reasonably dark corner or cupboard is ideal. • Keep records as vertical as possible. Don't stack or lean them. Don't toss them about, use them as doorstops, cut your drugs up on them, or let siblings/friends with aspirations to hip-hop "scratch" with them. If they really want to be djs, they can buy their own damn records. That said, here are fhe reviews: The world of BOY CRAZY seems impossibly bright Pastel colours and sentiments of childlike enthusiasm saturate this band's latest release. A peppy beat, silly organ lines, and light- hearted vocal harmonies decorate "Last Thursday" and "Pro-fun Ditty " The faintest hint of mischief can be read into "White Gloves," surely these kids aren't advocating shoplifting?!? Indie pop's dom so well articulated. (Magic Marker, PO Box 9342, Portland, OR, 97207) Speaking of indie pop, MARINE RESEARCH s members belong to a long and venerable lineage of just that The vocals on "Queen B" and "YYUB" are unmistakably Amelia's (Talulah Gosh, Heavenly), and though her bandmates are less obtrusive, I have it on good word that at least some of them also share Heavenly ancestry. Both of these songs are slow, bubbly, soothing, ond well-crafted. It could be natural genius or it could be the result of 15 years of practice — either way, they've certainly got the hang of the formula. (Where It's At Is Where You Are, 1 Bankside, 10 Brock Lane, Maidenshead, Berks, SL6 UP UK) The gorgeous Stephin *. THE MAGNETIC FIELDS, presents his latest pair of melancholy experimental love songs on / Don't Believe You. Both pieces feature lots of props, toys, and keyboard presets, yet he manages to make the clutter sound mature, dignified, and strikingly poetic. (Merge, PO Box 1235 Chapel Hill, NC, 27514) Those of you more inclined towards grease and fuzz than lollipops and synthesizers will appreciate THE KASSOS It Would Be My Pleasure To Fuck You Up. This EP inclu seven fast, Satanic c rage-punk anthem for delinquents and white trash. The Kossos want to kill you and eat your brains. (Vendor, PO Box 15134, San Diego, CA, 92175) THE RONDELLES are a '60s-style girl band, amped up and armed. Grating punk guitar underlies gry but graceful "Revenge" and "Backstabber." Anothei fresh take on nostalgia from the Dub Narcotic factories (K, PO Box 7154, Olympia, WA, 98507) Apex, Trancelike, the new single from DUSTER, intends to provide the soundtrack to ceiling-contemplation, carpet-wallowing, and minutiae-pondering. Duster's sound is trancey, languid, occasionally atonal. However, no matter how limp these veggies get, I cannot help but nod dreamily over lines like "It's the rarest of times when we can spend the night." These boys have a definite ability to capture and portray states of near-sleep and quiet intimacy (Skylab/ Smoothlips, PO Box 165736, Miami, FL, 331 16-5736) Sleeve notes for the four- band Lonestar Showdown Vol.2 compilation state: "If this doesn't get you laid, nothing will." An interesting claim, but I doubt it can be tested scientifically. All the bands put on a pretty good show: screamy fuzz punk/garage stomp from THE PHANTOM CREEPS; bouncy pseudo-ska by STRETFORD; boppy synth-laden pop rock with Biafra style vocals from THE HAMICKS; less distinctive garage by THE PARANOIDS. (Li'l Deputy, PO Box 7066, Austin, TX, 78713) The Hamicks, mentioned above, cover their side of the Hamicks/PRIMADONNAS split with gulped vocals and unbelievably cheesy synthesizer, creating a sort of punked up Mid- dleof-the-Road/New Wave a la 1985 sound. The Primadonnas, one- ime victims of a stout dissing from yours truly, have improved their fake- Brit synth pop impersonation. Otto Matik, their rpm | surlv* round-headed 1 singer, is not nearly as annoying as he once was. "Mad Dog" is a fun song about lusting after skinheads. Very Eurotrash. "ig Jerk, 1411 Norwalk Lane #201, Austin, TX, 78703) The work of CYCLING belongs to the recorded-in-the-red, lo-fi, off-key, talentless but charming school of indie pop. With its gorgeous psychedelic sleeve and clear orange vinyl, this record is perhaps more visually than aurally substantial. Nonetheless, Cycling induces smiles. (Detector, 6524 Harco Street, Long Beach, CA, 90808-2242)* March 8 is International Women's Day. CiTR will be doing a full day's programming dedicated to women and women's isSUES. It's not too soon to get involved! Call Anna at 822.1242. ••••••• • ••• • • \ Kinetoscope compositi 1LOVE IS THE DEVIL M really didn't like this one. I wasn't nearly as put off by it as she was, but there were things that bugged me about it. At its best, it was one of those self-conscious art bio-pics that Jarman became fond of during the course of his career, but it never had the guts to step away from its central character, to use this figure in any kind of a daring way, the way Jarman did in Wittgenstein and Caravaggio. You could just tell the filmmaker/s here really thought he/they had gotten inside the material Which brings me to the following point: to shoot much of a film on/about Francis Bacon in a way that mimics the style of Bacon's paintings (distorted, grotesque, etc.) is both ridiculous and insulting. First of all, it suggests that Bacon painted as he did because that is simply how he saw the world around him, how he processed visual information — as if it's that easy: "he was a realist, but he just saw the world in a funny way." As if that's the only reason anyone would paint like that. As if Bacon's paintings couldn't possibly have been, say, a willful act against the world around him. Secondly, it that the viewer couldn't truly understand Bacon's paintings otherwise: "here, let me show you why his paintings were so weird" Not a bad film, just a flawed (perhaps heavily) one. 2 MODULATIONS Trying to make a 90-minute documentary on THE STORY OF ELECTRONIC MUSIC is both silly and futile. You just end of setting yourself up to have a "sweeping account" of electronic music with some glaring omissions/holes (i.e. women; dub; Eno; etc.). Why not focus on a part of that story, cover it in-depth, and do it well? There was certainly no shortage of interesting smaller stories that emerged during the course of the film (technology as escape in the early Detroit and Chicago scenes; the beginnings of hiphop; the post-1989 German scene/s; etc.). In any case, I just don't have a whole lot of tolerance for poorly made documentaries, and this one certainly qualifies. As T put it: "Like Entertainment Tonight™ on acid!" Let's face it, fhe film is just 90 minutes of soundbites on electronic music, with really no other anchor to speak of. It really was just one of those MTV™- style "rockumentaries," but this time it was on electronic music. Visually, that wasn't "chaos theory," kids, that wos just poor filmmaking. Random imagery is a no-brainer, and the pace of the film was not only an attempt to squeeze in as many electronic genres as possible, it was an attempt to mask lack of content. Seriously, there was maybe five minutes of truly interesting interview material in that whole $%&*@! film. And that's not because they didn't track down interesting people; the film's greatest asset is the very fact that the filmmakers managed to interview an absurd amount of electronic musician/players, many of whom were/are serious heavy-hitters. Either the interviews largely flopped, or most of the good stuff got cut out. Or maybe it was just because you never got more than about one minute (max.) with a single performer. On the way back home, I told J and B that I didn't get the feeling the film itself was really listening to the music. You never got more than a soundclip of any particular iry bit of ally accorded the same amount of attention/ respect — from the worst tripe to the actual cultural importance. 3 FAME WHORE It's amazing what some loser will put up with in the name of indie street cred. Completely asinine. (Yeah, I know, I know: "It was supposed to be like that!"). Good title, bad film. 4 GODS AND MONSTERS Overall, some pretty respectable acting on the part of Mr. McKellen and some very fine acting on the part of Ms. Redgrave. The film was fairly well made, too, with the exception of a couple of scenes that had zero tempo. Unfortunately, the film never had a chance because Brendan Fraser was completely miscast in one of the central roles. I generally think that there's no such thing as bad acting, just bad directing — however, there are some exceptions to this rule as well. '6 ^ Printed Matters SEAMUS DEANE Reading in the Dark (Vintage) DERMOT HEALY A Goat's Song (Little Brown) Nero, prior to his timely demise, is said to have cried out, "Qualis artifex pereo," or "What an art- These two Irish novels question the untimely demise of truth and the struggle for redemption. Humans are a fickle breed without much sense, given to widely ostentatious and highly destructive impulses. Both works present the bitterness and bestiality of Ireland's sectarian strife and difficulties in coming to terms with its joint heritage. Deane's unnamed character struggles with the lies, propagated in his family, about his uncle: IRA hero or emigrant to America? Healy's Jack Ferris contends with the troubles in his lover's past and present as well as the curse of trying to lose sight of the demons such patrimony We are probably familiar — lest our heads be so firmly implanted in the earth — with the basics about the struggle land: Protestants versus Catholics, Unionists versus Republicans. Deane's character, born shortly be- ... fore the end of the Mi Second World fill War, brings for- "'] ward the long- _::::: standing history of the conflict be- quered people and dominantly Protestant a and would continue to be British (Hence the Queen of England is the Queen of Great Britain and thei pare In the 1920s, following a bloody overt civil war between the British Unionists and the Irish Republicans which sought to redress the certainly of the Battle of the Boyne in the 1690s, Ireland had been divided into two Six of the nine counties of the ancient northern province of Ulster were to be granted to the pre- Northerr Catholic eland, etc.) Many -l the North found onable, while the rounded. Like cornered rats — the Catholic Republicans threatened by the virulence of Presbyterian anti-papist fervour, while the Protestant Unionists were terrified of the plague of republicanism and orthodox Catholicism that the southern Irish constitution professed — both sides used whatever measures to protect their in- The Unionists, as the bigger rat in Northern Ireland, were able to force the submission of the many Catholic citizens through RUC (Royal Ulster Constabulary) muscle and control of judicial proceedings. With this backdrop, we encounter Deane's unnamed protagonist Beginning near the end of the Second World War, Deane's character encounters the bizarre figures in his family, past and present, and else- He also makes his own way about the ghosts of Northern Irish history as well as evolving ith his environment. The to is of am r,yi of the difficulties of growing up. Added to that basis is a mystery: who was and what happened to his uncle? His mother won't speak of it, his father doesn't know about it, and everyone else questions either fate: emigrant to America or IRA hero. The RUC makes its unwelcome presence felt in the protagonist's life to intimate something unsavoury about his family and generally to be a nuisance. Truth is well-hidden and desirous to re- Healy's A Goat's Story is a Both works present the bitterness and bestiality of Ireland's sectarian strife and difficulties in coming to terms with its joint heritage from his neighbour, Catholic Matti Bonner, and through visitations to the Irish Republic, his wife's birthplace. Circumstances deepen Mr. Adams's resolve to get into the Catholic mind. His girls, however, jump the sectarian strife to find out about life, thereby encountering the Leitram lad, Jack Ferris Nothing ever goes as planned, with misfortune and treason breaking through the