Discorder CITR-FM (Radio station : Vancouver, B.C.) 1999-04-01

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  COMING SOON...Pure Science (5/08), DJ Dan [5/20],
DJ Iz (05/29J, Aphrodite and more.
66 WATER ST. Club: 683.6695 Office: 683.6527 Fax: 688.2552
  T. _*_-___ .„„       ■*_—/ 5ty,iag by. URMN
801 VV. Georgia St
neleon ®
, Vancouver, BC Tel: 669.0806
always exciting Ms Brown.
$/after S
3rd eye
CD RELEASE "wub suffer"
Classic acid jazz & funk
residents Kamandi
6 Sipreano.
$S after 9
$7 after 10
pork ploce
the Loop presents
Deep house from       _,_*_!
Mike M. & Toe
Guest: Ren si
_ >
———      _^^g Features
El Vez
88 Fingers Louie
Dougal & Sawan
The Crust Brothers
Slice Magazine
Grumpy Old Dog
Vancouver Special
Interview Hell
Seven Inch
Staplegun Showdown
Under Review
Real Live Action
On The Dial
April Datebook
editrix: miko hoffman
art director:
robert horsman
ad rep: maren hancock
production manager:
tristan winch
graphic design/layout:
rob, randal mindell, mitchell
production:  barbara
andersen, julie colero, richard
folgar, ann goncalves, christa
min, randal, kirsten
photography &
illustrations: jason da
silva, ted dave, ann, randal
contributors: barbara a,
paul b, cody b, lauren b,
brady c, chris c, julie c, justin
c, mike c, val c, bryce d,
anna f, patrick g, alia h,
andy h, john h, maren h,
brian j, tamara j, anthony k,
bill k, blaine k, John k,
jannine I, christa m, randal m,
nardwuar, ken p, gabby r,
anthony s, dave t, carey v
programme guide:
anna friz
charts: julie colero
datebook: barbara/miko
distribution: matt steffich
us distribution: maren
discorder on-line: any
publisher: linda scholten
Botched Ampallang
Good Tasty Comic
seBADoh's rock babes (some think)
return to our fair city to play the vogue,
april 6th. Design by Rob Horsman (welcome our new art director!
© "DiSCORDER" 1999 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 $ 1 5 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 May issue is April 14th.
Ad space is available until April 21 st 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 the 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, email 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,
Printed In Canada
Discorder Magazine
jently accepting applications i
position of Editor
This position involves organizing & scheduling interviews; editing submissions; liasing
i I /      with label reps, volunteers, & other
staff; participating in long-term
planning of the magazine; and
basically ensuring that the magazine gets printed. Knowledge of grammar and good people skills are mandatory; experience with computers is helpful,
but we will provide training. The job requires
a flexible schedule (and a willingness to work
50-60 hours monthly) and lots of patience, as
well as a good knowledge of independent
and local music. This is a volunteer position
with an honorarium of $350/month.
Deadline for applications is Monday, April I2. You can
fax us at 822.9364, drop it off at #233-6138 SUB Blvd.
(UBC), or call us at 822.1242 (Linda) or 822.3017 ext.3
(Miko). Please DO NOT mail us your application. mmm ___□ i-ieft i{,roi_ive Grumpy
Old Dog
:   I
still don't understand the
vhole rap/hip hop thing The
:haracters, personas, and attitudes are completely foreign to
me. I mean, who is this Busta
Rhymes guy? I know he was
nominated for four MTV Video
Music awards, but I have a hard
time taking someone seriously
when their first name is "Busta."
Likewise "Puff-
Even though I don't have an
appreciation for the music, I get
pissed off when some guy
named Vanilla Ice (he's now calling himself — get this — Iceman)
comes along. Just another white
guy making a buck off a musical form that was developed and
established by black musicians
Our North American culture
— dominated by white tastes
and preferences — has always
commodified other cultural
forms. It's another way to make
a buck. In fact, North American
culture has always fed off the
ideas of others because we
sally create something that is uniquely ours. Either
that or we're simply not creative
enough to do something new. But
it's one thing to be influenced by
and to appreciate another culture — Laura Love writes very
Celtic music, for example — it's
another thing altogether to pretend to be the real thing. Just
another case of the dominant
culture trying to capitalize on
what is born of a subculture or
a minority.
It happened to soul music. It
happened to rhythm and blues.
It happened to Jimi Hendrix.
Hendrix became an icon of the
'60s and '70s because of his
b death and also be-
more now that it ever did then.
But Hendrix wanted more than
anything to be recognized as an
experimental blues guitarist. He
wanted to be listened to by his
black community. And although
he is most certainly listened to
by black music lovers today, how
do we remember him? We remember him at Woodstock, a
festival attended by young
white hippies, playing a
warped version of "The Star
Spangled Banner."
Despite ol' Iceman, it won't
necessarily happen with hip
hop. Hip hop is the first musical
form that was created with the
knowledge that the dominant
white culture would ultimately
subvert and commodify it for
their own gain. Hip hop and rap
artists constantly change the
form and style of their music.
They essentially redefine hip hop
with every release, so that even if
the dominant culture tries to copy
them, they are already onto something else. By redefining their style,
they are always ahead.
So despite my finding Busta's
name laughable, his comment
that one of the reasons he raps
so fast is so no one can steal his
lyrics is a classic example of cul-
And even Puff Daddy, who
samples, in their entirety, many
songs recorded and made famous by other musicians, isn't
doing anything that white culture
hasn't been doing for years.
Like I said, I still don't understand hip hop, and I'm not sure
I'll ever be able to put those albums into my own private rotation. But I'm learning to appreciate the ideas behind the music.*'
«^99 Vancouver
Happy Pockets EP
Ms. Coco Alcorn has been
playing around Vancouver clubs
and restaurants for years. The
only time I ever heard Coco she
was singing jazz standards in
some West Side location, but
that was a long time ago, before she sang backups for
54*40 and toured with Ani
DiFranco, for one thing, and
there's not even a hint of Cole
Porter or his ilk on this six-song
EP. Instead, these are Coco's
own compositions, with female-
powered titles like "She's Beautiful," "Whot a Spell," and "A
Woman's Wisdom," ond a singing style that has some of the
hyperactivity of Joe Cocker
and the back-of-the-throat voice
of Roy Forbes/Bim A technically accomplished vocalist,
Coco writes melodies that are
too complex to pin down, but
might just be tribal-rhythmed
jazz-folk fusion, at least in
places. Don't be fooled by the
childlike cover on this CD —
there's nothing simple about
Happy Pockets. (Po Box 22112-
w), this
45 Overlea Blvd, Toront
M4H 1N9)
Bless This Mess
While Chris Field's CD c
mod-slick (see next re\
one looks as girly-pop as can be,
with its cute/sad/futuristic drawing, childlike colours and hand-
lettering, but it is the nearly exclusive creation of the definitely male
Jose Contreras, recently seen on
the cover of Chart Magazine with
Gord Downie. Yes, Toronto's By
Divine Right has been touring
with Canada's scarily successful
stadium rockers, The Tragically
Hip, opening at enormous venues across the country. Jose's
voice even has a bit of that hard-
earned, world-weary, raspy Hip
quality, while the songwriting on
Bless This Mess's louder tracks is
more reminiscent of Matthew
Sweet, loaded with relentlessly
repeated high-energy hooks, although lyrically not as clever.
(Then again, who is?) The quieter
songs aren't all up to the same
standard, but out of 13 tracks,
there's plenty on this CD worth
ung tc
Chris Field
(Horton Music Publishing)
Chris Field has put together a
nearly irresistible package: slickly
good-looking cover art by local
Renaissance man Ralph
Alfonso, real-life string and horn
sections, and stylish, lushly-pro-
duced songs that combine elements of Tony Hatch (who wrote
most of Petula Clark's hits),
Tangerine Dream (early electronic-trance-psychedelic), '70s
.ndtra '
White Album-era Beatles, and (i
seems inevitable) Oasis-slash
looks and vocals. This
Field would be bolstering CanCon
statistics at every station in the
country (PO Box 48165, 595
Burrard, Vancouver, BC, V7X
When I Was Young ...
From the drum intro of the first
song, "Don't Ask Me Why," you
might guess what you're in for
here: 10 exuberant, loud, and
speedy-catchy songs that don't
shy away from poppy hooks or
even (gasp!) the subject of love
Strong songwriting sets these
boys apart from most others who
know how to rock this hard in the
post-punk world. Superchief
have two all-ages shows coming
up: April 23 at the Cloverdale
Rec Centre (1 1 bands and a
skate competition) and April 24
at the Prince George Arena. For
the drinking crowd, they'll be at
the Picadilly Pub with Brand New
Unit on May 15th. Go see them!
