Discorder CITR-FM (Radio station : Vancouver, B.C.) 1999-02-01

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  ...sent GRANDE:
chameleon <$
801 VV. Georqia St., Vancouver, BC Tel: 669.0806
LAUNCH presents...
Plus residents f
Room 2: Andy B
prolific Toronto house product
i MC ID. & DJ Static
mo' funk
As Mo1 funk continue lo
fly the funk M.iu worldwide,
join in for an evening of
Ihe Wo 1-ink lull-.-hir
atom-line IHi hike, lodd 0,
Uanu D a Seren
$5 after 9
Abstract modem heals from
an oriqinal Vancouver trio.
$6 door - free b* 9pm
cup of tea
1 Bristol, UK)
UK downtempo crew rolls
Mo' funk rerordina artists
Plus hometown fave Dana II.
$S after 9
$6, door only
e relebmte Alpha's
linu to an inlemationcl
iv-ronl deal w/ Wkklow Ret.
$/, door only, after 9
1211 FEVER
66 WATER ST. Club: 683.6695 Office: 683.6527 t— *
Sound system by:   I Turbosound     Visual styling by: URBAN
pork place
bacHroom gold
airtight diesel. replay, dkny. tommy hilfiger. bluenotes. polo, calvin klein. and more.
top branded jeans, leading trends, it's happening at XX XY —
where we've got style down to a science.
whatever your sex, you know what's cool, that's why you'll waste no time
getting in on the action that will go down on robson street this spring,
you know you can't find this look anywhere else — it's in your jeans.
build and direct your team, ensure customers are number one, all the time,
train and demonstrate service standards and product knowledge, set and
exceed sales goals, make the whole store look and feel as amazing as
the merchandise.
__ a, _-, A   «■**■*.+ _■*.*»+•        ■», «**»«% ._ o. _*. •_*
aooxfanau*'     iuauagcx
coach sales associates in customer service and product knowledge,
support the manager by relaying store and customer needs,
create an extreme team/work environment.
Jr   _\ " a ^
floor   sup
stomer service and
iroduct'smarts, lead by example,
ig. it's all in the details —
.ng   technician
jnsideration send your story
set, suite 450, Vancouver, be
deal accurately with
wickedly quick, right
sales   ass
shipper  /
visual   me
oin us on robson str
to XX XY, c/o 475
v6b 4m9. fax 604
catch us on the w
shipping and receivi
on target.
eet. for immediate c<
west georgia str<
688.1885. xxxyjo
eb @ www.monst
^_ / tired
of not finding
the new vinyl you want?
3296 Main St. (at 17th)
we carry vinyl...
garage + oi!
+ hip hop
+ anarco-punk + ska
+ hardcore + emo + more
major/indie labels
new & used
(we also have CDs & scooter stuff!)
Don't be a wiener!!
Check out Ten Foot
Pole's brand new
album Insider." IN
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
-- 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
Vote Robot/French Paddleboat
Vancouver Special
Grumpy Old Doof/C^
Demo Derby
Interview Hell (is back!)
Seven Inch
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
Botched Ampallang
Good Tasty Comic
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
March 2,1999 - Pacific Coliseum
y -'f-kf ^
yap* *. ^^
1 ..fUe  .
Saturday March 13
m Vogue Theatre
E N  D U  L U M
•UNTIL   1 1
lSTS served
OPEN  7 am to  7 pm
OPEN  9  am to  5  pm
TV-P FA\/« 9f
MMMKmMIJMM, hurai^vc
HELM'S DEEP • DRAGLINE & special guest bands
SPLIT LIP ASTRAY   & special guest bands
i-U-L ■ >nT/_jl
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
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,
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
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\
\   w
ll^_.V-'.         P™9,.n,,,.,v™,h                 \flf
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"»
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
"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
Friday, April 9-Sunday, April 11. For more information, please
contact the 6CEN office at 604.879.2279 or e-mail
Comin' up
next month:
our fourth
call Miko at
EXT. 3
t! playing!
Landspeed recording artists
Need info? Call 473-1477! www.landspeedrecs.com
LANGLEY CIVIC CHIE. an- «lpafit„
Doors 7pm. Show ends around 11pm. Tickets $8advancelSl0althedoor. Radio
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
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
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
5-track demo 1997
7-track demo 1998
1-track on Rubber Room comp.
3 tracks on Northwest Hardcore
comp. (Division Records)
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
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
JT: Yeah, we have enough trouble getting three people together
to practice.