most admirable of goals Even at their most circular novel beginning at the end and ending at the beginning of the end. It is the tale of attempted reconciliation between the two Irelands. We begin with Jack Ferris, Catholic, waiting in vain for his Protestant ex-lover, Catherine Adams. From there we shift to the origins of Catherine's character from her father's ardent Presbyterian upbringing and increasing fears in the 1960s. After some particularly nasty business clearing a student march in Bogside, during which Jonathan Adams (the father) was taped brutalizing Catholics in animalistic rage, he seeks redemption Healy's characters . Jack's Catherir drunken n destroys his life with ie and Catherine's dalliances and jealousy are presented as altogether human foibles that these self-destructive lovers engage to degrade themselves before each other. Both novels are engagingly well-written and encompass most facets of humanity — from treacherous deceit to brutal honesty — in environments ill-suited to sentiment and openness. Despite the cruel environment of Northern Ireland and intolerance (sectarian and other), there is in both works a sense of hope and escape, even if only in the dreamworld of the reminis- Staplegun Showdown ZINES • BY MiMiC <mmmcross@hotma to the eye. #15-16 is the Warped Tour Special double issue; #17 is the conventional slew of rockers. A good place to get re-acquainted with "the scene." Thumbs up. (c/o Zach Feldberg, PO Box 741, 1057 Steeles Ave. W, North York, ON, M2R 3X1 <ductape@interlog.com> http:// Hey there! Time to come out of hibernation and start finding new zines to distract you from your schoolwork. The holidays yielded some great new reads for the MiMiC. Shall I? OFF KILTER #4&5, $4, 8 1/2 X 11,36 pages Whoof. Ready for a hilarious, perverted and ultimately grotesque kick in the face? Here it is, compliments of the delightfully disgusting pen of Tim Grant. The word "mature" as used in the "Mature Readers Only, Please" cover warning is a laugh; you've got to be pretty devoid of all intellectual snobbery when you take on Off Kilter This could qualify as the comic equivalent of The Tom Green Show. Sexual organs take on superheroic powers in #4, as a saliva lubricant provider named Jimmy the Spitter fights off the evil Dry Humps with a condom whip. In #5, Sally wreaks vengeance on her demanding shark- maimed parents by replacing her mother's unborn foetus with well, I won't give away all the surprises! The characters go off on surprising, unexpected tangents. All in all, a twisted, unique, rad read, (c/o Tim Grant, 3275 W. 8th Ave, Vancouver, BC, V6K 2C6) AFTERNOON DESCENDS INTO NIGHT #10, 8 1/2X5 1/2, 44 pages, offset printed Thought only one-half of Mecca Normal had literary talent? This chapbook-style publication originates from the hands of guitarist David Lester. Delicately intermingling charcoal sketches with a ch, he i whimsical colle- of c panel images, many of which would be much more refreshing to find in a daily paper than Gary Larson's old tricks, (c/o Get To The Point Publishing, 304-1320 Salisbury Dr., Vancouver, BC, V5L 4B3 <meccanormal@msn.com>) COOL MUSIC #1, $2, 8 1/2 X 11, 40 pages, newsprint A new zine intending to cover "punk, oi, ska, rockabilly, swing, garage, surf, lounge." The Vancouver guide to — well, cool stuff — is great, recommended to visitors or newbies as it's fairly comprehensive and to-the-point. Looong interviews with Citizen Fish and Nashville Pussy, short articles about skinheads and abuse, and the ol' bag of reviews. Looks like Cool Music will develop into something even cooler over time, (c/o Talesha, Box 78068, 2606 Commercial Dr., Vancouver, BC, V5N 5W1) DUCTAPE #15-17, free, 8 1/2X5 1/2, 48 pages, DTP'ed These guys helped put on The Smugglers' New Year's Eve Rockfest at the Horseshoe in To- mensely, so I'm inspired to briefly plug their wares. Ductape is a skillfully designed punk zine done by a few cool boys, with a website that's equally appealing -ductapefar -») Keep 'em coming! ' Let your Spring Fiver drive you into a mad zine- making frenzy s 920 Pine Street, Kamloops, BC, V2C3A2. Mysic Servfq§§ CO/COR MANUFACTURING CASSETTE DUPLICATION RADIO TRACKING GRAPHIC DESIGN WEBSITES 500 CD S from $995 500 2 panel inserts (4/1) Jewel Boxes plus free clear trays Assembly, Shrink Wrap & Shipping 500 CD'S WITH DESIGN from $1495 500 2 panel inserts (4/1) Jewel Boxes plus free clear trays Assembly, Shrink Wrap & Shipping Graphic Design & Film plus Overlay Proof PRESS KITS from $120 Includes design of 4 page kit, 1 colour Plus 150 copies (full colour also available) BAND WEB SITES from $299 Includes 1 yr. server space (5 megs) prices good until March 31, '99 Call us at (604) 687-6860, ph; (604) 687-6827, fax Under Review ALBUMS • ZINES • RECORDED MEDIA A minor forest Inindependence (Thrill Jockey) Upon my tenth listen to this album from this now defunct San Francisco band, I finally realized the perfect word to describe their songs and the entire band all at once, EVIL. While some bands are crazy because they at some point consciously decide to act and sound all crazy, A Minor Forest are sincerely crazy, evil men who moke music which expresses their ultimate hope for the destruction of all mankind (it even says so inside the cover of their first album) Inindependence is a collection of angry, sad, and even dreamy bits of angular, post-punk guitar noise and sparse, gentle picking pieces. Most songs begin with a smooth and clean guitar/bass part, and then suddenly, out of nowhere, explode into an angry and passionate chorus, complete with full-on distortion, speedy drumming, and fits of screaming My personal highlight is the extra-mathy first track, "The Dutch Fist," which starts out as a gentle, melodic guitar piece and then blows up, in a way only the almighty Slint could match, to become a relentless wall of heavy drums and driving guitar Never has the phrase "My ears are bleeding" meant so much The only knock I have on this album is the annoying fifth track, a 15- minute long epic of a song which at times sounds like the CD is skip ping, and at other times like the band is getting bored of playing quietly. This album lacks some of the unbridled emotion of A Minor Forest's first Thrill Jockey album, Flemish Altruism, but it more than makes up for that with its weird song structures and original stutter step, freak-out noise parts. Every time you listen to it, some new part comes out of the background and gets stuck in your head. If you like your math rock to creep up and scare the crap out of you, get this album. Chris Corday AFGHAN WHIGS 1965 (Sony) Afghan Whigs' frontman Greg s the consummate show- ; he's r but • creepy but endearing, shocking but charismatic, evil yet brilliant. On / 965, Dulli delves further into his obsession with sex, drugs, Motown/R&B, and obsession itself. Essentially, 1965 can be divided in two sides. "Side 1" finds the Whigs in familiar terrain doing sleazily delivered big-riff anthems which have "single" written all over them — but for what format? They're too tasteful for 18 modern rock, and they're not college radio Not that any of this should matter, but it will to the suits at Sony "Side 2" consists of more grandiose compositions textured with rich, elegant instrumentation like strings and horns The second half is a bit of an acquired taste; once the songs have grown on you, they have the most to offer once you begin to scratch their surface. I'm still in the discovery process myself The proceedings are, as always, directed and precisely mapped out by Dullli. While it's definitely their deepest and best sounding album yet, I'm still not sure if it's their best overall and I probably won't know for some time; that's just the kind of album it is. Fred derF AT THE DRIVE-IN In/Casino/Out {Fearless) On the front of the record, the sticker says "Sounds like Fugazi meets The Promise Ring," and even though I hate to compare bands like that, it's just all too inevitable after listening to this CD so much. You just can't ignore how much the singer's voice sounds like Ian Mackaye, not to mention the jagged, feedbacking guitars and melodic bass parts. This band is all about dynamics, starting, stopping, starting again with a new tempo, but in the end it becomes a little bit predictable In/Casino/Out succeeds most when the band is less melodic than they are noisy, as they are on a number of tracks here. The second track, "Chanbara," is a good example of how At The Drive-in can shovel out the intensity when the singer decides to stop being a silly-sounding rhymer (as he is on the first track), and just scream his head off. As well, the album doesn't fall info the trap that most emo bands fall into, because on a couple of tracks they turn off the distortion and play some nice, soft picking parts with a little bit of melodic piano, and they restrain themselves from rocking out at the end of the song as they do on every other trock. This is definitely better than a lot of stuff I've heard this year. I bet they'd be incredible live, too. Chris Corday BELLE & SEBASTIAN This is Just a Modern Rock Song EP (Jeepster) Belle & Sebastian's fourth four- song EP, released in early December, takes a look back to the band's early songwriting days. These four songs are less adventurous than the songs on The Boy with the Arab Strap (their latest and most available full-length re lease), but are not as boring to listen to The music is still beautiful, each note remains purely exquisite Harmonies still soar ond the guitar still plugs along while trumpets and trombones noodle in the background. Lyrics speak of boys, girls, writing songs, and standout track is "Slow Graffiti," which appeared in the film The Acid House earlier this year. This is a cheaper and more listenable investment than The Boy with the Arab Strap, for those who have been hearing more and more about Belle & Sebastian. And for those who have been listening to the band for some time, well, you probably have this CD already. Chocolate baby ART BERGMANN Design Flaw (Other People's Music) Ol' Art's scored a winner here Better known around here in the early '80s for displaying intense energy while fronting such bands as The Young Canadians/K- Tels, and Poisoned or co- fronting Los Popularos, Art Bergmann has gone to TO. to kick-start his career after almost an eight year absence and his mounting frustration with the lethargic Vancouver scene. His first step back into the spotlight is this all-acoustic effort — a musical baring of Mr. Bergmann's soul, if you will. Art attempts to wash away the bad experiences of the last 20 years, which have included tangles with drugs, alcohol and personal demons. You can hear this exorcism in every emotion-filled note and unsteady vocal wailing which only Art can deliver. Good on Ontario indie label Other People's Music (known for putting out such releases as the recent Dishrags best-of) for giving Art one more kick at the can. This album shows Art has much more raw songwriting talent than he has been given credit for in the past. Even the acoustic delivery of some of his older tunes such as "Our Little Secret" and "Faithlessly Yours" shows that these are much more sensible and from-the-heart than their original synth-pop delivery gave them a chance to be. Too bad Art has left Vancouver, as we won't get to see his musical rebirth first-hand. Mike Chilton JELLO BIAFRA If Evolution is Outlawed, Only Outlaws Will Evolve (Alternative Tentacles) This happens to be spoken word album #5 for the ex Dead Kennedy's singer. A three-CD set focusing mainly on censorship and recorded live from various venues on a spoken word tour of once losing my interest. On CD one, he jokes about TV newscasters, media manipulation, and the whole Mumia Abu- Jamal affair Although he talks about many serious matters, he does so on this CD with enlightening humour, more so than the following two CDs in this package Venturing out into CD two, Jello lets us in on