(c/o Nefer, #600-1027 Davie
St., Vancouver, BC, V6E 4L2)
Featured Merchandise
All Moist t-shirts on sale for $15
Best of Sarah McLachlan songbook
New Releases
By Divine Right Bless This Mess
Weed Hard To Kilt
SB1 A SkiBoarding Journey soundtrack
Saturdays   10 arn - 5pm
1650 W 2nd Ave   654-2929
j   3 West 8*h
fWe bucks
Franco phobes
Who are you (names,
ages,  instruments
Doryn C.C. 'DeVille' Franco, 20-
something, silky sweet tones of
love, guitar; Ricardo
'Montobeats' Franco, ageless,
chocolate salty balls, vocals; Jeff
'Master Of The Obvious' Franco,
6, Flaming Axe Of The Ages,
bass; Hank 'Crazy Lee Franco,'
157, Rabbit leg hold snare trap
Tell us the connection between the Francophobes,
France, French Canada and
the band By A Thread ...
Daryn: Pizza.
Ricky: I got laid in France and I
drove through Quebec once ...
as for By a Thread, I was in that
band until they kicked me out
(because I was black) and stole
all my good ideas.
Jeff: I thought up the name, The
Francophobes because, at the
time, it was fairly symbolic of how
many Canadians viewed French-
speaking Canadians following
Ouebec's attempts to separate
from the rest of Canada. My one
observation would turn out to be
the only semi-political subject this
band would ever face. Apparently now we'd much rather sing
about chicks ... As far as the
French connection, unfortunately
some misinformed French-speaking individuals have occasionally
jumped to their own conclusions
about us and have taken offense
to our name. Of course, most
people have actually taken the
time to find out what we're all
about before they've accused us
of hating all French-speaking peo
ple in the universe. The band By
A Thread has Iwo guys whose last
names are Franco and we have
four guys whose stage names are
Franco. I also have a roommate
who was in a band called Thumbscrew with John and Kelly from
By A Thread.
Local genius and musician
in his own right, Mr. Plow
helped drive the
Francophobes on their
western Canadian tour last
summer. Did anything of
note happen, other than
the fight in Brandon? Care
to elaborate, guys?
Daryn: Dave started it.
Ricky: Firstly, Mr. Plow is not a
genius, he's a very disturbed individual who needs professional
help. Period. Secondly, you're
forgetting the fact that we also
had fights in Edmonton, Calgary,
Medicine Hat, Lethbridge,
Regina, Saskatoon, Yorkton, Swift
Current, Winnipeg, Red Deer ...
Jeff: We played a show in
Saskatoon at a combination
Laundromat/Pub/Live Venue
called the Was'n'Slosh. The vibrations of Daryn's guitar amp
knocked his beer off his amp. He
stopped playing in the middle of
the song and started yelling at
everyone that 'whoever threw
that pint of beer at him was
gonna die.' He was all like,
'Come on, I'm the smallest guy
here and I'll kick your ass!'
Is there any way we folk
at CiTR radio could get a
hold of Fifty Reasons To
Fear The Francos, your first
cassette release?
Daryn: Yup.
Jeff: You already have it.  I
dunno, check your garbage can
I guess.
How the hell did you hook
up with former pizza boy,
Kyle Richardson, the brain
behind Spawner Records?
No,  seriously,  Spawner
Records kicks ass and has
tons of great bands. What
excites you most about this
Ricky: He sells pizza?
Jeff: I wonder why Kyle never
gives us any pizza
Ask yourself two questions
and answer them.
What's your favourite color?
I dunno.
Is the myth really true?
What do you mean, 'myth?'
Anything else to add?
Daryn: 3+3+3=9
Jeff: Ricky, for playing in that
slack-jawed yokel band, Dissent
you are hereby banished to the
furthest reaches of Calgary until
further notice.
Ricky: Yes, Dissent was wrong
when they said I was banished
to Colgary in a recent interview.
I wasn't banished, I just grew tired
of their constant drug abuse and
ten-dollar hooker habits. It got in
the  way of  my   spirituality.
Straightedge my ass.
Fifty Reasons to fear the Francos
(1997, independent); Fuzz 58/
Francophobes   split  (1998,
Spawner), Flaming Cow Disease
(1998, Spawner); Homeless In
BC 2 (1999, Spawner), full-length
CD coming this summer!
Contact info:
The Francophobes c/o Jeff
Franco, 1358 East 61 Ave.,
Vancouver, BC, V5X 2C7,
Who are you (names,
flavours, instruments
Revolutionary Sweetheart
Tanya: Vocals and kazoo.
J.T. Massacre: Flavour? Kilty litter. Plays 'those things you hit ...
not singers. Tracy Ace: Our
chocolate-flavoured Aquarian
Regina: Liquorice, the black
kind; plays bass, the black kind.
Describe your first reaction
to being labeled
'Politicore.' Has it shaped
you further (or at all)?
Tanya:  Fuck you and your
fucking corporate masochistic
phony attitudes. Got a problem?
J.T.: First reaction? Laughter. Second reaction? Retching!
Tracy:  Huh? Are you talking
about us?
Ken: Cool! I wanna go play in
Joey Keithley's riding and roister
Pet Fairies recently played
Girlfeast where two (other)
bands had Barbie props.
Hmm. Who were these
bands and who used
Barbie least tastefully?
Tanya: Hole and Sarah
McLachlan, Sarah's Barbie stole
some of Courtney's music, and
Courtney's Barbie punched out
Regina: Actually, Full Sketch
had a Barbie head impaled on
the cymbal stand, and Satina
Saturnina had a Barbie that they
did something disgusting to. Mutilation? Masturbation? I don't re-
Tracy: I liked the decapitated
Barbie best.
Ken: Barbie! Doesn't she just fire
up the imagination!
Tracy, have Sass Jordan
and/or Joan Jett played a
role of any sort in your life?
Tracy: None at all, although I
saw Joan Jett at the Commodore
years ago. She's strictly a rhythm
guitar player and I was more in-
flashier players like Jeff Beck,
Hendrix, and Eddie Van Halen.
As far as female bands went, I
loved the bands Girlschool and
later L7.
Does Ken have a fashion
consultant? Describe Freak
Clothes Design.
Ken: I'm 'cannibal-o-phobic' and
I feel that freaky clothes are a
terrific way to let those damned
cannibals (and insideout vampires) know that MY FLESH 15
POISONOUS! You're the freak!
Freak. Stay away from me!
James, can you please tell
Death Sentence story.
Please? Like ... perhaps
lething about their
1993 reunion gigs?
J.T.: I've been 'born again' since
I was re-incarnated as a Pet Fairy;
I now refuse to acknowledge any
other band, past, present or future - it's part of my Pet Fairy contract. No further comment.
Ask yourself two questions
and answer them.
What would Jesus do?
He'd come to a Pet Fairy shov
just like everyone else. H
wouldn't be on the guest list e
ther. After the encore, he'd <
up on stage, take off his thorny
crown, and ceremoniously place
it on Ken's head, where it belongs, saying, 'My work here is
In a fight between Barbie and
C.J.    Joe,
treal in the late '80s saved me
from the grips of university residence life. After meeting John
Davis at Cheap Thrills record
shop, where he asked me to audition for his R&B band, the
Sheiks, I was whisked off to the
land of mop tops which included
The Sherlocks, Platon et Les
Caves, The Astronuts, the Kryptics
and the above mentioned bands
If the Molestics were
started as a reaction to
your last band the
Colorifics, what was Lily
Frost a reaction to?
Sadomasochism and the claustrophobia it creates. The Colorifics
were nostalgic. I have a penchant
for the trappings of the '30s and
the '60s. I used to pretend I was
Marilyn Monroe as a teenager
to get past the monotony of everyday life. Playing the victim role
became my way of coping with
life. It took the responsibility off
my shoulders and put it into my
boyfriend. Poor 'Ragdoll,' always
running away. This band is more
Pet Fairies
c/oR.Michaelis, 1656Adanac
St., Vancouver, BC, V5L 2C6,
ho are you?
Lily Frost is presently comprised
of five members: ex-Colorific
Lindsey Davis writes, plays
rhythm guitar, percussion and
lead vox; Ben La Belle writes,
plays guitars and harmonizes on
vox; Shawn Mrazek (of Flash
Bastard) plays drums; Annie
Wilkenson (of Zolty Cracker &
Knock-Down-Ginger) plays bass;
Sean Ashby (of Jack Tripper)
plays lap steel and ambient guitar voicings. We are all 1 8 years
Pick a song that describes
you best.
'Boom Boom Ain't it Great To be
Crazy.' We're pretty goofy and
full of laughs. 'Lily in the Sky,'
from our repertoire, is about cycles of craziness (maniac depression or PMS) on a more serious
note. It represents us well musically 'cause it's a marriage of 3/
4 R&B and chystalline '60s pop.
The vocal line is really loose and
groovy (baby).