BLF: Although some more vocals
or another guitar would be kinda
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
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
vith    Ralph
Lee   Frc
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
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
^^^   "then we
formed the
Karen, what songs do you
like to Karaoke to at the
'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
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-
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
<tplan of agricultural sabotage took
place We, unsuspectingly,
walked in and headed for
the produce department.
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
Approximately 23 nights, at press
time, but feel free to check the
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
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
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
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
Who are you (names, ages,
instruments played,
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,
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
or #128-1896 West Broadway, Vancouver, BC, V6J
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.
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*
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.
A Terripin Production
"It really is a UK thing."
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
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.
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
Drum and bass in Vancouver started
developing through the club scene rather
than through raves because there was no
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.
"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
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
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
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."
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
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
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
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
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*
amount ofh
soundcheck got
Red host S"
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
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
JjBJf^Vy * who
Rendezvous   CD
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
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?
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
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
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« __________________
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-
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
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
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
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.*
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
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
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.»
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
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
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
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
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
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
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
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
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
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
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
The gorgeous Stephin
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,
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,
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
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
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
• •••    • •
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.
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.
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.
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
'6     ^ Printed
Reading in the Dark
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
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-
eland, etc.) Many
-l the North found
onable, while the
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
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
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
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
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-
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?
#4&5, $4, 8 1/2 X 11,36
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)
#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
#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)
#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
Keep 'em coming! '
Let your Spring
Fiver drive you
into a mad zine-
making frenzy s
920 Pine Street,
Kamloops, BC,
Mysic Servfq§§
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
A minor forest
(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
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' 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
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
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
This is Just a Modern Rock
Song EP
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
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
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
Boy Wonder
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
Las Vegas
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
(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
(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
(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
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
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
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
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
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
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
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
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
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
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
The Bedside Drama A Petite
(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.
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
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
High Performance
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,
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
It Must Be A Dream
This recording is a track-for-track
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
All Disco Dance Must End In
Broken Bones
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.
Southern Distribution Fall/
Winter 1998 Compilation
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
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
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
Wednesday, November 6,
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
On Tour
Produced by Roger Moutenot
Distributed by Mordam Records
Kill Rock Stars
120 NE State #418
Olympia. Wa 98501
©1999 Kill Rock Stars.
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.
Wednesday, December 2,
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
Sunday, November 15,1998
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
NEW HEDRON (advertized
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,
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
Emily Carr Video Gallery
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
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.
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
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
Saturday, December 26,
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
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
Saturday, January 16
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.
Sunday, January 17
Vancouver East Cultural
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
John Keillor
get a
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
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
& the Starfish Room and especially the regular patrons & staff of the Railway Club.
advertising that
wl drive you
iViiiry/j km y-^iilltom
Book Space; February 17
Artwork: February 73
On fhe Streets: February t6
1525 2nd Ave (btwn Pike & Pine) by Pike Place Market""
, II l^|   B^^
€D_> CiTR
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
smells like
king hokum
sub pop
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
city of daughters
the democracy of sleep
high performance
aluminum tunes
chotto matte a moment!
holiday romance
remix dystemper
you guys kill me
filtering blue
tally ho
his folkways years
steak and comedian night
form & function
supershitty to the max
triple crown
drag cily
ull rock stars
moon pix
get busy
is this desire?
are we not femme?
pools of mercury
brokeheart audio
do make say think
mr lady
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
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
4       full sketch
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
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
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.)
2   wicked-smart ladj.j
3   chocolate (n.j
4   to not disappoint (v.j
5   speedom(n)
speedo™ freedom
6   to timber-shiver (v.j
7   twassen (placet
8   caffinefn.)
9   a cookie (n.j
an over-the-counter drug
10a spaz (n.j
a production manager
to     ...
,     samprekop
2    smog
knock knock
3    stereolab
aluminum tunes
4    sebadoh
the sebadoh
5    boxhead en
the last place to go
6    ida
losing true EP
7    edith frost
8    various
versatility compilation
9    seaweed
10 cat power
moon pix
i-jQ^fiTitio (ifnm?
/ Jason T)ct Sibva
* m^&srsmsn, On The Dia
12:00PM All of lime is measured by
its art. This show presents the most
recent new music Irom oround the
world. Eors open.
Reggoe inna oil styles and fashion.
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
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.
Hip Hop — Strictly Underground —
Strictly Vinyl Wilh your hosts
Checkmate, Flip Oul & j Swing on
the 1 & 2's.