more censorship, this time with Disney and Time/Warner, among others (Which eventually reminds me of Conrad Black's news media empire here in Canada ) After getting into the groove of things, he turns the course for some more humour with the media's labeling of "super predators," jokes about sport utility vehicles, and scares you with family values on parade at Wal-Mart. Near the end, he dives into the music industry with proposed legislation and bills which could seriously affect the musicians in America. Amongst other things, he also discloses the consequences of the MAI/NAFTA and the World Trade Organization, making this one of the most interesting out of the three discs Alas, we come to CD three, where he exposes the faults of the American prison system and the religious right. More entertainment comes the way of advertisers and their affect on news reporting, media and entertainment. He mentions the McLibel trial in Britain and talks a bit about corporations and the load of crap they get away with. This is one hell of a package which comes with a great looking gatefold and a tonne of information. Pick it up, listen to it over and over and begin to arm LENNY BREAU Boy Wonder (Guitarchives) If I were 15 again and someone like Lenny Breau were in my class, I'd be so jealous of what he could do that I'd probably beat the hell out him each day and then go home and cry because I couldn't do what he was able to do. Fans of jazz guitar will, undoubtedly, know of the Winnipeg virtuoso's ability to turn a whole bunch of fancy guitar licks into something worth listening to While most guitar music comes across as little more than musical onanism (see Steve Vai or Ynwie Malmsteen for examples of this), Lenny Breau had the songwriting capacity to keep a listener interested, along with the guitar playing talent to amaze fhe clowns who read Guitar World each month. What makes me sick to my stomach is the fact that Lenny was only 15 when this material was recorded. This is the kind of album that could teach the greatest egomaniac a lesson in humility. Lenny, unfortunately, cannot record any more albums like this as he was shot in the head by his coke dealer a few years back. Coke dealers suck. Gabby Resch BURGER/INK Las Vegas (Matador) How can I describe this album? In a word: subtle. There is nothing obout this album that forces itself upon the listener. Nothing is intrusive. After consulting some people more in tune with the styles of beats and general tones of the recording, I learned that it is a fine example of dub. Ah, dub. It's all it is, man. Shane Vander Meer C AVERAGE C-Average (Kill Rock Stars) Ahhh, riff-rock, Black Sabbath- influenced riff-rock. It's fun for about five minutes and then gets old really fast. C-Average are a duo of guitar and drums playing heavy, drop-d tuned, rock and roll. They are competent musicians and the songs aren't really that bad, but this kind of rock was already overdone in the '70s and all the tracks sound almost exactly the same And it doesn't help that they yelp "Okay! Alright!" a few too many times during the course of the album. It's not very interesting to me, but if you like your riff-rock heavy and lo-fi and want some modern juice for your stereo with the big April Wine sticker on it, this is for you, "baby." Alright! Chris Corday CRASH Crash (CW Productions) First, I gotta say that this is a very catchy band and a very catchy CD, with a very catchy name. But why Crash? It's more than a little misleading. The music isn't particularly crash-like in any way. That said, the recordings are not only all clean and tight, but the individual musicians each display personal command of their instruments without threatening the unity of the bandS sound. For better or worse, the repertoire shows a comparable level of unity. Different rhythmic feels are used, but forms, voicings and tonal effects soon become predictable. My own years of experience with jazz bands indicates that this predictability is now considered a good thing in jazz circles, so I suppose you hardcore jazz insiders can take that as an endorsement of sorts for this CD. The fact that the apparently improvised solos occasionally dissolve into a pool of quotations might, therefore, also be viewed positively. Okay, fine. If it makes you feel sophisticated to recognize specific licks, you'll like this CD. On the other hand, if you don't recognize them, you'll be all the more impressed with these apparently spontaneous expressions. Conclusion: this band probably has the technical and artistic tools necessary for long-term success, but I'd personally prefer to hear them spend less time referring to jazz and more time redefining it. Joshua C. Broyles DAAU (Sony Classical) I don't know what to make of the cover, with its strange and slightly horrifying radioactive animals in computer-generated colours, but the music is amazing. Daau, an abbreviation of Die Anarchistische Abendunferhaltung or, translated into English, The Anarchistic Evening Entertainment is a group of classical musicians in search of new sounds. Although it is on a classical music label, it cannot be defined as such, as they walk into too many genres and combine sounds from very disparate sources (reggae classical, anyone?). The clarinet, violin, cello and accordion play a central role in the music as do programming, guitars, and drums. The music is sort of reminiscent of Die Knodel, but is more urban and not as folk inflected. This is a wonderful record that has been a constant companion in my CD Paul Kundarewich LOWELL FULSON Blue Shadows (Sony Plain) Something strange happens to me when I throw this album in: my ass begins to shake and my right leg twitches at a feverish pace. This very same condition used to plague me whenever I'd listen to the song "Mary Ann" by Buddy Guy and now it seems to have returned. I tried to listen to this while lying in bed one night and I damn near fell off. I made the mistake of tossing it in the deck while driving around Winnipeg a few weeks ago and narrowly averted disaster. One should only listen to Blue Shadows while standing in an open space. Fulson's horns 'n' guitar style dominates most of this album and while it does get repetitive in a few spots, it's a good kind of repetitive. Allhough covers of Big Joe Turner's "Oh! Well Oh! Well" and T Bone Walker's "Mean Old World" stand out, I cannot find fault with any of the cuts on this album. With the background provided by Canada's own Powder Blues Band, this album should make your ass shake and your leg twitch, as it did to me. If you don't see this happening, I would suggest that you see a doctor immediately. Gabby Resch GOV1NDA Atom Heart Madras (EMI Musk Italy S.p.A.) It EITHER IS Hindu devotional music or it ISN'T. It EITHER IS intended to be used in conjunction with strobe lights and nth-generation designer synthetic alkaloid nightshade derivatives or it ISN'T. Okay, maybe I'm not entirely right on either point. Fine. You connect the dots. I have a very real interest and respect for both idioms and I generally prefer stylistic hybrids to "pure" forms, but I find that this CD induces a certain level of cognitive dissonance in terms of its implicit ideology. I'm not denying that people who pump their heads full of chemicals and spend days at a stretch wiggling around on Jp_>A^*_A- doncefloors may be having a religious experience, but I wouldn't want to be accused of refeaing to such activities as compatible with Hinduism. On the other hand, I don't think I'm too far out on a limb saying that a CD which might be interpreted as such a statement actually sounds good. By all this, I mean that you need precisely two questions addressed before you consider buy ing Ihis CD: Q: Wil it help you get in touch with your Inner Whatever? A: I really have no idea. That probably depends mostly on whether your Inner Whatever actually wants to be touched at all. Mine is strictly handsoff. Sorry. Q: Does it have all the requisite covertly Eno-referencing mechanical drum sounds, long and complex single-note sythesizer envelopes, and vaguely "meditative" sounding vocal echoes? A: Absolutely. Conclusion: you can either dance to it or use it to further enhance your combined crystal, aroma and colon-hydro therapies Play it for your ex-hippie parents and you'll have a high-tech retro-bonding experience which will help transcend that little disagreement over your recent piercings. Joshua C. Broyles HEFNER Breaking Gods Heart (Too Pure) In Hefner's Darren Hayman, it's easy to hear the voice of a telemarketer outside his vocation. Someone who turns away from a neurotically routine existence to sing out about all the sick things he thinks behind his contained conversations. Here, he has recorded an album full of cryptic, perverted and overwhelmingly smart faux-pop. Flanked by bass player John Morisson and drummer Anthony Harding, and with the help of friends (including Stuart from Belle & Sebastian), Hayman creates straightforward pop songs catchy enough to make you forget that he's singing about seducing angels and sleeping with vulnerable friends. He goes on and on with these themes, sort of a more crafty version of Lou Barlow s pathetic yearning and The Mountain Goats' wry tendencies and energy. There is also an embarrassing vat of sensual details, he obsesses over thighs and knees and lips and fingers, notunlike Jeff Magnum of Neutral Milk Hotel When his songs are creepy, he sings as if he's really pathetic. When the songs are cocky (or sassy), his delivery is sharper than any drama queen this side of Los Angeles. Perhaps it is tongue in cheek, but the album itself is an evolution in the singer-songwriter stream that seems to draw so much attention right now. It shows a songwriter both aware of production values and able to communicate in song a great range of moods, stories and personas. THE KLEZMAT1CS with CHAVA ALBERSTEIN The We// (Green Linnet) Fans of The Klezmatics may find the band a bit subdued on this re lease, but in Ihis tradeoff subtlety wins. Israeli diva Chava Alberstein sings the words of vari- ous Yiddish poets while the Klezmatics artfully arrange themselves to best highlight her voice. Eschewing the frantic pace of most klezmer, this album is full of slow, aching music. In Itsik Manger's words: "Is it really my fault if by er- ror/sheyn (beautiful) happens to rhyme wilh geveyn (weeping)?" The Well is a powerful testament to 20th century Yiddish literature and Jewish culture. Your grandmother will weep, and so will you. Anna Friz P.W. LONG with REELFOOT Push Me Again (Touch & Go) Intense ... Explosive . Raw .. Powerful ... Swampy ... Grimy ... Hard hitting ... Rolkjp-your-sleeves psychedelic southern rock 'n' dirgy blues Jesus Lizard and Jon Spencer meet Jimi Hendrix, The Doors and Steppinwoff Strap yourself in for the P.W. Long experience and hold on tight — this is one heck of a white knuckle ride! Fred derF LONGFELLOW And So On... (Kung Fu) Kung Fu, the label run by Warren of The Vandals, adds to its impressive and expanding roster of pop-punk quality with Anaheim's Longfellow. Similar to labelmates The Ataris in their Green Day ish head-bopping teen angst, Longfellow (unknowns, at least to me) have turned in a most impressive release. Let's be honest There ain't much originality left in this genre loday, but bands like this, with their own spin on what's been done before, still wow me. "Anthropomorphism is a silly deceit" is the lead- off, most easily misspelled, and most memorable track here. Trevor Fielding LONG HIND LEGS Feb.4th-14th, 1998 (Kill Rock Stars) I was very disappointed with ihis record, considering it is the creation of a usually great musician, Vern Rumsey (Unwound, Blonde Redhead) Long Hind Legs, I'm guessing, is Vern's (and a coconspirator, Allen America's) new-wave outlet away from the wild post-punk basslines he's usually churning out. Whatever it is, it sounds nothing like Unwound, and I guess that's what I was expecting to hear, which