Lindsey, please tell us how
the Gruesomes, The Minstrels and Antoine have
helped shape your musical
adventure that has culminated in Lily Frost.
The garage rock scene in Mon-
coping with life head on. It's a
reaction to stylistic boundaries
that were self-imposed and confronting the fear of the unknown.
Upon whom would you like
to exact revenge, why and
Revenge is not normally something I like to indulge in. However, when I see those children
and seniors picketing for pro-life,
my blood starts to boil. Clearly
those representatives haven't an
ounce of direct experience or
they just wouldn't be there. People don't seem to understand that
if you do finally come to the decision to have an abortion, it's
not a day at the park. So, on top
of your mom, dad, boyfriend,
friends, doctors, you have the
fucking morality police shoving
their opinions down your throat.
A driveby egging, though comparatively mild, would be somewhat satiating.
Track two off Cosmicomic
Country is about Belle Starr.
Who was this woman?
Belle Starr was the first documented female bandit By 29
years of age, she was in a gang
Cheyenne man. Together they
stole livestock, busted each other
out of jail. She was killed by the
sheriff, but her legend lives on
and she can be found in encyclopedias sporting dual guns on
her hips and wearing the grimace of a renegade.
Cosmicomic Country is Lily Frost's
debut release.
ager), Tatiana: 604.618.2493
7   E^o^ssgffi  something for my brother in
stop in Montana. It's a real scary-Jooking
baby clown. You squeeze its belly and its tongue sticks out and it laughs.
It's very sinister-looking. Truck stops have good stuff.
Is this the first year you've taken this show [Merry Mex-
mas] on the road?
No, the last two years we did it in Europe. We haven't done it in North
America for awhile.
Does this show follow the pattern of your other shows, say
the Gospel Show?
Yeah, they're all socially-conscious, costume<hanging, Mexican
Christmas pageants that you've come to expect from El Vez. It's in the
line of my other things, I mean this one's more thematic. I think all my
shows have become thematic, but this is in the Christmas theme. It deals
with some sad things, some happy things, some sexy things. The show's
a lot more sexier than the past, I guess ... Put the 'X' back in X-mas.
And what do you attribute that to?
I'm in better shape!
How do you keep fit on the road, or can you?
Hopefully, when I get done here, I'll be going to the Y. The stage show
is my cardiovascular exercise and if you're smart, you can eat sensibly
on the road. Since I'm always on the road, I've learned how not to eat
Do you consider your shows an interactive experience?
Wsll, it can work both ways, it all depends. You can't make an audience
do something. But it's nice when in some places girls are lined up at the
front of the stage ready to scream and throw panties and stuff, which
adds to the fun. Or, if it's a sit-down place, it turns into, like, John
Davidson in Branson, walking among the tables like it's dinner theatre.
Have you ever played Branson [Missouri]?
I would like to. I played Vegas and I had a real good experience there.
But I could see retiring in Branson. It'd be kind of funny to do that.
I found an interesting T-shirt on your webpage with a
quote by folkie Phil Ochs.
Hey, Phil was more than just a folkie — he wanted to rock, too. He had
this great quote: 'If there's any hope for America, it lies in a revolution.
If there's any hope for a revolution, it lies in Elvis Presley becoming Che
Gueverra.' So he took that idea, dressed up in a gold lame suit, did a
rock-and-roll show. It's the same kind of thing as Dylan, turning from
folk to R&R, but still having the same sensibilities. Pop culture needs a
gold jumpsuit to get your attention. It's in the
Clash, and so on.
You're following in this tradition?
I follow in many traditions. I take everyone's tradi
my own. The Gospel Show wos in the traditio
Prince for spirituality and sexuality, and Al Green. The Rockin'
Revolution show was in the tradition of Clash, or Rage Against the
Machine, or even Phil Ochs. I take rock and roll traditions or cliches and
put a moustache on them, use them for my agendas.
How do you rationalize the mix of politics and the glitzy
I try to blur the line. I don't think you have to be just one or the other. I
think mine is a more subversive way just because you're taken by
surprise. Even if you've never seen the show, you'll think. 'Ph, Mexican
Elvis doin' blah blah...' But it's a very smart show and it works on many
levels. Socio-political, spiritual, costume-Vegas, rock and roll history
references, all kinds of stuff. So rather than say I'm this or that, I can be
it all at the same time. I can be talking about Cesar Chavez of the
United Farm Workers but still be shaking in gold lame pants.
Do you mind, then, what the audience takes away from a
You can't dictate it and like I said, it works on so many levels. So many
people do not know Chicano history, so many people do not know
e tradition a
them into
of Little Richard and
rock and roll history. Tons of people don't know that Elvis sang 'This Time
You Gave Me A Mountain,' which is a gospel record. I can't flatten out
the show and say, hey, this has got to be digestible for everybody.
There's so many things that people don't know. People know 'Hound
r 'Blue Suede Shoes,' but there's a million other songs he did:
632 songs, actually. It's kinda nice because different people take
different things. Chicanos say, wow, he's singing about us, I know what
this is about. Or real Elvis fans go: 'Rubbernecking,' I love that song! Or
rock and roll, glitter rock, you know, blues references or stuff. At the
beginning I was thinking nobody was going to get this, and then after
a while I realized that if it's personal and from the heart, people will
understand and translate it to mean something else, whatever their
situation is.
One of my favourite stories is the whole idea of 'Suspicious Minds'
that I turned into 'Immigration Time.' This song with a Latin/Southern
Californian point of reference, and Turkish kids in Berlin saying, 'Oh,
you're singing about us.' So it's the idea that this wasn't meant for them,
but they took it and translated it. And we were in Slovenia, and these
Croatian kids said, 'We know what you're talking about, it's happening
to us now.'
So I don't worry about trying to make it digestible, because someone
will get it. And if they don't, they're watching the lovely Elveftes dance
on stage, or watching the clothes and costume changes. I don't expect
everyone to get it, because it can be academic. I've had people try to
turn me academic, I've done lectures at colleges. And it can be that
way and it can be just dumb college shows, an excuse to drink tequila
shots and go, 'Ay ay ay.' I'll take them all!
What about this commodification of revolutionaries thing?
For example, there's a local pop called Revolution Soda ...
Yeah, yeah, I've only seen that here in Vancouver!
Do you take heat from people who think you're trivializing
that Che Gueverra thing, for example?
Some people do. The whole idea of the Rockin' Revolution show
was, what does it take for you to get involved in a revolution? Do
you need a new album, do you need a T-shirt? And then, even if §§
you are part of the revolution, when does pride turn nationalistic?
And when is [being] nationalistic totally negative? I don't alway
have a doctrine in the house. I present it this way and make ^pg
people think, because there is no final answer. But sadly enough, as       "
in Phil Ochs' quote, soda might inspire somebody. Although my show
is candy-coated, that's the way to make the kids take the medicine.
Hide it in the ice cream. And I am the ice cream. It might sound naive
and optimistic to think, 'I love the flavour of this rebel red soda, maybe
I'll read about it.' But I've seen it happen with me. People check my
records and then look backwards and are inspired to look into the
issues more. And if I can inspire people, that's the best thing an artist
can do.
You were active in the late-'70s
punk thing in Southern
California in a band
called Catholic Discipline.
Were you raised in a
strict Catholic family?
Yeah, but it was really Southern
California — folk mass. When ■,,
the head nun went out, the other
nuns would start singing. No rulers, no
heavy discipline.
Then you became a curator at a
gallery.  Do you  have an  art school    %
No, I don't, but I always loved art. I always connect the
Dadaist to '60s pop to the DIY idea of punk. To me
they're all similar ideas, there's always upstarts and
rebels in art, which is related to music, which is related
to writing and all kinds of stuff. The gallery was very
good; we started in the early '80s with a lot of
ial killers, car culture. Folk
artists way before it got popular. I used to sell art, but now I'm living art.
You do a cover of the BTO hit 'Taking Care of Business.'
Were you a big fan?
Hey, who wasn't a BTO fan? Lots of '70s stuff is important to me.
Besides the obvious Elvis reference, I turned it around to represent the
undocumented Latin workers in California. And the whole idea that we
are 'taking care of business' and doing the jobs no one else wants to
do: the dishwashers, janitors, nannies, cleaners, gardeners, and we're
doing them with pride. And we are gladly taking these, working as a
work force. If we were to stop working all at once, the wheels would just
collapse. It's an economic force that we're part of and I'm just rattling the
Is it true you were asked to write the original theme for the
TV show King ot the Hilti
Yeah, I have a video of the first episode, black & white drawings, very
cool. I wrote a song, but I was on tour, and it got lost. I'm assuming it
got lost. We recorded it in St. Louis, anyway. But I recorded some stuff
for future shows. And there's a team of people with the Rugrats comics
who are also interested in my stuff for animated shorts.