4:00AM DJ Clutch spins hipfiop DJ
Decter spins techno So chill out with
us. Hove o nice day
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
BLUE MONDAY alt. 11:00AM-
1."OOPM Vancouver's onlyindustrial-
electronic-retrcKjOth program. Music
lo schtomp lo, hosled by Coreen.
Feeling a little french impaired?
m around the
globe, sans Celine Dion.
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.
the Sports department for their eye
on Ihe T-birds.
POLYFIUiR alt. 6:00-7:00PM
7:00PM Viva la Robotica
Revolution. Estrogen-charged robots
on Planet Noiz.
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.
4:00AM Hosted by Trevor. It's punk
rock, baby! Gone from tie charts but not
Irom our hearts — thank lucking Christ.
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.
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
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.
3:30PM Swing, baby.
Activism, issues and fucking up the
corporate powers that be.
Hardcore and punk rock since 1989.
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.
10:00PM- 12:00AM Noise,
ambient, electronic, hip hop, free
jazz, Christian better living LPs, the occasionol amateur radio play,
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.
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
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jock Velvet and Carmen Ghia.
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
MOTORDADDY 3.00-5.-OOPM "eat,
sleep, ride, listen to Motordaddy,
on health and the environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainability in the urban context.
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
9:00PM sleater-kinney, low, sushi
... these are a few of our faveoh-writ
things, la la la!
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!
and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay."
Listen to all our favourite Punjabi tunes
— remixes and originals.
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
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.
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.
1:00PM From Tofino to Gander, Baffin
Island to Portage La Prairie. The all-
Canadian soundtrack for your midday
STEVE&MKE 1 -00-2*>0PM Crashing the
boys' dub in the pit. Hard ond fast, heavy
and slow. Listen to it, baby, (hardcore).
Comix comix comix comix comix oh
yah and some music.With Robin and
BOMBSHELL alt. 3:00-5:OOPM
SHAPE UP alt 5:30-6:00PM
REELS TO REEL alt. 5:30-6*OOPM
Movie reviews and criticism.
Birkenstocks, nothing politically correct. We don't get paid so you're
damn right we hove fun with it. Hosted
by Chris B.
9:00PM Roots of rock & roll.
HELL 9:00-11:00PM Local muzak
from 9. Live bondz from 10-11.
11:00PM-1:00AM Music-lovin'
and noise-makin'; a sonic cocktail for
your conscious mind. DJ Satyricon,
thePosterChildofGod, isyourguide.
Night light optional.
4:00AM Latenightvinyl. Occasional
skips. Cheers.
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
12:00PM Listen in to win a date with
one of the co-hosts!
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.
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NOIZ 4KXJ-5KJ0PM self-titled.
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, sambo, bossa & African music
from around the world.
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.
GH TO THE CHORUS alt. 6:00-
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
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
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.
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.).
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
nth Sister B.
♦ ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦»ttfttt->»M»
"  Seats, Sissy Bars, Front Ends. Pipes. Etc.
for more information tune into the
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!"
6:30 - 8:30
2S Et^gSaEtES Datebook
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
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
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
TUE 23  Zen Tricksters, Lift@Richard's on Richards
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)
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)
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
Strung Out
No Use For A Name
REO Speedealer
Blink 182
Chemical People
88 Fingers Louie
I Jugheads Revenge
vzcortpf p
£E3335£itL _^_____t_!_i_____ti
Rhythm Collision
Diesel Boy
The Overdrives
Smut Peddlers
Hate Fuck Trio
30 foot FALL
Fun Size
1-45 w/ Cult Ceavers
CD $16.98
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
I Cloudy Cloud
I Calculator
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
I See A
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
Best from the
Giorno Poetry
Systems CD
A much respected voce ot
the fading millenium,
Burroughs has probably yet to
receive his full due appreciation This sample dose of readings
trom the box set proves his continued and growing relevance
Culled from John Borne archives, this set well demonstrates
Burroughs depth, wit and keenness of mind; he was an eerily
prophetic literary presence capable of describing the horrific
and poignant with equal verisimilitude But don't just take our
word for it, read the books too
CD $10.98
Let Us Replay
"Though they've been at it for |
I some time, calling the guys I
trom Coldcut 'old school'
seems wrong and empty
Although they always have
something new to say, they say
it in the same, experienced voice. And they've been active long
enough to watch thin trends come and go. while still staying
creative and viable. 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
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
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
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
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,
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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