means I was probably negatively biased to begin with. It's hard to tell if the drums are all electronic or not, but they sound like something off a New Order record, and they almost single- handedly ruin every song. Some of the soundscapes, basslines, and piano keyboard parts are alright, but the lyrics are cheesy, random, and generic, and the obviously intentional lo-fi-ness of the record just annoys me. The best tracks on the record are the gloomy ones without singing, but they're still not that great, they're just music that doesn't catch your attention for very long. I think it's a pretty boring record. Chris Corday MILLENCOLIN Same Old Tunes (Epitaph, Burning Heart) Millencolin are from Sweden and to put it quite simply, they're good. Enough said. I will, however, tell you a little bit about this album, which happens to be o re-release from 1994, originally called Tiny Tunes. Same Old Tunes is a bit of a bridge to hold on to until they release their much- anticipated follow-up to 1996's For Monkeys Since this is early Millencolin, the sound quality ond overall production is down a notch from For Monkeys, but the some lyrical and melodic talent was there right from the start They fit right into that Warp Tour sound, but Millencolin seem so much more real than most other bands right now trying to duplicate the same sound. They're honest, danceable, and smart. Ken Paul NILS PETTER MOLVAER (KM) The background feel of jazz has often been the sounds of North America. Think of a trumpet and you may think Louis Armstrong and his Hot Five One doesn't ihink of sampling and looping when one thinks of a trumpet. This recording possesses a stark urban feel with Asian soundscapes intertwined with ambient electronic music. The music has emotional content. Jazz's next frontier? Paul Kundarewich MXPX Let It Happen (Tooth and Nail) Wow. I must admit I was really surprised when I heard this. After their last major label shitfest, I didn't expect much. But this, this is good. It is a compilation of old 7"s and such, and hey, it's way better than the new shit. Dave Tolnai OF MONTREAL The Bedside Drama A Petite Tragedy (Kindercore/Elephant 6) Those who are not familiar wilh of Montreal should be warned that they are not resident Canadians. Word has it that Montreal gave lead singer Kevin Barnes a lasting impression when he visited it many years ago, so he named his band after it. It seemed like only yesterday of Montreal came out with The Birds Who Ate the Rabbits Flower EP. Their sound is very Bearles- esque and sounds like happy candy pop. They use synthesized sounds along with conventional pop tools. This album is a chronicle of two people in love. It carries through the entire relationship, each song an act in the drama. If you like this, keep an eye out for their new 7" single Nicki Light House, on the Japanese label 100 Guitar Mania. Katrina PIGMENT VEHICLE Murder's Only Foreplay When You're Hot for Revenge (Sudden Death) Well, it took a move to Joey s new label to spur them on, but the heavily freeform, jazz- influenced, funk-punkin' trio from Sidney, BC have finally found their own groove. Their first effort, 1993's self-released Perfect Cop Moustache, had flashes of brilliance, even though their overall sound was totally copped from NoMeansNo. However, I decided to check out their live act and was mesmerized. I gave a good review to that CD based on their Five years later, Murder's Only Foreplay ... — a beauty of an album title, probably my favourite of the year — convinced me to give Pigment Vehicle one last chance; after all, their live act still smokes. I was not disappointed by this release one bit! Fat, searing bass and percussion lines, original and intricate lyrics, and most of all, that ever- present driving rhythm... this release has almost anything you could want from a NoMeansNo release, plus an added dimension: a sound you'll find only at a Pigment Vehicle gig. This does not necessarily mean it is belter lhan a NoMeansNo release, but, thankfully, different. Finally, Pigment Vehicle has a marriage of live sound and recorded sound made in heaven (or hell) and recorded for posterity ... thank you, Mr. Shithead! Mike Chilton REFUSED The Shape of Punk to Come (Burning Heart) Holy fucking shit. I thought this was absolutely retarded the first time I listened to it. But then ... well. Picture a hardcore Fugazi No joke. Dave Tolnai ROYAL GRAND PRIX High Performance (Wrong) Once upon a time, long, bng ago, in a far away land called New York, there lived four men with Black leather jackets and long, straight hair. Each taking a common last name, they produced some of the finest punk rock the wodd has ever known. A licentious bunch of fellows, they fathered numerous children, some of whom carried on the family tradition. Others, however, brought nothing more than shame to the good family name. The name, dear reader, Ramone. Locals The Royal Grand Prix (pronounced pricks) are among the belter Ramones knockoffs plying their trade today. Songs like "Scabies" and "VSfell Oled Machine" are a clear testament to the influence that the brothers Ramone have had on Rocky, Rosie, Robbie, and Mac Romoli. While High Performance is, essentially, a good album, I would have to say that your money would probably be better spent on seeing these guys live. As they play frequently around the cily, you should pick your ass up off the couch and mosie on down to their next show. I missed them recently and I'm still kicking myself in the teeth for it. Gabby Resch BIM SHERMAN It Must Be A Dream (Mantra) This recording is a track-for-track 1997 release, Miracle, and greatly expands on the traditional reggae dub versions that most artists and producers present to listeners. Most importantly, the album relies on stand-out musicians and a wide array of instruments, from percussion to strings, to craft songs that draw us in with Iheir never-ending grooves. The music, however, is not what sticks in one's memory, as Bim Sherman's smooth, soft, and soulful crooning steals the show on this highly impressive disc from a veteran reggae artist who has not had his share of the spotlight. Steve Guimond WHALE All Disco Dance Must End In Broken Bones (Virgin) Is it because I'm bisexual that I always love bands comprised of bolh genders? Think Pixies. Diggable Planets. Sonic Youth, and now Whale Sweden (a country that is far ahead of us in kicking patriarchy's ugly ass) has birthed a pretty fucking good trip-hop/whatever group. Not being familiar with Whale's first EP or fulHength release, I am unable to compare them with All Disco Dance Musi End In Broken Bones. And why should I? Disco Dance is a serious album. "Roadkill" is the best car/relationship analogy song since the Go-Go's "Skidmarks on my Heart." The opening track, "Crying at Airports," gives a hi-five to Portishead while sounding fresh at the same time. "Deliver the Juice" rocks hard. It's the kind of song lhat your head starts bopping to immediately as you automatically rise out of your barstool in mid-sentence and dart towards the dance floor. Not all is perfection, though. In "Losing Girl," an annoying Whale member starts screaming like a murderous, Swedish version of The Sugar-cubes "Einar" Perhaps the best thing about the album is the title. Hardcore. If you were lucky enough to catch Whale opening up for Tricky last fall, I don't wanna hear about it. Hancunt VARIOUS ARTISTS Southern Distribution Fall/ Winter 1998 Compilation (Southern) This is a sample of 12 bands with releases on Southern, Tree and Polyvinyl Records. If you've heard anything by bands on these labels, then you know what you're in for, but if you haven't, this is a really great compilation to expand your indie rock tastes. The songs vary quite a bit in variety, from the catchy, dub- influenced post-punk of Franklin, to the country-rock of Karate's track, to the quite acoustic strumming of Jen Wood. Every song (except the track from the Terrifying Experience, yuck!) is at the very least decent and my personal favorites have to be the tracks from American Football (the excellent side project of Joan of Arc), Sean Na Na (ex-Calvin Krime), Beekeeper, and Rainer Maria I'm going to end up buying half of the albums by the bands on here, that's how much I liked the compilation. My poor wallet! Chris Corday onthe Wool-Wide-Web Bidini, Bockris, Fetherling, Marcus, Lennon, Rollins Fully searchable catalogue and on-line ordering www.blacksheepbooks.com Student discount 15% with I.D. Discounts for frequent buyers Regular Hours Sun - Tues -11 am - 7 pm Wed - Sat • 11 am - 9 pm 2742 West 4th Avenue (next to the Naam) 732-5087 Real Live Action SHINDIG The whole shebang) Every Tuesday for a long time. (Sept.-Dec. '98) Railway Club And the winner is Clover Honey! Yes, I bet you all know that part of the story already, but how about the rest? How many of you spent every Tuesday night of last term at the Railway Club (mad props to Davey & Troy, who actually DID do this!), watching bands of various skill and showmanship levels battle it out for some guitar strings, drumsticks, and a chance at something a little bit better? After a few runaway winners and bizarre upsets, we arrived at the finals with only three bands Along the way, we enjoyed sets by many local bonds you may have heard of, like The Disgusteens, Full Sketch, Forecasts Farewell and Peppersands, and a few newcomers, like 42, Tiefisher, and Fridge Art Tiara In the end, we were left with ... pop. The finals, which took place at the Starfish Room on December 1 1, gave us the op portunity to view fine performances by Clover Honey, Team Strike Force, and Feisty All three bands were worthy of the spotlight and I hope that they all continue to do well on the local scene. I am going to enjoy my seven-month sabbatical, possibly taking in a cheap movie or two, and then I'll be ready for the next batch of up-and-comers in the fall Much thanks to everyone who performed, came out, and kept me amused on those nights Julie Colero THE BOMBORAS BLACK MARKET BABIES Wednesday, November 6, 1998 Starfish Room The Starfish Room was slow to fill, so the show got off to a late start with The Black Market Babies, an energetic garage rock and roll quartet The antics of ihe lead singer were nothing short of hilarious — I haven't seen anyone roll around on the ground as long as he did, wilh the exception of my dog, Lightning. And then, like a sudden Out Now on LP/CD SLEATER-KINNEY THE HOT ROCK On Tour Soon Produced by Roger Moutenot Distributed by Mordam Records Kill Rock Stars 120 NE State #418 Olympia. Wa 98501 ©1999 Kill Rock Stars. UVE REVIEWS twister descending on Kansas, the savage, rhythmic, and intoxicatingly exotic Bomboras were in full swing. The stage was transformed into an Easter Island of tremendous tiki heads, monstrous moai, and sensuous smog with the crowd forming the swelling ocean. The Farfisa filled the room with its eerie notes and upbeat melodies. The guitars wailed the best in garage surf The sharply dressed Bombora lads defined class with "She'll Do You Wrong" and a marathon version of "Pier 13." But the highlight of the show, of all the shows I've ever seen, was the blaze of flames upon drums, organ and bass. The stage was illuminated with fierce reds and oranges from the burning instruments and with the intense and unique sounds of the surf combo. The Bomboras, unflustered, played with their instruments on fire. More exciting than a roller coaster, more spine tingling than Bela Lugosi, and more fun than a barrel of monkeys, The Bomboras put on the I've begun too late, buf I was rockin' safe, which left me with a muffled rendition ol... Anyway, the plugs put me on the periphery of the rock experience But the kids, fhe kids went crazy — as I was mesmerized by bassist David McCaffrey's resemblance to an '80s porn star (especially when he'd bit his bottom lip). Rock songs like "King and Queer of Siam" and "I Gotta Move" had the fanatics in a frenzy, even more