Thanks a lot!
Thanks, and hey, don't forget to plug the website ... my father in San
Diego reads the fan e-mail.*
Check out El Vez's website at http://members.aol.com/elvezco/
w ^fl^t ^d^k Fingers louie hos had its ups and downs,
^^^V ^^^V including breaking up for almost two years.
^9^^_^P^^ They're back together now and better than ever
^^^^P^^^^P wirfi a new drummer and a new album, Back on
^^^^ ^^^^   the Streets. These Chicago boys have been
working hard and touring insanely, including two stops here in
Vancouver in the last six months. Their latest show here was with Sno
Jam, where Discorder caught up with singer Denis Buckley and Dan
Wleklinski and asked them every question we could think of (while still
keeping it clean).
DiSCORDER: Do you like touring a lot or does it kind of
Denis: It's got its ups and downs, like any good thing, it's not going
to be a good thing all the time
Dan: I'm really loving it this lime around, especially when you
compare il to when we were a band before   It's a lot better now,
we're all a lot more stable. I think we're all looking in the same
direction with what we want to do.
How are things at Hopeless?
Dan: Great  I love being on Hopeless Records. I think we all do.
They're not like other labels, from what we've heard. We've only been
on Iwo other labels.
What were the other two labels?
Dan: Fat Wreck Chords and Rocko Records. Hopeless treat us like
family, which is totally great   If we have a problem on a Sunday
afternoon and obviously the offices are closed, we can call Louis, the
owner, at his house and be like,   Hey, we've got a little
problem '
Last time we talked to Denis, he
how some of the songs on the
v album would go
What has the responsi
Denis: I think,
How autobiographical are they?
Denis   I would  say probably,   3/4  of the songs  I write are
How does it feel to sing them in front of an audience?
Denis  There's certain songs that I'm very choosy about when I sing
them. There's a song I wrote about my son on our last record, that
song 'Joy Boy,' ond that's not a song that I want to do at every show.
Not to sound like a hippie, but if the vibe's not right, it's hard for me
to sing something like that.
You guys have quite a unique sound, so I'm wondering
who your influences were? Dan, I know you were into
Dan: I used lo be
Denis: Nooo, look at the hair.
Dan: Now, it's a lot more death metal. I think our influences are pretty
widespread, like anything from heavy hardcore to melodic punk, in
the basic range. Denis listens to a lot of emo. With me there is some
old metal stuff, old Metallica, old Slayer
Denis: Whatever. What have we been listening to since starting this
tour, we've heard how many Metallica records? We're driving, like
the fourth night out or somelhing, and it's like three o'clock in the
morning and everyone's trying to go to sleep, and this guy's driving
and he's going along with the entire drum stuff [does an imitation]. He
was going apeshit.
Dan: And we also listened to a little Amadeus, a little classical music,
Denis: Man, that shit puts me to sleep.
So, are you going to keep your new drummer John
■     3 while?
Denis As long as he likes us.
Which album do you consider to be your best work?
Dan  Sock on the Streets
Denis: Yeah, definitely I want to say this, and I can probably speak
for the rest of guys, this is one album I mean, for me I'm never
going to be 100% satisfied with what I do because I think that if I
don't continue to push myself then I end up getting in a rut. There's
always going to be stuff that could sound better. 'Satisfaction is the
death of desire,' to quote Hatebreed. So, I would say this one because
this is the one that I'm probably 75% happy with, whereas Behind
Bars, just the way I sound, I'm so picky about how I sound, I can only
listen to four songs on there.
Dan: I can still listen to that. I like a lot of the songs, I think the songs
are good, but our performance and the production weren't as good
as we could have done.
Denis: We weren't pushing ourselves back then.
Are you guys more dedicated now?
Denis: If anything, we're over-dedicated.
Are you workaholics?
Dan: In the studio we can be. We don't want to be, but we know we
want it to sound the best possible.
Denis: We still have a tendency, as we always have, to do a lot of
messing around at practices. When we're supposed to get together
and concentrate and write new songs, we end up fucking around
with this cover or that cover, you know Dan will do some goofy-ass
guitar thing and Joe will do some bass thing, but we all remain really
focused once we get into the studio because we know that we want
the end result to kick as much ass as possible.
Dan: Cheese.
What's the deal with 'Punk Rock Rulebook?' What
inspired you to write that?
Denis: When I first got into the scene, I just saw a lot of people kind
of complaining and whining and saying, 'Oh, this band sold out
because they're on a label.' And we got crap for not
being on a Chicago label: 'You're
from Chicago, why are
i on a label
first time
Canada,  and people
knew   us   from   Behind
Bars stuff and the 7"
we'd   done   before.   Pretty
much everywhere you go thei
are going to be some songs that
the crowd go more crazy for thi
"o, it just depends on thi
Dan: I'd have to say most of it's been good,
though. Certain songs that we were thinkin_
being 'Summer Photos' since it's more on the poppy side, [wouldn't]
go over real well live, but in most cases people have loved it.
I read on the Hopeless website that you guys were trying
to get an official 88FL site up, what's the deal with that?
[Dan & Denis groan]
Dan: Yeah, we've been just slacking, we haven't got our asses down
to talking to the people who are going to do it.
Denis: When we get home, the next time we get together for practice
we're going to bring some friends of ours along that have already
registered the web address
Dan: Yeah, it's going to be www 88fingerslc
Denis: That's original
Who writes most of the lyrics to the songs?
Denis: That
How have things been different this time
around, since you guys got back together?
Denis: Everything's just been on the upswing, [mostly]. You still get
in the same old arguments that bands get into, you know when people
are crabby or whatever, but how we present ourselves and how we
go about making decisions and writing, everything's just been
Because you all have more experience this time?
Denis: Exactly. And I think we knew that if things didn't progress,
getting back together would be pointless. And I think we did the right
Dan: Definitely. Things are going real smoothly now. Half the things
that happen now, I think about
how     they     would     have
happened years c
would have broken up
Now,       it's       just
that we don'l take
to     heart     so
jff   i
ny   people   as
possible. So, 'Punk Rock
basically written as a silent 'fuck you' to people who said
amount to anything.
Not so silent.
Denis: Alright, so it's a big 'fuck you' to anybody who ever talked shit
about us. You know people talk shit, it's an everyday occurrence, but
we've strived to do what I think we're doing now, to be the best band
we could possibly ... God, I'm sounding like a fuckin' ...
Dan: Well, we're doing what we want to do, that's what we're
What's the future direction of the band?
Dan: We're breaking up. No. I think we're going to, hopefully, record
a new album at the end of this year, but we're going to be doing
some more touring. We're going to Europe with Good Riddance after
this tour and then we're going to hit Australia. It's a lot, but we're
trying to take enough time off so Denis can spend time with his family
and stuff like that and we need the breaks too. We can't take touring
that long, it's a little tough. But, basically, besides the touring and a
new album, [we'll] just keep going from there, enjoying it.»
'Fan belt.'
Dougal: Fart
Sawan  Sugar?
D: Homosexuals?
D: All these ones ar
S: Really?
D: Yeah!
'Crate paper.'
D: Crappy paper
directly supposed to make us think of transsexualisi
ioitr tout AfedQrnois E ites
iha ojiatoiation of Dougal Gcaham/Sawari Yawnghwe
Text: jamie hilder™
Photography: ann goncalves
A buzzing artist's reception at Vancouver's Third Avenue
Gallery, March. The works of Emily Carr graduates Dougal
Graham and Sawan Yawnghwe are funky fresh and from their presence shines the inspiring art of being two 28-year-old post-surreal,
neo-visionary projectionist painters. How well they collaborate on oils
reflects how well they relate: D/S have the same friends, the same
enemies, the same dependencies, the same aesthetics. These local
artists are mixin' it up freestyle, and it's oh so sweet 'MY CAT RUBS ITS BUM ON THE RUG'
is art?
aid it?
This is part of the collaborative process. If D/S have an idea to make t
ing better, they just paint over it, no discussion. There's too much reason i
sion, they argue, and by talking about it, inhibitions are held back. They
on each other's toes because there c
ings. In the studio, ego is put aside ir
other rip, they do what they want —
of that.
e no rules, except to make excellent pc
terms of control over canvas They let e>
all just happens. What you see is the re
- Do you think this sentence
D:   How many times have you
Nineteen, at least.
D:   Did you get any more pleasure the second time than the first?
It gets progressively better with the occasional down period.
D: Really? You have to think about how it can be better. Performing is different
than art. If you perform and do something original, that's art. If you perform
and do the same thing that you've performed before to an audience, it's not art
But don't you think there's an art in saying something over and
over until finally someone has to laugh because it's so funny that
you've said it a million times?
D: Oh, yeah, if it's a performance like that. If an absurdity enters into something like that.
S: I guess if there's a context to that, yeah.
My cat rubs its bum on the rug.
D: My dog rubs its bum on the rug.
S: I rub my bum on the rug.
TER PLAN. Because then it
wouldn't be a master plan.
"Yeah," says Dougal. Sawan finishes, "We'd wake up one morning and go, 'Uh, what the hell?
Dad, I'm in jail.' "
FOOD FOR THE EYES. There are no stories in these paintings, no stories that you have to get to understand. If you can see it, that's all you need to know. You won't need any theory.
Working together on the same canvas, Dougal will start by laying a ground or Sawan will put in the
figure. They'll create a new space and try to resolve the space. Paintings are never planned out, never.
When a work is in a gallery it's complete, but it takes anywhere from two days to six months for a painting
to resolve. Sometimes it just never gets there. It doesn't exist until it exists.
Then, "boom." Instant. It does everything a painting should do. They'll say: "Fuck, that's awesome."
Then ask: "Could I make it any better?" They say that there are paintings that don't have the life they
could've had if something else was done.
D/S don't really care if they are remembered for what they're
doing now: "We make the paintings for ourselves first. We want
to love them. We want to be interested in them. We want to
make paintings that we can look at every single day, for the rest
the remote." Television is worthy.
D/S absorb the compositions
broadcast there because they
come in handy when they deal
with painting elements they've
never seen. The truth is that, without a TV, you're missing out on
half of life's beauties. "It's propaganda, people saying that TV is
bad. You just gotta learn how to
1. Intensely beautiful colour schemes. ("Real pigments that are natural
or mineral based. No synthetic stuff")
2. A little bald head. ("A perspective of where I was, where I am now,
the changes that happen in between")
3. Women from magazines. It's part of the desire to paint something
they're attracted to. D/S go through a process of falling in love with
the fashion magazine image, "this flat piece of paper." They want to
translate that desire onto a canvas, to make it even better than the
photograph. They haven't yet worked with a live model, thinking that
it would change the visual makeup of the painting. "Character would
come out. Personality would come out. Her personal narrative would
come into it. We wouldn't be telling our own story, inventing our own
4. Chinese spelt in French.
S: That's me.
D: His persona is a Chinese guy even though he's from Thailand. He's
trying to fit into the huge mass culture. He's trying to find his place in
the biggest culture there is.
S:  It's a tongue-in-cheek thing.
D:   His grasp of language is limited so it's a little bit humorous.
S:   And I try to take liberty in thinking that I'm creating some sort of
It's the new Haiku.
D:   Yeah, it's high-something ...
S: Eminem. Well, in Toronto it
would've been No Limits and
Busta Rhymes.
D: Method Man.
S: There's more going on in rap
than in pop these days, I think.
D: Oh, and The Beans. Rope-a-
ir liv,
ART MIAMI IS A BIG FUCKING SHOW. It's an international art fair where reputable galleries the
world over are invited to showcase the artists they
represent. Art Core, D/S's gallery in Toronto, were
jazzed by their sell-out summer show, so the gallery
invested money to send them to Miami. It paid off.
Their paintings sold out.
Back in Toronto they faced eight-foot piles of
snow, making them think about life, changes, the
seasons: "There are two in Toronto: Hell and Heller."
Do you guys like manifestos?
D: Meat Beat Manifestos? Manifestos are good. Yeah, you usually look back
juvenile. Almost always that happens, you look back and think it's infantile.
S: I think it's putting your thought into a form of language.
D: It's usually an expression of great confidence. Which is good.
S: Yeah. It's also confidence to share with other people what you're thinking. It'
D: They're often misguided, though.
You think so?
D: Yeah. People who write them are mental.
S: Well, mental peoples are good.
D: Who shot Andy Warhol? Come on. Scum Manifesto.
FINAL Is there an art scene in Vancouver?
D: Yeah! There's an art scene everywhere in the world. Anywhere there'
that's a little fresh. Any time there's something fresh, there's an art scene.
S: Funky fresh ... as Marky Mark would say.
D: You don't even need to share with anybody. It can still be an art scene
of your head, without you knowing it?» Spencer
You all rotate instruments and vocals with
each song. How do you choose who is
singing which song?
Tim: It's pretty obvious who should sing it
Michael   And then if someone has too many
songs, I've just got the one because I've got to play
drums most of the time
Tim  You can't let Michael sing too much.
What makes it pretty obvious?
Andy  I sing the ones with a lot of words.
Tim   Personalities
Stephen  Vocal type
Tim   If it's high and whiny sounding, me or Steve
has to sing it If it's low, then Michael has to sing it
and if it's sort of honky and  mid-range, then Andy
Michael And of course, the song that I sang was
my favourite AC/DC song.
Stephen   It worked so well last night, lo and
behold, we've got some gimmicks already.
Michael   Plus, Steve loves playing drums.
Stephen  It's a song I can play
You are playing big solos all over the
place. Is that good to let out as opposed to
the normal ...
Andy Actually, this is a reduction from my normal
role. It's fun to [sit] back
Tim: It's easier than having to learn chords. They
don't have to learn six strings, they can just stick
with one   Is that true?
Stephen  That's fair, I guess.
What's so worth getting cigars up here?
Tim: Andy's the Guns 'n' Roses fan.
What   are   the   songs   that   you   aren't
covering that each of you wants to play?
Andy: 'Night Train.'
Tim: We played this Alice Cooper song that I
really like during soundcheck. It's called 'Caught in
a Dream' and I've liked it since I was in high
school. It was okay, and we played it okay, but it
would be deep in the encore Like the final blow to
the head
Michael   'Final Solution' by Pere Ubu.
Stephen  I'd like to play 'Moonlight over Vermont'
by Captain Beefheart
Tim: The only problem with 'Final Solution' is that
it came after 1972.
Stephen  What about G'n'R?
Tim   Oh, yeah, 'Sweet Child of Mine,' I forgot
You   [Heather,   auxiliary   singer]   were
singing on stage in Seattle.
Heather   I sing because it's high. Also because
people called me Axl in high school.
Michael  She can shake it She sung it at karaoke
once and she was hot.
Have you sold out of the CD yet?
Tim: We still have some. We actually shipped
some up here to sell but they never arrived. We've
sold a bunch through the mail
[Did you] tape any of the recent two
Tim: James, our sound guy, taped it. The last time
just happy because James happened to have
Once a year, members of Silkworm and Pavement
congeal into one mess to make up the Crust
Brothers, a classic rock cover band Loosely
defined, they are Andy Cohen, Stephen Malkmus
and Tim Midgett on guitars and Michael Dahlquist
on drums, though slight infield substitutions have
been known to happen The temporary band has,
to date, played three shows and released one live
album, Marquee Mark. They were in Vancouver to
pretend, like a good cover band, that they were
playing New Year's Eve.
DiSCORDER   At the  Seattle  show,  you
played a whole bunch of CCR tunes unlike
last year, when it was just a lot of Bob
Dylan songs. What's the deliberation on
Michael Dahlquist Just bands we like
Stephen Malkmus: Whose songs we think we
can play
Michael:  And then we thought we could do
something different as opposed to doing Dylan
Andy Cohen: We can't play Rush songs.
Stephen   Plus, the CCR biography just can
and it made us sad.
What's so sad about CCR?
Stephen: They just disintegrated really he
right at their peak.
Andy: He [John Fogerty] wouldn't even vi
brother His brother was dying of AIDS He v,
his deathbed and John wouldn't even talk tc
Tim Midgett: I don't know if I want to rea
Are you going to do something Canadian
for the Vancouver audience?
Tim: We don't know anything Canadian, unless
you count The Band.
You know Neil.
Stephen: I know some DOA songs. I can do
'Watcha Going To Do?' you know, that reggae
one   Do do do do do [sings]   I used to know 'em
Why do you think the audience should
come out to see these shows? What's the
difference    between    you    and,    say,
Interference [token cover band]?
Stephen: Not much.
Michael: I don't think there's really any difference.
Stephen     Except   somehow   we   sound   like
Silkworm when we do the songs. We don't really
sound like the bands that we're covering
But   you   don't   sound   too   much   like
Silkworm either.
Stephen: You haven't heard 'Fortunate Son.'
Michael: People have a lot of fun. You go to a
Silkworm show and everyone is sort of like, 'Yeah,
yeah, these guys are ... have you seen these guys?
I saw these guys four years ago, man. Fuck you!'
But here, people just go and get drunk and have
fun and we never get to play shows like that.