so wilh "Speedy Movie" from Teenager of the Year or "Los Angeles" from Frank's first self-titled album in 1993. And the kids rocked. Yet, through my muffled perception, the opening "Holiday Song" was a reminder: this is not Black Francis, no, no, but Frank Black or maybe Joe Jackson ... I dunno. badmonkey HAYDEN BODEGA Wednesday, December 2, 1998 Richard's on Richards I wish that all shows were this good Really, aside from a few idiots in the crowd, ond a somewhat lackluster opening act, this concert was damn near perfect As a guy known to really hate Hayden in good spirits in this, the last week of his six-month long tour. Once known for his intense acoustic shows, Hayden's newest incarnation includes a full ^ Fiesty did their best to win the Shindig judges' hearts. Second's the best, right? backing band, including friends Mitch and Josh (formerly of Poledo) and Damon (formerly of Change of Heart). The new setup is a dramatic change from Hayden shows a few years ago, but it worked extremely well. For over two hours, including two encores, they covered material from all three of Hayden's past efforts, including a surprising wealth of material from his original indie effort, Everything I Long For. With so many more people to work with now, Hayden's old material took on new life — hell, I think hearing the new version of "In September" was worth the most energetic and exhilarating shows I've ever laid eyes upon. David Evans FRANK BLACK AND THE CATHOLICS Sunday, November 15,1998 Rage Listening to the recent Frank Black and the Catholics self- titled album (fourth after The Pixies, for those keeping count), visions of Joe Jackson came into me little head — hmm, wonder why — dunno, could it be they're both smooth as cue balls? So it was the first ear-plugged show I've ever attended. I'm not sure if price of admission alone. This was a nice cozy evening wilh one of Canada's most charming performers. Openers Bodega put on a solid set despite the crowd's obvious lack of enthusiasm They tried their best to entertain us and they were definitely better live than their new disc, Bring Yourself Up, would have you believe. Their happy indie pop sound was good enough to warm you up, but really didn't offer anything new or exciting. Brian Johnson DESTROYER CAPOZZI PARK NEW HEDRON (advertized as VOn ROBOT) Friday, December 4, 1998 Anza Club I am embarrassed to admit it, but for someone so wrapped up in music, I don't know the first thing about my own local music scene Maybe I've been too busy taking notes on Chicago or singing the praises of Glasgow to look at the talent which is right here in town. Maybe it's also because I'm scared to go to the Brickyard or the Columbia by myself late at night ... Anyway, this show served as a good wake-up call; Vancouver (and nearby 'burbs) knows how to rock. Vote Robot, a Kelowna electronic act, decided that their indie/math-rock alter-egos, New Hedron, would be better suited to playing this show. I was disappointed that I didn't get to see a band I'd heard many good things about, but New Hedron were good enough to distract me from my complaints. I'm still waiting for a real Vote Robot show, though. Capozzi Park is the new vehicle for frontman Mark Szabo who, now with the help of a full band, played a perfect set of cozy pop-type tunes. Headliners Destroyer are probably one of the most well- known bands on the local scene and now I can finally figure out why. Just you try to go to one of their shows and nof enjoy yourself! Dan Destroyer's voice takes a bit of getting used to, but the band plays creative, yet comfortable music that doesn't take long to warm to. (Dan's other band, The new Pornographers, with Carl from Zumpano, is also great and worth a listen.) Destroyer's got a style all of its own and is worth a trip to an unknown venue to see. All of these bands were, actually ... Julie Colero THE PILGRUM'S PROCESS Emily Carr Video Gallery FULL SKETCH THE SECRET THREE Sugar Refinery Tuesday, December 8,1998 I always knew that art students were cooler than I was ... and now I know why. They write and act in charmingly creative puppet shows! Congratulations to Sydney Hermant in her adaptation of Paul Bunyon's morality tale. The Pilgrim's Progress. Hermant modernized the tale, adding quirky references to record labels and other hip talk To a pre-recorded dialogue, the main character of Girl, a small shaggy-haired doll with what looked to be an oversized heart strapped to her back, went on a difficult journey to fix her social ailments. Whoever was responsible for the fabrication of all the puppets should be greatly rewarded — although sometimes highly unfunctional as moving puppets, the creatures and creations were great to admire With the accompaniment of two musicians seated on the edge of the audience, the ploy moved along with a lively spirit and I was disappointed when it ended. It was really special to see a bunch of students performing together, feeding off of each other's energies and ideas. From Emily Carr we headed to the Sugar Refinery to catch Full Sketch and The Secret Three. Full Sketch rocked my socks off in their usual smarmy rock-starlet manner and The Secret Three played music to sit quietly and listen to. I fell off a couch and made a nice kid have a lousy evening, but I think most people had a darned good time with these all-girl and all-boy Julie Colero THE SECRET THREE FULL SKETCH Tuesday, December 8, 1998 Sugar Refinery Full Sketch made the music of melting chocolate as interpreted by an organ and its kinly counterparts, drum and bass. First, they routinely threw the blocked semi-sweet into a dish, knowing full well that a truer, vaporous sound lay just a few notes away. Half a cycle around the watch later, the sound was gargling out clean as mouthwash through the room with tight, bright and playful music. "Well coordinated three-piece band has good song sensibilities," read the headline. The Secret Three cut through tepid thoughtspace. They had this way of establishing a gentle soundscape that put all ears in perfect comfort just to hear the triangle in its place. One man wandered the fretboard of his acoustic like it was his own backyard, with utter certainty where to find the fittingly ripe things. Another, just behind him, had timely restrain. He hit the snare as if to say "This time, and only ihis time I'll admit that I saw the dog shit on the carpet." The last just made sense of the chronology with a slow frame-by-frame bass. They claimed to play out their entire catalogue of low-key pop-a- nova in just 45 minutes. That's probably why they seemed so comfortable and comforting. THE DEFTONES QUICKSAND SNAP CASE Friday, December 11,1998 Croatian Cultural Centre Being an alkiges show, the scene Hats on for Barb of Full Sketch supposedly playing the Sugar Refinery in December, though pictures can be misleading. at the Croatian Cultural Centre on this night was one filled with "rebellious" teenagers decked out in Korn shirts, spiked hair, and of course, the essential Adidas pants and/or jacket. However, I must admit that the mood was intense, as everyone pretty much knew this was going to be a loud, entertaining show. They were partly right. Snap Case opened things with a very overdone imitation of the headliner Deftones, especially their singer who, from my standpoint, looked and sounded very much like the Deftones frontman, China Moreno. They did manage, however, to motivate the crowd enough to get them bobbing their heads in approval. New York-based Quicksand were much more rhythm oriented, as they dished out 45 minutes of their Helmet-esque hardcore which proved to be very entertaining. The Deftones took the stage with a truckload of energy opening with "Root," an extremely heavy number from their first album, Adrenaline. The set roared along with other great songs like "7 Words" and "My Own Summer (Shove It)." However, after completing an excellent rendition of "Head Up," the band left the stage for what everyone thought was to be a rest before the encore. Wrong. Deftones decided to pack it up after just one hour and 15 minutes. It was a great show for what they played, but hardly worth 30 bucks. Rob Kirkham HELLACOPTERS THE SPITFIRES THE WATTS Monday, December 14,1998 Starfish Room We arrived just as Bellingham's Watts were mounting the stage. The two familiar members of this band are Dave Crider (guitar) and Aaron Roeder (drums), both of whom were in the now-defunct Mono Men. This new outfit, on first listen to these ears, sounded like a bit of a departure from the Mono Men sound, but a logical one. The full-volume guitar and drum assault is still intact. The other noteworthy thing is the presence of an actual vocalist/ frontman sans guitar. Judging from his on-stage histrionics, I'm guessing that he probably had long hair about ten years ago. Nonetheless, he made a good first impression. Next up were The Spitfires, who came out blasting on all cylinders from the first note on. It wasn't even two seconds before singer Jason's beer slipped from his grasp and went pirouetting across the stage like alcoholic fireworks! Guitar chords got pulled, glass was broken, the front row was generally terrorized and this was only the first three songs! It was probably the best set I've ever seen them do and I feel that good things are in store for them if their gigs continue at this raw intensity. The Hellacopters were the loudest of three very loud bands. Fortunately, they also have hooks and sonic textures to make the aural destruction be more than just bearable but downright addictive. They only played some stuff from the Supershirty LP and also threw in a cover of The Rolling Stones "Gimme Shelter." The last number was a sonic Funhouse-era Stooges, which had me thinking I was gonna lose my mind in the swirling sonic soup. They came back for three SPEARHEAD LOS MOSCOSOS Saturday, December 26, 1998 Richard's on Richards We almost missed the whole show altogether, but we did eventually get there; however, that meant we missed Los Moscosos set. The doorguy said they were really good and had a "Latin funk" sound to them. We were even more disappointed about missing their set when their horn section came out during Spearhead's set. They were cool. Spearhead, themselves, had an awesome feel to them. The audience was excited to see them and the energy bounced well between the crowd and the band. Michael Franti has a history of political bands behind him and this comes across in Spearhead. In the middle of their set, he reminded everyone that Bill Clinton had recently bombed Iraq and used it as an intro to "Crime to be Broke in America." Despite the political background, Spearhead do anything but put on a boring show, especially since Franti holds the belief that people will respond better to stories than to finger pointing. There is a banter that goes on between Franti and the other singer, Trina Simmons. Before "Love is the Shit," Trina went around introducing each band member, encouraging the crowd to cheer for the guy they found sexiest. Then, during the cover of "No Diggity," Trina and Michael traded amusing insults. The night ended in goosebumps for us, with Franti midstage with a spotlight singing "Positive" — beautiful song on the record, but even better live. The encore was short and sweet and we went home relieved they didn't do "Red Beans and Rice." This was definitely a show well worth attending and busting out the dances moves for. lauren and tess DUSTER VOLUME ALL-STAR Tuesday, December 29,1998 Re-Bar, Seattle, WA If you drive two and a half hours down a big, scary highway to see a show, it better be pretty good. This one was not. Volume All-Star consists of a boy playing a couple of very elementary guitar chords per song, a pretty girl playing two-note basslines for five minutes at a time, and a drum machine with some nice, catchy beats to it. You know how most pop bands have this format that goes something like "verse, chorus, verse," and so