Stephen: It's like a New Year's type fun. We
aren't charging too much, hopefully, for the show.
I wish it were free, if it could be free.
Andy: We have to charge a little more because
we have to pay all those royalties [laughs].
Tim: But I don't know why people should come.
Just to have fun. If you're like me, you are kind of
discouraged about a lot of the music that is around
nowadays. So you come to the show and you get
to hear a lot of songs that you know, with a little
new life breathed into them.
Michael: It's nice because we are both in these
pretentious bands and then this is just from the gut
[makes thumping rock sound],
Andy:   We're  too  young  to  have  ever  seen
Creedence in real life.
Michael: And the kids who come and see us are
too young.
Andy: So this is as good as you're going to get.
This is as close to seeing Creedence. The spirit.
Michael: When we're playing the music, we're
not thinking, 'Let's update this and give it a new
wave beat.' Generally, it's just like, 'Let's fucking
rock out!'
Andy: Everyone is worried about their image; they
What's your pirate name?
Stephen: Willie Stargel.
Tim: Kent Tekulve.
Michael: John Langeford.
Andy: Doug.*
Andy   They have Cubans. They generally suck
because they are so overpriced here.
Tim: The cheapest place to get Cuban cigars is in
Andy: The guy saw us coming ...
Stephen: He was like, 'Yeah, Metallica was here
Do you enjoy playing Guns 'n' Roses?
Andy: I'd have more fun playing 'Night Train.'
"13"? Of course you would. All you have to do is...
ds or less. We'll draw five winners on April 26!
Enter via fax: 604.822.9364; mail: 233-6138 SUB Blvd,Vancouver BC V6T 1Z1;
email: citrradio@mail.ams.ubc.ca; or just drop it off to our office at the
above address. Please specify "Blur Contest" in the heading, and include
your name & phone number. Enter as many times as you like!
Deadline for entries is April 24.
Why did you come up to Vancouver of all
Tim: We were trying to find a New Year's Eve
show and we couldn't find one because we started
three weeks before New Year's Eve. I called Keith
[from the Starfish Room] and he asked if we could
do it today [New Year's Day] and he said yeah.
But we like this. You [Steve] have never played
here, have you?
Stephen: No
How much practice did you put into all of
Tim: Not enough. We practiced quite a bit.
Andy: Twelve hours.
That's plenty.
Tim: Plus, we try not to pick songs that are difficult
as far as having notes and stuff.
Is there ever going to be a Crust Brothers
Are you going to do this again next year?
Tim: Hopefully.
When are you going to start the stadium
Tim: As soon as Bob Dylan calls us and wants us
to back him up. We'll be playing the stadiums. We
should back up John Fogerty as well, though that's
a little different.
Andy: I think Fogerly would be a little easier to
back up because Bob Dylan sounds like he is a little
insane. He don't like loud music.
ft.    ~fȣV> Hancunt Gets A Slice:
A Conversation With
Monique Baillargeon
Monique: Slice started out eight years ago as four sheets of
paper, photocopied and folded together. Now it's 100
pages; 8 1/2 by 17, with a glossy cover, colour, and
advertising. Basically, my partner Darek [Czernewcan] and I
looked at the magazine and we said, 'There's some really
incredible writing in here, there's some really incredible art,
and it's coming from a point of view that the average person
doesn't really experience ... how many people experience
having nothing? Or being totally alone, or things like
addiction?' And there's this perception out there that street
life is just one big party ... and that's not true! Most people
[just] see kids in the doorway smoking crack and they don't
see what's behind that ... or how they got there ...
DiSCORDER: Or why they can't go home ...
Exactly. And street life is very anonymous, like you're not
really a person, you just sort of blend in with the pavement.
And we really feel that there's viable art and poetry
happening on the streets, and that it is marketable. So we
took it from a fully funded government program, and we're
converting it to an independent small business.
So that you don't have to deal with issues like
We will probably have more censorship issues arise when
we are independent because we won't have the government
protecting us. Because they do protect us; they do go out
there and speak for us; keep the law off our back; keep
militant right groups off our case.
Why are you making a move away from
government funding then?
It's more like symbolism, you know, because Slice is on
welfare; it is relying on something else to stay alive. We have
all been street people, all the staff, and we deal only with
street people, who [comprise] most of our contributors and
vendors. If the magazine goes independent, it's going to
demonstrate the potential for independence within every
street youth. It's not only to show the public that, but to show
the kids themselves that.
Tell me about the current scandal.
A young man, 16- or 17-years-old, bought the magazine from
one of our vendors and took it home, where his father got a
hold of it. It wasn't the person who bought it who complained,
it was his parents; his dad decided that it was pornographic.
So the dad called BCTV to complain that his tax dollars are
being used to promote child pornography.
Child pornography? That's a very different thing
than pornography!
Yes! Well, that's what they called me and told me, and you
know what's really funny about this? When the legislation
came through making it legal to possess child pornography in
BC, Vancouver TV gave me a call asking me to come down
and comment. So I went and spoke out against child
pornography. Then I got phone calls from Canada AM, CBC,
a couple of radio shows, a few newspapers, saying, 'Oh,
you must know somebody young who has been involved in
[child pornography]. Can you get a hold of them, and let us,
like, put their face on TV so they can tell their story and we
can let people know, blah blah...' So I announced this at one
of the Slice meetings, and they had the exact same reaction
that you did: 'Screw them.' The youth felt like they were being
exploited for the purpose of media sensationalism. We had
about 40 kids in the room; and as soon as that issue about
child pornography came out, they started talking among
themselves, about prostitution, about trading sex for a place
to stay, being abused, and I realized, wow, sex on the street
is a very big issue. It is happening, and it is happening to
young kids, and they are being exploited, it's obvious that
they want to get this off their chest ...
And they're also falling in love ...
Exactly! And having romantic things happen to them, etc.
And I said, 'Well, we'll do an issue about that.' It was actually
the victims of pornography and prostitution and abuse
speaking out. And if people actually read the magazine, they
would realize that. I'm sorry — that stuff is sickening. These
kids talking about what's happening to them or what has
happened to them. It turns your stomach, it is revolting, it's
totally obscene. But it's also real life, it's totally real life.
It says 'viewer discretion advised' on the cover of
the magazine. And it's not any more explicit than
any other adult magazine sold in a store. Was the
guy who complained stating that it should be sold
to those under 19 or that it shouldn't get printed?
That it shouldn't get printed. He had issues with the entire
project. Which is kind of funny. I mean, you want to complain
about the way your money is being spent in BC, let's look at
transit, let's look at the illicit budget ... And, you see, that's
what I think it is, from the media point of view, because when
BCTV called us, we cooperated fully with them, and we made
ourselves available, we made individuals from the
government available, and that night when they did the
broadcast, I had six street youth there to talk about why they
wrote what they wrote, how they feel about the project, and
these kids made very intelligent comments, but the way that it
was cut and edited, they didn't show any of that. They didn't
show the real story. I felt totally misrepresented and I was
extremely angry. They didn't talk about art; they didn't talk
about kids eating out of dumpsters, or the fact that we have
four youth, who when they came to us were total junkies, and
now they have recovered. Or the fact that we have six youth
who now have full time jobs just from selling the magazine ...
or the fact that we break down cultural barriers between
straight culture and street culture because it's not like
panhandling. And [this issue is about] reminding people that
it doesn't matter if your 13-year-old child is living on the street
or she's at home, she's sexually aware, she may very well
be sexually active! Wake up! Talk to your kids. And that was
the other message that I thought we were sending out, about
the sexual reality of youth today , because there is a sexual
reality whether you want to look at it or you don't. Don't want
to look at it? Don't read the magazine.
So what's going to happen to Slice?
They were going to cut the funding anyway, but after all the
media came out, we got a phone call, unofficially, that [said],
'You guys are shut down, that's it, pack up shop,' it was really
funny. So we moved all the magazines over to a friend's
house because we thought they were going to seize the
magazines [after] they told us to pull them off the shelves.
Then some counter media and Cheryl Mixon from the
Ministry of Children and Families went right up to bat for us
and leaned on all their contacts. People wrote letters and
made phone calls, we had a nice response from the
community, so they decided to extend it until Sept. 30, which
is when our current contract ends. Then it's up for negotiation.
Independence is still our final objective and that probably
means that we'll have to make it in the American market
n general, Canadians are not supportive of art
It's hard to make money and we're totally uneducated. I
haven't graduated from high school and we're involving
ourselves in complex business interactions. We've had to
learn desktop publishing as we go. And that takes time.
So you're not adverse to having volunteers from a
non-street background?