on? Well, I guess Volume All-Star aren't talented enough to change chords and notes that many times during a song. They were perhaps the most simplistic band I've ever seen, and even though some simple bands can be interesting and fun to watch, this Seattle duo failed to do so. After two songs, it became painful to watch them, so I resorted to listening in to some jaded Seattle scenesters' loud conversations about how bad they thought this band was. Even though Modest Mouse was the big band of the evening whom most people at the club 3 tO S I ther Duster. After watching them try to tune their guitars for half on hour without much success, it became clear to me that this band would likely not sound the same as their album does. It turned out thot I was right. Although hampered by a terrible soundman who couldn't even turn the band's amps up to a level that would be audible by the keenest of hearing and some extremely badly-tuned Gibson guitars, Duster just plain stunk as a live band. They looked bored to be playing and were obviously preoccupied by being frustrated at the soundman the entire time they were on stage. (And I don't blame them!) If I hadn't known most of their songs before I went into the show, the whole set would probably have sounded like a big, noisy mess. I guess some bands just are meant to be heard on an album and not in a smoky club. Damn. Oh yeah, I didn't stay for Modest Mouse. Chris Corday DESTROYER KLAUS KINKI'S JERK WITH A BOMB Saturday, January 16 Brickyard The two piece Jerk with a Bomb, ex-Ex Dead Teenagers, sounded like three, what with a drummer able to sing, drum and play keyboards all at the same time. Short, to the point songs with vocal harmonizing, chunky chord changes, and energy to spare was the simple and worthy approach of the band. You ought've seen the singer's Adam's apple. Seattle's Klaus Kinski's obviously caught the audience off guard. Not just another filler opener, no no, the KK's spent ten minutes just getting the pedals and tuning right. Once the tinkering was out of the way, the three-piece broke into a fury of sonic melancholy. From the looks of the confident guitar player, it'd be easy to assume this guy does nothing but sit in his allocated space and fiddle until he gets (another) unique sound. They played about five long songs, each played in many phases. Occasional lyrics broke up the road trips along the fret board, and frequent pedal ho-downs washed some half-new, half- Spacemen 3 sound over the legions of gained fans. No releases yet from this band. Darn. A short makeover between sets brought on the flood of Destroyer One unnamed concert goer described their music as happy, using her leg-kicking fingers to express the parallel joy of their music. Somewhat puzzled, her companion just nodded, accepting the interpretation but not neccesarily understanding it. Three songs in, said companion seemed to get it. SOLO 2 TRIO Sunday, January 17 Vancouver East Cultural Centre This program was mostly music from the last three years. Many of the composers were in attendance, including Laura Elsie Schwendinger, whose Poinlillisms for solo piano started the evening. This was a collection of emotive, intelligent pieces. Each musical miniature ached with fearless isolationism, bringing our century's concert-going experience into full focus. Following this was the almost comically contrasting, likable and savvy Esprit Rude/Esprit Doux (rough breathing, breathing smooth) by Elliot Carter. His was a 1985 flute and clarinet duo, none too serious. Nikolai Korndorf s Lament was just that: a cello melody with piano accompaniment, earnestly wrought, which brought the listener to the sim ple state of being moved. The 1975 Piece pour Violin et clarinette, by Claude Vivier, was a journey from the Middle East to the Middle Ages, binding the room to its timeless spell. Anthony Grenge rounded off the first half of our evening with New Hocketts II: a strangely tense yet goofy trio for clarinet for piano, marimba, and piano. Another trio, Of siren tears by John Fodi, began the second half. It seemed unlikely that the second half could equal the first, but this piece was beautiful and meditative, and actually confusingly good. Bradshaw Pack followed admirably with Canzone Tenebrae. This cello/ English horn duo captivated me with its Brahmsian, Kurtag esque sobriety, and quiet passion. Ian Crutchley's solo bass flute work, Slide, went on to flutter about better than could be expected. Such an instrument, unaccompanied, can only pull off a worthwhile performance by creating a genuine intimacy that transforms the space in which it takes place. It worked. The evening ended with B&D by Hermann Rechberger. This bass and percussion romp led into free improvisation, with the clarinet player getting on board. Everyone enjoyed hearing the musicians show off and it was a good note on which to depart. John Keillor * get a gritnipple! ®®®®®® If you listen to CITR, you may have heard the track "Swampfoam" from Tampax Twin's first project "Gritnipple". tampax twin is now offering both Gritnipple I and Gritnipple II audio cassettes for your listening enjoyment... ALSO .. the NEW sQueakBox CD is available! sQueakBox is just another alias used by Tampax Twin, and the new sOueakBox CD features BRAND NEW tracks as well as tracks from Gritnipple II. For FULL DETAILS on how to get YOUR copy, call our 24-hour hotline at 604-623-2323 or visit our website at http://www.squeakie.com/tampaxtwin/ _J ®^§2u£I£ffi CiTR THANKS TO EVERYONE FOR ANOTHER GREAT BHifldig 1998 SHINDIG WINNERS WERE 1 st CLOVER HONEY 2nd FEISTY 3rd TEAM STRIKE FORCE AND THE OTHER FINE BANDS 42, BAKED ALASKA, HEAT 16, ROAD BED, PHYZAH, BOUNTY HUNTA & THE MUTINEERS, MR. UNDERHILL, CITRUS CONCEPT, GRADIENT PROFILE, JETSET, FORECASTS FAREWELL, FULL SKETCHJIEFISHER, FRIDGE ART TIARA, PEPPERSANDS, STATION A, DISGUSTEENS, SOME DUCKS, SWANK O'HARA, SILEOPHAGE, KICK IN THE EYE, SPLITTING ADAM, MARIANNE TURBO, RETREADS SPECIAL THANKS lo JULIE COLERO, BRYCE DUNN, KATRINA McGEE, CHRIS WALTERS, and TRISTAN WINCH & the Starfish Room and especially the regular patrons & staff of the Railway Club. notJUSTanother MUSICSHOP W EYE TEASER GRAPHIC beSIGN advertising that wl drive you wild.. iViiiry/j km y-^iilltom Book Space; February 17 Artwork: February 73 On fhe Streets: February t6 m-M7iext3)ioFtofj[> GET OUT OF YOUR SHELL. ^ANIGHT IN SEATTLE^ DOESNT HAVE TO LEAVE YOU BROKE STAY AT THE GREEN DOWNTOWN SEATTLE HOSTEL YOUR FIRST NIGHT. IS ONLY • 24 HOUR DESK • SECURITY BUILDING • FREE BREAKFAST • FREE INTERNET • FREE BEER FRIDAYS • DORMITORY AND PRIVATE ROOMS AVAILABLE 1525 2nd Ave (btwn Pike & Pine) by Pike Place Market"" CALL 1-888-424-6783 FOR RESERVATIONS , II l^| B^^ €D_> CiTR charts WHAT'S BEING PLAYED ON 101.9 FM lOW THE CHARTS WORK The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by our djs during the previous month (ie, "February" charts reflect airplay over December and January). Weekly charts can be received via e-mail. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"-» feb 99 long vinyl 2 fryertuck 3 the rondelles 4 rhe spitfires 5 ryuichi Sakamoto 6 the molestics 7 764-hero 8 talvin singh 9 autechre 10 run chico run 11 refused 12 murder city devils 13 destroyer 14 the bonaduces 15 royal grand prix 16 stereolab 17 ooioo 18 leu 19 johnny favourite ... 20 skinny puppy 21 front line assembly 22 third eye foundation 23 circle square 24 wagon christ 25 dock boggs 26 dino martinis 27 photek 28 the hellacopters 29 cat power 30 god is my co-pilot 31 pj harvey 32 the butchies 33 jim carroll 34 strawberry 35 do make say think sonic unyon independent smells like emi/virgin king hokum sub pop warp melee independent Reshape of punk to oome burning heart empty bottles, broken hearts sub pop soft favourites of... fiction romance, fast ... the spitfires love is the devil manufacturing hokum get here and stay ok autechre city of daughters the democracy of sleep high performance aluminum tunes chotto matte a moment! holiday romance remix dystemper *ind you guys kill me filtering blue tally ho his folkways years steak and comedian night form & function supershitty to the max triple crown endearing drag cily ull rock stars k nettwerk metropolis merge independent Smithsonian virgin moon pix get busy is this desire? are we not femme? pools of mercury brokeheart audio do make say think topper/atavistic mr lady mercury constellation feb 99 short vinyl 1 disgusteens 2 longstocking 3 make-up/lung leg 4 frigg-a-go-go 5 mulchmen 6 n. case/whiskeytown 7 silver scooter 8 magnetic fields 9 junior varsity 10 marine research 11 seagull screaming... 12 the kassos 13 fuck on the beach 14 the hentchmen 15 murder city devils 16 the go-devils 17 corpusse 18 various artists 19 rondelles 20 bangs nothing personal longshot will you stay? k split southern frigg-a-licious 360 twist! all the news that's fit to surf luna split bloodshot tribute to the phone calls peek-a-boo i don't believe you merge juvenile remedial s/t k it's brand new detector it would be my pleasure ... vendor fastcore on the beach slap a ham my catalina front porch dancing shoes die young stay pretty jnd Min fan favorite rivet self-portrait permafrost dub narcotic disco plate k maggie the cat ten-in-one feb 99 indie home jobs 1 team strike force lager + lime 2 clover honey three four 3 hell caminos fx 4 full sketch sketchersize 5 london paris unmatched sock 6 capt. cook i'm glad for you 7 hounds of buskerville blowin' off some steam 8 tampax twin swamp foam 9 kinnie starr bk lounge 10 daddy's hands statistic wigs 11 fridge art tiara untitled 12 the leeches donkey kong 13 sophistos military surf magic 14 kirby grips mod boy 15 bishop of battle coldward & stormward 16 transvestimentals inc dental transvestimental song 17 mizmo sprite 18 all purpose not fuckin' fair 19 the drove he stinks 20 dixie's death pool sht rides a bike with an engine tristan's top io fav words 1 arri (exp.) pirate-ism 2 wicked-smart ladj.j garrelli-ism 3 chocolate (n.j drug 4 to not disappoint (v.j cliche 5 speedom(n) speedo™ freedom 6 to timber-shiver (v.j pirate-ism 7 twassen (placet pirate-ism 8 caffinefn.) drug 9 a cookie (n.j an over-the-counter drug 10a spaz (n.j a production manager what we listened to ... , samprekop samprekop 2 smog knock knock 3 stereolab aluminum tunes 4 sebadoh the sebadoh 5 boxhead en semble the last place to go 6 ida losing true EP 7 edith frost telescopic 8 various versatility compilation 9 seaweed four 10 cat power moon pix i-jQ^fiTitio (ifnm? jdasilva@eciad.bc.ca> / Jason T)ct Sibva * m^&srsmsn, On The Dia YOUR ON-AIR GUIDE TO CiTR 101.9 FM SUNDAYS ARE YOU SERIOUS? MUSJC 8:30AM- 12:00PM All of lime is measured by its art. This show presents the most recent new music Irom oround the world. Eors open. 1H.ROCKERSSHOW 12.O0-3.O0PM Reggoe inna oil styles and fashion. BLOOD ON THE SADDLE alt. 3.O0- 5:00PM Reakowshikought-in-yer- bools country WIRHJ-SS alt. 3.O0-5-00PM QUEER FM 6-00-8.O0PM Dedicated to the goy, lesbian, bisexual, ond transsexuol communities of Voncouver ond listened to by everyone Lots ol human interest features, background on current issues ond greot music from musicians ol oil sexual preferences ond gender identities. HEliO INDIA 8.