Oh totally! That's what people don't understand about The
Slice. And our objective is not to keep streetkids being
streetkids. It used to say 'By, for and about street youth' on the
cover and I took that off. It's still by, for and about street youth,
but it's not because they are street youth. When you walk in
here, you're not a street kid, you're not some homeless punk,
you're an artist. And that's what we are. We are an artistic
organization that makes the point of reaching out to people
who don't have as many opportunities and groom them in an
entrepreneurial sense, so that they understand things like self-
promotion, getting into a university, getting their work up on
One thing I loved about what I read in Slice was,
all the street youth talking to straight culture — it's
a way of talking back to a society that shits on
I don't really feel like an editor, I feel like a secretary, because
I don't tell the kids what to write, they come to me with who
they are and what they have and lhat's what I print. Decisions
are made democratically. Whatever we do is decided upon
by whoever shows up at the meeting. And that empowers
them, too, knowing that there's someone on their side,
vaguely more organized than they are, [who] will go out and
fight for them''
To find out how you can volunteer for Slice Magazine, phone
Monique at 604.682.3300. They need people to get
involved in all aspects of the magazine, whether it be
donations of paper and other supplies, people with
knowledge of desktop publishing, etc. Or if you'd just like to
read it, you can buy an annual subscription for $40.
n $mm^ ..rmr^mmm:.
Chocolate Baby: What do you think of the
new album, The Sebadoh? Do you like it?
Jason Lowenstein: Yeah, I like it, sure.
Would you listen to it at home?
Actually, I would probably listen to this one at home
more than any other records we've made since
Sebadoh III. For a long time, I wouldn't. I don't
actually do that. But if I had to pull one out to listen to,
it would probably be this one here
This one sounds a lot more produced than
any of your past albums, sounds more ...
I think, just because of my own experience with it, that
Harmacy was way more produced.' But the definition
of produced is totally different from one person lo
Well, this one sounds a lot more clean ...
and crisp.
Yeah, I know what you're saying. Yeah, I think the
fidelity is great on this one. I don't think it's too much
of anything really
And most of this album is produced by Eric
Masunaga, except for two of the songs that
you recorded.
We all had our h**ind in Ae production pot, if you will,
because we ore oil fealty 100% present for the entire
process  Like, tame, a producer will toke over after
you're done. Typically, to me, producers will step in
the creative prdfcess after you've already put all the
stuff on tope, A&n will take it and make it whatever
they want to. You know what I mean? That's only my
just that he's willing to accept us pulling up a chair
and   twisting   some   knobs   and   making   certain
demands of the sound, and he's actually able to get
those certain things out of it
OK, ah ... ah ...
[laughs] Were you actually interested in knowing the
answer to that question?
Yeah I That makes sense.
You just wished it was shorter [laughs].
Well, sorry. This is actually the first interview
I've really 'conducted,' so ...
Really? Oh, wow. Well, I'll take it easy on you
All right, [pause] The Sebadoh has some
new sounds, effects and stuff, that haven't
really been on past Sebadoh albums. There's
some piano and phaser and guitar effects.
Layered drums.
I think you're totally hitting most of the stuff on the
head, I think most important element to me is the fact
that we used a sampler, on one of the songs. On
'Flame' we used a sampler to build the entire song.
And to mo, that's like the newest new element. And
plus, like what you said about the layered drums. Like
that song, and 'Nick of Time,' both have multiple drum
kits on them.
Right.  And  you   have  a   new drummer
playing on this album, Russ [Pollard].
Yeah, he's also responsible for the piano playing. And
a lot of the percussion and background vocals and
are working on with them. I think the head honchos
at Sub Pop met this fellow named Seymour Stein,
who's a pretty infamous character in the history of
new-wave and punk rock ... 'cause he headed the
original Sire Records, that had the Talking Heads
and the Ramones and Blondie and everything else.
And I think that they found a continuity in their
history. I've heard Seymour Stein say: [laughing] 'You
guys are the god-fathert of grunge, and I'm godfather of punk rock.' So I think they just bonded on a
certain level and, also, I think Seymour sow some
potential in some of the bands they have on their
label I think they're doing the same thing for Sunny
Day Real Estate as well. Buf Sire's not going to be
distributing all of their releases, they hove this sort of
'carte-blanche' to interject and say, 'How about we
do this one, too?' And luckily Aey wanted fo do ours.
Yeah, it says Sub-Sire actually on the back
[laughs] Lou made that little emblem. I think. If it' Ae
same one I'm thinking of.
Going back to the drummer situation, are
there any mixed feelings obout Bob {Fay]
leaving the group?
Well, I think we could have handled the
communication with Bob a bit better. At tho end of
the last tour, for Harmacy, [lou and !] had a
conversation [about] what we were going to do next.
We decided that [we] would probably work on it
alone for o while and then possibly bring Bob bock
DiSCQ%VE%'s Chocolate Baby was lucky enough to
conduct his premier interview with former indie rock
god, now major rock god (complete with C¥OX
airplay), Sebadoh
idea of what a producer does, but it's not exactly what
happened on this one. I thinkwhat Eric did for this
record has a lotfmore to do with production tftan just
straight engineering So, you know, I think he $ort of
deserves that cr|dit. But it all had a lot to do with why
this record sounds the way it does.
And Eric's been with Sebadoh in the past. He
recorded a few songs on Harmacy...
So was there something that stuck out with
him that mode you ask him back fop this
Yeah, he's a reaSy talented fellow. And, he's also the
kind of person who, to me, [is] confident enough in his
own skills that he doesn't have to put his personality
over the entire process, like some people do. He's
willing to share the responsibility of the entire job. I
think that, typically, on engineer is only involved in a
certain amount of the creative process. And, as a
result, they tend to get very territorial about it
Meaning lhat they really want to hove control over all
the technical aspects of the thing. 'You just go out there
and sing, or you just go out there ond play yer
goddamn solo, then you come back in here ami I'll
make you sound good.' But with Eric it's much more
collaborative. We're very much a do-it-yourself bond,
so for us fo have to gJVe up lhat part of the process,
the mixing part of the process, doesn't make sense
because we dl* have skills in That area. So his
personality Fits ours in that respect. And otso, he
doesn't know way more Aon us about Aof stuff, it's
Did he play any guitar or bass? When you
guys play five, is he going to switch up?
He wrote fhe song 'Break Free.' He ployed olmost
everything buf Ae bass and drums on that one. So he
played all the guitars and piano and I Aink there's
some percussion. I think the only thing Aat Lou
[Barlow] and 1 contributed was some background
vocals on thot one.
So when exactly did he join the group?
I think it's nearing a year and a half ago, now. He
joined about olmost a year before we went in to do
that record and, really, [The Sebadoh] has been done
for almost six months now.
Really? You recorded it back in the summer?
Yeah, I Aink it was done, wiA artwork ready and
everything, back in August. Then it kept getting put
back and put bock. Sub Pop are now collaborating
with Sire Records and I Aink that Aey had some stuff
they needed to work out, but they didn't really know
what kind of conversation Aey needed to have until
they had the 'product' from us. Having Ae stuff to
listen to made them actually have something to talk
about. Which is too bad, because it really pushed
things back, but at Ae some time it's just Ae way
Aings need to happen, I guess.
What is Sire Records? How did you get
hooked up with them and why pre they
jointly-releasing this album?
The partnership is totally based on stuff Aat Sub Pop
into the fold. But, in Ae meantime, while working on
it, [we] invited Russ over to jam, just for fun, it wasn't
an audition or anything like thot. Bujt, if really only
took about 20 minutes for us to realize that some
part of our new direction had just wafted in Ae door.
It was just one of those Aings. It's a totally cliche
moment, tt was just one of those things where Lou
and I look af each oAer and were like, 'Oh, wet), 1
hope he wants to join this bond, becouse we want
him to.'
But now the ...
I'm sorry, Ae question was really about Bob, Aough.
And I think thot we made that decision and we sort
of sat on telling Bob for a little white, although
towards Ae end of [Aat] last tour, it wos getting to be
quite evident Aat there was some division coming.
And he'* gone on to a new band now ...
Yeah, actually, 1 Aink he plays in a couple bands.
And he's also writing screenplays, I hear. He moved
to Los Angeles right after Ae end of Ae last tour. And
I Aink part of Ae reason he went Aere is because he
wants to make a movie, or maybe several. So he
started writing a lot, 1 guess.
Sometimes Lou writes songs about past
band members, as you know. 'Beauty of
the Ride' off Harmacy...
And 'Freed Pig' perhaps [laughs].
Do you know if, on this new album, he
■wrote any specifically about Bob?
I don't know.
Yt    ^^ Because ... 'Tree' kind of sounds like it could
be referring to him.
I think that's a song he actually wrote for his sister's
Really? About their relationship and ...
I Aink it's the same one we're Ainking about, [sings]
'TogeAer ... is not that long' or whatever. Yeah, that
one he wrote for his sister's wedding, many years
ago But I can see how you could interpret it Aat way.