-00-9KWPM GEETANJAU 9:00-10:00PM Geetonjoli features a wide range ol music Irom India, including classical music, both Hindustani ond Carnotic, popular music from Indion movies from Ihe) 930's to the 1990's, semi- classical music such as Ghazals ond Bhajans, and also Quawwolis, folk songs, etc. 1WSHOW KhOOPM-IKMAM Sircdy Hip Hop — Strictly Underground — Strictly Vinyl Wilh your hosts Checkmate, Flip Oul & j Swing on the 1 & 2's. THE CHILL-OUT ROOM 1:00- 4:00AM DJ Clutch spins hipfiop DJ Decter spins techno So chill out with us. Hove o nice day MONDAYS BLUEGRASS FOR BREAKFAST 6:00- 8:00AM BREAKFAST WITH THE BROWNS 8:15-11:00AM Your favourite brawn- sters, James and Peter, offer o savoury blend of the familiar ond exotic in a blend of oural delights! Tune in and enjoy each weekly brown plate special. Instrumental, trance, lounge and ambience. BLUE MONDAY alt. 11:00AM- 1."OOPM Vancouver's onlyindustrial- electronic-retrcKjOth program. Music lo schtomp lo, hosled by Coreen. THE ETHER TABLE alt. 11:00AM- 1:00PM SOUPE DU JOUR 1:00-3:00PM Feeling a little french impaired? Francopha m around the globe, sans Celine Dion. IHE MEAT-EATING VEGAN 3:00- 4:00PM I endeavour to feature dead air, verbal flatulence (only when I speak], a work of music by o Iwentielh- cenlury composer — can you say minimalist? — and whatever else appeals to me. Fag and dyke positive EVl VS. GOOD 4-00-5.O0PM Who will triumph? Hardcore/punk from beyond the grave. BIRDWATCHERS 5:00-6:00PM Jon the Sports department for their eye on Ihe T-birds. POLYFIUiR alt. 6:00-7:00PM MUSIC FOR ROBOTS alt 6:00- 7:00PM Viva la Robotica Revolution. Estrogen-charged robots on Planet Noiz. HIP HOP HAVOC 7-OO-fcOOPM THE JAZZ SHOW fcOOPM-lfcOOAM Vancouver's longest running prime time jazz program. Hosted by the ever- suave Gavin Walker. Features at 11. Feb 1: "Jazz Album ol the Year" drummer/bandleader TS. Monk's Monk on Monk. Feb 8: Tokyo '96: Keith Jarrett (piano}, Gary Peacock (bass], and Jack Dejohnette (drums]. Feb 15: A newly reissued classic by tenor saxophonist/flutist/composer Yusel lateef: Before Dawn. Feb 22: Composer/Theorist George Russell ond his Orchestra: Jozz in the Space Age. VENGEANCE IS MINE 12:00- 4:00AM Hosted by Trevor. It's punk rock, baby! Gone from tie charts but not Irom our hearts — thank lucking Christ. TUESDAYS THE MORNING AFTER SHOW 6:00- 8:00AM THE CLASSICAL SHOW 8:00- 9:30AM Listen carefully as Johnny B. brings you the classical music show featuring Canadian composers, amateur hour and more. Radio con fuoco for the masses. THIRD TIME'S THE CHARM 9:30- 11:30AM Tomd troslvrock, sleazy surf and pulsalin' punk provide the perfect scissor kick to your head every Tuesday morn. There's no second chance when Kungf u is used for evil wilh drunken fisi Bryce- KiHyoaNII TRAGIC ANIMAL STORIES alt. 11:30AM-1:00PM Tales ol puppy bve gone awry, and of baby ducks crossing the street, all bocked up by a sad soundtrock of various indierock bands for your own enjoyment ond education. Cry in your beer, please. ECHOES FROM THE SUGAR CUBE FACTORY l.O0-2:00PM JD AVALON PRESENTS 2:00- 3:30PM Swing, baby. THE SUPPERY SLOT 3:30-5:OOPM BBC WORLDNEWS SERVICE 5:00- 5:30PM RADIO ACTIVE 5:30-6:00PM Activism, issues and fucking up the corporate powers that be. FLEX YOUR HEAD 6:00-8:00PM Hardcore and punk rock since 1989. http://llexyourhead. vancouverhardcore.com/ SAREGAMA 8:00-9:00PM Featuring traditional (classical, light and folk] and contemporary South- Indian music. LA BOMB A 9:00- 10:00PM La Bomba (the bomb] explodes with the best salsa and merengue, with your papi DJ Papilicious. WITCHDOCTOR HIGHBALL alt. 10:00PM- 12:00AM Noise, ambient, electronic, hip hop, free jazz, Christian better living LPs, the occasionol amateur radio play, whatever. VENUS FLYTRAPS LOVE DEN alt. 10:00PM-12:00AM Join Greg in the love den for a cocktail. We'll hear retro stuff, groovy jazz, and thicker stuff too. See you here and bring some ice. AURAL TENTACLES 12KWAM-VERY LATE Warning: This show is moody and unpredictable. It encourages insomnia and may prove to be hazardous to your health. Listener discretion is advised. Ambient, ethnic, funk, pop, dance, punk, electronic, synth, blues, and unusual WEDNESDAYS SUBURBAN JUNGLE 7:00-9:O0AM A perfect blend of the sublime and absurd, with your refined and exotic hosts Jock Velvet and Carmen Ghia. SPIKE'S MUSICAL PINS AND NEEDLES 9:00AM- 10:00AM Spike spins Canadian tunes accompanied by spotlights on local artists. Weekly "Vintage Vancouver" segment takes a look back at this city's musical past. BOTH SIDES 10:00AM-12:00PM Jose Luis discusses free trade ond other issues in the Americas. LOVE SUCKS 12-00-1O0PM Music at work. (Cut up mixed genres — eclectic, electric included but not mandatory). AUDIO SPROCKET 2:00-3:OOPM MOTORDADDY 3.00-5.-OOPM "eat, sleep, ride, listen to Motordaddy, repeat." BBC WORLDSERVICE 5.-00-5:10PM RACHEL'S SONG 5:1<W:00PM Info on health and the environment. From recycling and conservation projects to diet, health, and consumption and sustainability in the urban context. SOLID STATE 6:00-7:30PM Featuring the latest in techno, trance, acid and progressive house. Spotlights on local artists, ticket giveaways, & live performances. Hosted by M-Path. AND SOMETIMES WHY alt. 7:30- 9:00PM sleater-kinney, low, sushi ... these are a few of our faveoh-writ things, la la la! MARY TYLER MOORE SHOW alt. 7:30-9:00PM Girl music of all shapes and sizes. KXKOASISfcOO-10:30PM Featuring the latest local and international releases in folk/roots/world music, phone interviews, in-studio guests and more. Requests always welcomed! STRAIGHT OUTTA JALLUNDHAR 10:30PM-12*00AMletDJsJindwa and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay." Listen to all our favourite Punjabi tunes — remixes and originals. HANSKLOSSMISERYHOUR 12*00- 4:00AM Mix of most depressing, unheard and unlistenable melodies, tunes and voices. THURSDAYS RADIO ELUNIKATHIKO 6:30-8:30 AM Wake up to the sounds of Greece with Elena and Niko. REEL MUSIC 8:30-10:00AM Soundtracks and classical. FILIBUSTER alt. 10:00-11:30AM Part accordion-tinged musical meanderings, part experimental weirdness, with a little bad hill blood thrown in for good measure. STAND AND BE CUNTED alt. 10:00- 11:30AM DJ Hancunt urges women to get down with their cunts while listening to women in jazz, funk, rap, soul, worldbeat, disco and beyond. CANADIAN LUNCH 11:30AM- 1:00PM From Tofino to Gander, Baffin Island to Portage La Prairie. The all- Canadian soundtrack for your midday snackl STEVE&MKE 1 -00-2*>0PM Crashing the boys' dub in the pit. Hard ond fast, heavy and slow. Listen to it, baby, (hardcore). ONOMATOPOEIA 2:0O-3:OOPM Comix comix comix comix comix oh yah and some music.With Robin and Jules. BOMBSHELL alt. 3:00-5:OOPM RHYMES AND REASONS alt 3:00- 5:00PM CULTURE CRAP 5:00-5:30PM SHAPE UP alt 5:30-6:00PM REELS TO REEL alt. 5:30-6*OOPM Movie reviews and criticism. OUTFORKKKS 6:00-7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn right we hove fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30- 9:00PM Roots of rock & roll. UVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local muzak from 9. Live bondz from 10-11. COCKED AND READY alt. 11 :00PM- 1:00AM NOCTURNAL EMISSIONS alt. 11:00PM-1:00AM Music-lovin' and noise-makin'; a sonic cocktail for your conscious mind. DJ Satyricon, thePosterChildofGod, isyourguide. Night light optional. PLUTONIAN NIGHTS 1:00- 4:00AM Latenightvinyl. Occasional skips. Cheers. FRIDAYS CAUGHT IN THE RED 6:30-8:30AM Trawling the trash heap of over 50 years worth of real rock'n'roll debris. Stick out yo' can. ONE LOVE 8:30-10HX)AM Anything and everything from the wonderful world of music, as long as harmonies can be sung, and the melodies be heard. SKATS SCENE-IK DRIVE! IfcOOAM- 12:00PM Listen in to win a date with one of the co-hosts! THESE ARE THE BREAKS 12:00- 2:00PM DJ Splice brings you a flipped up, freaked out, full-on, funktified, sample heavy beat-lain trip, focusing on anything wilh breakbeats. Versatile at any style. UTTIE TWIN STARS 2:00-3:30PM Underground, experimental, indie and women. Jacuzzi space rock at its finest. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM NOIZ 4KXJ-5KJ0PM self-titled. BBC WORLDSERVICE 5:00-5:30PM 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, sambo, bossa & African music from around the world. HOMEBASS 9:00PM-12:00AM Hosted by DJ Noah: techno, but also some trance, acid, tribal, etc. Guest DJ's, interviews, retrospectives, giveaways, and more. UMP SINK alt. 12:00-6:OOAM Rant, phone-in and kiss your mother wilh the guests. DEAD AIR alt. 12:00AM-LATE Exceptionally interesting girl talk. SATURDAYS GH TO THE CHORUS alt. 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 ALAM MAZEKA 12:00-1:00PM POWERCHORD 1:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. LUCKY SCRATCH 3:00-5:00PM From backwoods delta low-down slide to urban harp honks, crooners and tunesters in the blue degree. Blues and blues roots with your hosts Anna and AJ. RADIO FREE AMERICA 6:00- 8:00PM Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think. Originally broadcast on KFJC (Los Altos, Cal.). LIVEI AT THE HI-HATII alt. 10:00PM-1:00AM "Sho' nuff bumpin'!"-Popular Music. Phone, write or call for reservations. Dance. Admission $6.00. PIPEDREAMs alt. 10:00- 1:00AM SOUL TREE alt. 1:00-4:30AM From doo-wap to hip hop, from the electric to the eclectic, host Michael Ingram goes beyond the coll of gospel ond takes soul music to the nth degree. EARWAX alt. 1:00- 4:30AM Noiz terrorism cut thru raw rhythms/as punk rock dissects Detroit minimalism/my Motor City madness runs tragic/my Jungle-ism spawns breakbeat sporadics/Da truth will be found bound in sounds/locked in my ears like Earwax. Word. -Guy Smiley REGGAE LINKUP 4:30-8:30AM nth Sister B. ♦ ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦»ttfttt->»M» BUILD YOUR CHOPPER BY RADIO - A COMPLETE LINE OF CHOPPER PARTS " Seats, Sissy Bars, Front Ends. Pipes. Etc. I FOR ALL YOUR MOTORBIKE LISTENING NEEDS for more information tune into the MOTORDADDY RADIO SHOW every Wednesday, 3 - 5pm CiTR radio 101.9 fm / 101.9 cable - HMM + M»*MMMM*»-»*m-MMM*M4 Rock and Roll is the most brutal, ugly, degenerate, vicious form of expression - lewd, sly, in fact dirty - a rancid smelling aphrodisiac and the martial music of every side-bumed delinquent on the face of the earth!" - FRANK SINATRA CAUGHT IN THE RED FRIDAY MORNINGS 6:30 - 8:30 CJTRFM101.S ROCK AND ROLL 2S Et^gSaEtES Datebook 'PENING IN FEBRUARY FRI JAN 29 Joe Keithley, Bob Cutler@South Hill Candy Shop SAT 30 Deadcats, Ten Days Late, Transvestimentals@Pic Pub; Veal, Nevada Bachelors@Railway; Motorspectacular with the Monster Jam Challenge@BC Place; Grapes of Wrath, Special Guests@Gate; SNFU, Just Cause, Duke of Medula@Starfish; Pedro the Lion@Lake Stevens High School (Lake Stevens, WA) SUN 31 Mahjong, The Terror/zer@Pacific Cinematheque MON FEB 1 Deadcats, Lowbrows@Railway WED 3 Sir Hedgehog, My Blue Heavy, New Town Animals@Slarfish; DJ Kutfather & Mr. Supreme@Sonar; Springer/ Ducommun CD release@Chameleon; Wheatchiefs, Treecrusher, Crowned King@Brickyard THU 4 Jason McLean & Shane Ehman's opening reception for "Pee on the Owl"@Havana; Dirtmitts, Jesse's Girl, Station A@Starfish; Bob Kemmis, Robert Wilson Trio, Steve Dawson@Railway; Sepultura@Rage; Probes@Brickyard; DJ Kutfather & Mr. Supreme@Chameleon FRI 5 Strapping Young Lad, Ocean Machine, lnfinity@Starfish; SPAG (all female western movie)@Blinding Light; Cathode Ray, Thurston 5, Thrillseekers@Pic Pub; Ray Condo & the Ricochets@Railway; Green Room@Chameleon; Honeymoon Suite@Studebaker's; Bangs, Witchy Poo@Washington Hall (Seattle, WA); Dub Narcotic Sound System@RKCNDY (Seattle, WA) SAT 6 Random Damage, Aberration, Raw@Starfish; The Bughouse Five, The Tonics, Murder City Knights@Pic Pub; Ray Condo & the Ricochets@Railway; By A Thread, Reserve 34, Burden, September, 12 Gauge@Seylynn Hall (ALL-AGES!); SPAG@Blinding Light; RAW (Roving Artists & Writers)@Legends Grill (608 Dunsmuir); Namedropper@Chameleon; Edith Frost@Breakroom (Seattle, WA) SUN 7 Collective Soul@Vogue; SPAG@Blinding Light MON 8 Expectations, That Day, on the Beach@Pacific Cinematheque TUE 9 Broadway Damage@Pacific Cinematheque (two screenings: 7:45 & 9:45pm) WED 10 Cozy Bones, Little Gorphin Annie, Browning@Starfish; Purple Penguin, Slick Sixty@Chameleon; Joe Keithley's Beat Trash Spoken Word ©Railway; FWUH DJs@Sonar THU 11 Peppersands@Starfish; Johnny Favourite Swing SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO 822 9364, ATTENTION "DATEBOOK." DEADLINE FOR THE MARCH ISSUE IS FEBRUARY 15TH! Orchestra@Gate FRI 12 Lucinda Williams, Patty Griffin@Vogue; Grames Bros., threesixty, Theresa Riley@Starfish; The NOW Orchestra with Wadada Leo Smith@Western Front (9pm) & FREE workshop (2- 4pm); Mudhoney@RKCNDY (Seattle, WA) SAT 13 COUNTDOWN: The Odd Decades@Hotel Vancouver Pacific Ballroom; Millenium Project@Chameleon; Queens of the Stone Age, Like Hell@Starfish; George Zukerman@Evergreen Cultural Centre, Coquitlam (1205 Pinetree Way); Sno-core Tour: DJ Spooky, Everclear, Redman, Soul Coughing@Mercer Arena (Seattle, WA) SUN 14 Valentine's Massacre Ball: Charlie Drown, Digital Noise Tribe, live freak show@Spanish Cultural Centre, New Westminster (ALL-AGES!) MON 1 5 A Brighter Summer Day@Pacific Cinematheque TUE 16 Hard Rubber Orchestra@Starfish; "Nocturne"(butoh dance)@Vancouver East Cultural Centre; DC Talk@GM Place WED 17 "Nocturne"@Vancouver East Cultural Centre THU 18 The Southern Cross Quintet featuring Sal Ferreras@Britannia High School Auditorium (1001 Cotton Dr.); GBH, Against All Authority, Billy Club@Starfish; "Nocturne"@Vancouver East Cultural Centre FRI 19 a tribute to Luna@Whip Gallery (9:30pm); Green Room, Slick@Starfish; Coal, Thermos@Railway; "Nocturne"@Vancouver East Cultual Centre; Michael Turner lectures on "The Tyranny of Genre, or Why Listen to Peter Gzowski When you can Talk About Contemporary Writing?"@Capilano College, Room 148, Cedar Building (8pm) SAT 20 Pluto, The New Pornogrophers@Video In (ALL-AGES!); The Spitfires, The Weaklings, Murder City Knights@Pic Pub; "Nocturne"@Vancouver East Cultural Centre SUN 21 Chinatown celebrates Lunar New Year@Dr. Sun Yat-Sen Garden (578 Carrall St.); Flying Bulgar Klezmer Band@Norman Rothstein Theatre, Jewish Community Centre (950 W. 41 st Ave.) MON 22 Grrrls with Guitars: Cindy Bergen, Monica Lee, Danielle French@Railway TUE 23 Zen Tricksters, Lift@Richard's on Richards WED 24 CiTR PRESENTS ROCK FOR CHOICE: SLEATER- KINNEY, CHE: CHAPTER 127, SUBMISSION HOLD, THEE GOBLINS, WEB, ERSATZ@Vancouver East Cultural Centre THU 25 Flying Bulgar Klezmer Band@Norman Rothstein Theatre, Jewish Community Centre (950 W. 41st Ave.); NoMeansNo@Showbox (Seattle, WA) FRI 26 CiTR PRESENTS ROCK FOR CHOICE: HOLLY McNARLAND, PURE, 30 HELENS, TODD KERNS, KATARI TAIKO, SINGLESEVEN@Vancouver East Cultural Centre; Brundlefly, Honeysuckle Serontina@Railway; Tom Cochrane@Vogue; Fred Eaglesmith@S»arfish; Sleater- Kinney@RKCNDY (Seattle, WA — ALL-AGES!) SAT 27 Elliott Smith, No. 2@Starfish; Tom Cochrane@Vogue; Arlo Guthrie@Mount Baker (Bellingham, WA) THEATERS • RESTAURANTS • RECORD STORES The Abyss 315 E. Broadway (side entrance) 488 6219 Anderson's Restaurant (Jazz on the Creek) 684 3777 Anza Club 3 W. 8th (Mount Pleasant) 876 7128 Arts Hotline 684 2787 Bassix 217 W. Hastings (at Cambie) 689 7734 Backstage Lounge 1585 Johnston (Granville Island) 687 1354 Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087 Blinding Light 36 Powell St. 878 3366 The Brickyard 315 Carrall St. 685 3978 Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195 Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant) 873 1331 Caprice Theatre 965 Granville (Granville Mall) 683 6099 Celebrities 1022 Davie (at Burrard) 689 3180 Cellar Jazz Cale 3611 W. Broadway (downstairs) 738 1959 Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806 Chan Centre for the Performing Arts 6265 Crescent Rd (UBC) Club Mardi Gras 398 Richards St. 687 5007 CN Imax Theatre 999 Canada Place 682 4629 Columbia Hotel 303 Columbia (at Cordova) 683 3757 Commodore Lanes 838 Granville (Granville Mall) 681 1531 Cordova Cafe 307 Cordova (Gaslown) 683 5637 Denman Place Cinema 1030 Denman (Vifest End) 683 2201 Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207 DV8 515 Davie (downtown) 682 4388 Firehall Arts Centre 80 E. Cordova (at Main) 689 0926 Food Not Bombs Vancouver 872 6719 Frederic Wood Theatre (UBC) 822 2678 Garage Pub 2889 E. Hastings (downlown) 822 9364 Gastown Theatre 36 Powell (Gastown) 684 MASK The Gate 1176 Granville (downtown) 688 8701 The Good Jacket 225 E. Broadway (at Main) 872 5665 The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057 Hollywood Theatre 3123 W. Broadway (Kitsilano) Hot Jazz Society 2120 Main (Mt. Pleasant) It's A Secret 1221 Granville St. (downtown) Jericho Arts Centre 1600 Discovery (Pt. Grey) Jupiter Cafe & Billiards 1216 (near Deman St) La Quena 1111 Commercial (the Drive) The Lotus Club 455 Abbott (Gastown) Lucky's 3972 Main Luv-A-Fair 1275 Seymour (downtown) Mars 1320 Richards (downtown) Maximum Blues Pub 1176 Granville (downtown) Medialuna 1926 W. Broadway Minoru Pavillion 7191 Granville (Richmond) Moon Base Gallery 231 Carrall St. (gastown) Naam Restaurant 2724 W 4th Ave (kitsilano) Old American Pub 928 Main (downtown) Orpheum Theatre Smithe & Seymour (downtown) Pacific Cinematheque 1131 Howe (downtown) Palbdium (formerly Graceland) 1250 Richards (downtown) Paradise 27 Church (New West) Paradise Cinema 919 Granville (Granville Mall) Park Theatre 3440 Cambie (South Vancouver) Picadilly Pub 630 W. Pender (at Seymour) Pitt Gallery 317 W. Hastings (downtown) Plaza Theatre 881 Granville (Granville Mall) Purple Onion 15 Water St. (gastown) Queen Elizabeth Theatre Hamilton & Georgia Raffels Lounge 1221 Granville (downtown) The Rage 750 Pacific Blvd. South (Plaza of Nations) Railway Club 579 Dunsmuir (at Seymour) Richard's On Richards 1036 Richards (downtown) Ridge Cinema 3131 Arbutus (at 16th Ave.) 738 3211 873 4131 688 7755 224 8007 251 6626 685 7777 875 9858 685 3288 230 MARS 688 8701 608 0913 738 7151 682 3291 665 3050 688 3456 688 2648 525 0371 681 1732 876 2747 682 3221 681 6740 685 7050 602 9442 665 3050 473 1593 685 5585 68! 1625 687 6794 738 6311 Russian Hall 600 Campbell (Chinatown) 874 6200 Scratch Records 109 W.Cordova (Gastown) 687 6355 Seylynn Hall 605 Mountain Hwy (North Van) Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) 291 6864 Singles Going Steady 3296 Main (at 17th) 876 9233 Sonar 66 Water (Gastown) 683 6695 Southhill Candy Shop 4198 Main (at 26th) 876 7463 Squish'd Knish 4470 Main (at 29th) 879 9017 The Space 316 Hastings (downtown) Starfish Room 1055 Homer (downtown) 682 4171 Starlight Cinema 935 Denman (West End) 689 0096 Station Street Arts Centre 930 Station (off Main) 688 3312 St. Regis Hotel 602 Dunsmiur (downtown) Stone Temple Cabaret 1082 Granville St. (downtown) 488 1333 Sugar Refinery 1115 Granville (downtown) 683 2004 Theatre E 254 E. Hastings (Chinatown) 681 8915 Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473 Vancouver E. Cultural Centre 1895Venables (at Victoria) 254 9578 Vancouver Little Theatre 3102 Main (Ml. Pleasant) 876 4165 Vancouver Press Club 2215 Granville (S. Granville) 738 7015 Varsity Theatre 4375 W. 10th (Point Grey) 222 2235 Vert/Washout 1020 Granville (dowtown) 872 2999 Video In Studios 1965 Main (Mt. Pleasant) 872 8337 Virgin Mega Store 788 Burrard (at Robson) 669 2289 Vogue Theatre 918 Granville (Granville Mall) 3317909 Waterfront Theatre 1405 Anderson (Granville Is.) 685 6217 Western Front (303 E. 8th Ave) 876 9343 Whip Gallery 209 E. 6th Ave (at Main) 874 4687 W.I.S.E. Hall 1882Adanac (the Drive) 254 5858 Women In Print 3566 W 4th (Kitsilano) 732 4128 Yale Blues Pub 1300 Granville (downtown) 6819253 Zulu Records 1869 W. 4th (Kitsilano) 738 3232 L@mamtnmfemimiKft_-_tmt_-r'_Mi Beefcake Strung Out No Use For A Name REO Speedealer Blink 182 Gob Chemical People Bigwig 88 Fingers Louie Cooter Douglas I Jugheads Revenge vzcortpf p £E3335£itL _^_____t_!_i_____ti Rhythm Collision Zeke Diesel Boy The Overdrives Ballgagger Hagfish Smut Peddlers Hate Fuck Trio 30 foot FALL Fun Size Bracket 1-45 w/ Cult Ceavers ftlbLMMJ 4 GREAT I COMPILATIONS | THXTWOVIDIX TODAY 'MID 9 ©EM ARTISTS ASTICKAT! .' CD $16.98 YOYO A GO GO CD GAZE Shake The Pounce CD Managing to be both light-hearted and introspective, this second K records full-length tinds local )p enthusiasts GAZE in top I form. And with more sophisticated songs. Shake The Pounce will charm new listeners as much as reward eager past fans Jingle-jangle with substance. And yes, they are cute (even their temporary drummer)! CD $16.98 Itakako minekawa I Cloudy Cloud I Calculator CD/LP A dd a new face to Tokyo' Mbeat-infused 'clubpop' scene, as TAKAKO MMEKAWA. along side CorneHus Fantastic Plastic MacMae. and Ptafcato 5, busy themselves g new chapters in futunstic pop Deftly blending the :e ol Stereolab with the robotic efficiency of Kraftwerk ty Cloud Calculator is a true weathervane of what's to — combining sharp samples, lush ambience and boss new disco tsunami undetectable by radar! | CD $16.98 LP $12.98 fc u BONNIE PRINCE I BILLY I See A CD/LP IM OHMs latest ■ ■working pseudonym delivers another sermon of haunted charm. Dart*., thoughtful and tender, only the enigmatic am could render the word "buddy" with fine poetic | warmth, poise and true soul (cf. the title track, I See a mess). Invoking glimpses of odd beauty and vivid grim- ;. Oldham reads deep stories in the simple dust of life. I CD $16.98 LP $14.98 WILLIAM S. 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This latest Ninja Tune release otters new remixes of tracks from Let Os Play, plus a cool interactive CD that samples Coldcut s latest tool: a program tor mixing, combining and sequencing cut-up sounds and images 2CD $19.98 PASTELS llluminati CD It's the Pastels like you've never heard them before, all remixed up and big-beat backed! Featunng a formidable 'secret society' of workers such as J Mcentire Jim Of Rococo Rot Third Eye Foundation My Bloody Valentine Cornelius the Make Op and more. But don't worry, the songs aren't so changed that you can't hear the sweet, coming through. We're converted all over again. er and satisfy. Not su prisingly, this new record has all the stuff we've come to expect, and somehow she even manages to give up just a little bit more. Besides, if her honest and smart tunes don't grab you at first, Dltranco s infectious energy will win you over for sure. CD $16.98 AERIAL M Post Global Music CD Formerly a SIM 'croonie', Da-rid Pa|o's quiet revolution is far underway yet we don't even fully realize it yet. If this sounds like a paradox, give Ariel M a listen. With such careful and appropriate arrangements, and such wonderful bridges and melodies, we welcome this shifting hegemony. Also converting an impressive list of provocateurs, such as THe & Tickle Trio and Bandy K. Brown this new remix project extends the influence of Pajo's subtle ideology We have succumbed and you will too CD $16.98 BUILT TO SPILL Keep It Like A Secret CD Blue chip players in the emerging Northwest Pop take-over, Built To Spill, along with like minded friends Modest Mouse and 764-HEftO. offer an unorthodox blend of heartfelt melodious pop-rock expressionism guaranteed to set the visceral juices in n. Building on their classic Perfect From Now On release, these new sonic buds are surely the first sign that spring will CD $16.98 Hiii:N;i:i4Viitfiiii]:.i:i«^* CD $16.98 AUTECHRE Peel Sessions cmp / 12-inch, $12.98 NEOTROPIC Ultra Freaky Orange cd-ep. $10.98 / 12-inch, I $12.98 I SLY AND ROBBIE Drum And Bass: Strip To The Bone CO, $19.98 ROB SWIFT Dope On Plastic cd-ep, $8.98 TEN FOOT POLE Insider co, $20.98 GOOBER PATROL Unbearable Lightness Of Being Drunk CD, $20.98 SATISFACT The Meeting At Third Counter cd, $18.98 VON ZIPPERS Bad Generation CD, $19.98 / lp, $14.98 DUMP Women In Bock cd-ep, $14.98 THE ANOMOANON Summer Never Ends co, $20.98 / lp, $14.98 BOWLING GREEN One Pound Note co, $27.98 SMOG Knock Knock cd, $20.98 / lp, $14.98 SEAN MEADOWS (June of '44) Every Sting The Way CD-EP, $11.98 ORSO (Rex, Red Red Meat) s/t cd-ep, $11.98 OUT OF WORSHIP Sterilized CD, $22.98
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1999-02-01
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Page Metadata
Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1999-02-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1999_02 |
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 | c7426aa4-5bfd-432b-9b44-632ec1cbbca5 |
DOI | 10.14288/1.0050163 |
AggregatedSourceRepository | CONTENTdm |
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