It's about a relationship, for sure, [pause] I don't Aink
Aat anything was written specifically about Bob on
Ae new record, although I can't speak for Lou. I know
I didn't [laughs].
And Lou's new song, 'Flame,' is the first
single. It's actually getting quite a lot of
airplay, even on our local mainstream rock
station [CFOX].
Yeah, il seems to be being picked by a lot of what
they're colling 'commercialalternative' stations. I Aink
Aafs obviously a goal of a record company like Sire,
to get Aot happening. And 1 Aink AafjAey have ...
Definitely they have influences because of Aeit* stature
in fhe hierorchy of major labels. And also, major
labels typically have a Aing Aey call 'radio staff.* And
Aofs people who jusl spend all day pitching Aeir
wares fo radio stations, trying to make an impression.
I Aink Aat has a lo* to do wiA Aat song getting on
Aere. It [also] sort of hos a little bit of the texture of the
day, in that it has that sample in it. The music is
I'll play the bass on my songs.
Sebadoh  has quite a policy for stating
exactly who writes which song on every
I think we're coming to a new conclusion about that
I mean, the collaboration that happens after [you]
turn your songs over to Ae rest of the band has a lot
to do with the writing process, and it always has.
Everyone really contributes to every song.
And we're just realizing what Aat means, as far as
giving each other credit. Although on this record,
there is still individual credit to a certain degree. But,
I don'f know how long ifs going to last.
So, do you ever just come in with an entirely
finished song and set it down and tell
people what to play?
For me, it's usually that I moke a pretty solid demo of
Ae song, Ae way I'd like it to go. But then, after, if I'm
going to bring it to Aem, I want them to put as much
of a spin on it as Aey want to So I hove fo be open
to it not being onyAing like I wanted it to be. And a lot
of my songs on Ais record were prewritten and I had
an idea of whot I wanted to get out of Aem, but jusf
the cohesiveness of having three people play them
and work on Aem and all that stuff has changed the
general feel. Which I put in the pile of Aat's what's
realty creating and writing Ae song. Creating Ae vibe
of Ae song is just as important as writing Ae music, I
And your songs seem to be more complex
Ae song has to do with it having many levels to keep
it interesting. And that doesn't necessarily mean just
hitting the [guitar] pedal at this certain part, being a
bit more tactful.
Are you still playing some of your old hits
with Russ?
Yeah   We also have a unique thing right now,
because in some ways we're starting over. We can
really dip into our back catalogue and ...
And Bob has always come in and gane out
[of the band] ...
And there was a certain amount of songs Aat he just
knew how to play. But now we can just dip in and
pull what our favourites are, wiA some mind towards
what people might want to hear, as well. Mostly
we're just letting Russ.do a lot of the choosing. Most
of the stuff that he wants to play is Ae stuff Aof we
would want to play. WiA him, it just puts a new spin
on it. It's not Aat we turn Ae song on its head, but jusf
Aat we play it wiA a different intensity Aon we used
So, what are you doing on your spare
time? On the road, what do you do to keep
I've been doing Ae Sebadoh website for the lost few
monAs. Basically, Aat's what I do, When we have
some time off I fry to make updates to Ae site and fry
to keep people abreast. I try to keep a tour diary
and keep uploading tt while we're on Ae road. So,
I've been reading a lot of books, [laughs] Trying to
By phone on a rainy afternoon, Mr. Baby spoke with
Oason Cowenstein (the only longtime Sebadoh member
besides Lou Barlow, the sensitive new-age-man
himself) about their new album (The Sebadoh),
samples, their marriage with Sire Records, and, well,
read on ...
somewhat happy.
Yeah. 'Flame' kind of sounds like [one of
Lou's side projects] The Folk Implosion.
It definitely has Aat in it — superficially, just because
of Ae sample, and because it has Ae drums layered
over if. That's just where Lou is at now. He does a lot
of stuff wiA samples, and I Aink if Russ and I tried to
prohibit him from doing that in the band, he would
just become less enthusiastic. I think we should all
have the freedom to do whatever we want. Although,
1 have mixed feelings obout sampling. That song has
opened my mind up to how it can actually be put to
your real creative use.
But you Stiff have more songs than Lou on
this record, os usual. Usually you have a lot
more than him.
Yeah, that's 'couse Aey're really short [laughs]. On
Ais one, We have an equal amount of songs. I Aink
Aat Ae promo copies all around Ae worfd credited
me wiA a song called 'Thrive.'
Yeah, that Lou sings on. I thought it was
your song.
I Aink Ae record companies thought it was my song,
too. I keep getting credit for Aat one, but it's not mine.
But he has sung on some of your songs in
the  past,  hasn't he? Like,  'S.Soup'  on
Not anyAing more Aan background vocals, I don't
Aink. Usually, whoever writes Ae song will sing if and
also play Ae guitar on it. For Ae most part. Sometimes
on this album. There are more parts to each
song but they really flow into each other.
What sparked that?
I think Aat in Ae past, I've done a lot of just dropping
the baB and giving up. Either af the songwriting stage
or recording stage, or both. And this time, I was just
not going to let that happen. What makes an
interesting song is not necessarily that it has a lot of
parts to it, but Aat it keeps moving in some way. In this
one, it just mode sense to have different parts.
I'm just thinking of Lou's 'Love is Stronger,'
[which has] quite a lot of things going on in
I really like Aat one. It seems like Aat was probably
one of the most dynamic ones we've done. Just
because if starts out wiA somewhat of an old-style feel
to me, as for as being very quiet, and sort of soulful.
And at Ae end it ends up being very loud. I really like
dynamic music. I Aink Aat we've made sure to portray
Aat on Ais record. I Aink that some of Ae songs we've
recorded in Ae past, like on Harmacy, became very
dynamic as we played them on tour. But, Aat wasn't
represented on Ae record. Our previous records have
really just one dynamic to if.
Well, there's realty quite a distinction
between every single song on Harmacy.
One song will go quiet and the next will
just, bang, start in.
They all seem to stay at Ae some level they started at,
to me anyway. I just think Aof a good execution of
get good at it. I've been kind of o geek ot heart Aese
Like Internet for Dummies?
Yeah, and HTML for Dummies.
I was actually just going to ask if you have
any book recommendations, but I guess
you're nof really reading ...
Well, actually, there's an author named Harry Kruz,
who's definitely my favorite auAor over Ae fast few
years. I've consumed everything he's written in fhe
lost three years t could recommend any number of
boob from him. I think his latest one ii called
Celebration and he just keeps getting better and
better. [laughs] Reading manuals is one thing, but
reading a good author ... I know what Ae difference
Check out Sebadoh's website at www.sebadoh.com
Ond be sure to be at the Vogue Saturday, April 6 for
their Vancouver show 7
ft's the most beautiful day of the year so far and I'm stuck indoors. I \\
can't tell if the bird sounds floating past my ears come from the
1 open window or the record player — a strangely ironic and confusing situation, if you ask me.
An intense surge of blind
rage engulfs my entire being
at the sound of WOLFIE. My
hands grope around me for
blunt objects. A voice — a
terrible, terrifying voice — is
singing "You're Lucky I'm
Skinny" and sharp needles of
pain and annoyance penetrate my skull, destroying all
rational thought. Listen — at
your own risk — and you'll
know why. (Parasol, 905 S.
Lynn St. Urbana, IL, 61801)
New York than New York.
Seven bands drunk on John
Zorn and NYC No-Wave —
Vacuum Tree Head, Flying        Luttenbachers,
Mono-Pause, Melt-Banana, The Molecules,
MoelStaiano and The Ruins — get to the business of
destruction in an orderly fashion. My favourite is probably
the amphetamine-charged
Melt-Banana, but MoelStaiano has some pretty righteous metal bangin' percussion going on. All the other
bands (excepting The Ruins)
do the sort of half-assed experimental jazz that God Is
My Co-Pilot excel at — only
not as well. (Dephine
Knormal Musik, 1557 Pete
Court, Manteca, CA, 95337-
I  really liked the last
timents. Those bad girls The
Donnas provide the same old
same old: a trashy rock song
called "Get You Alone" accentuated with handclaps
and "c'mon, c'mons." (Lookout! PO Box 11374,
Berkeley, CA, 94712-2374)
joined up with NEKO
SADIES for a split
country si
whose theme,
MARY 7", but Own Device
just doesn't go anywhere. It's
three songs of hard rock with
strong vocals, but none of the
songs carry any punch and
the B-side, in particular, takes
too long to unwind. (Alternative Tentacles, PO Box
419092, San Francisco, CA,
so gross! The sleeve of their
split 7" with THE DONNAS
depicts dirty rockers — one
of whom closely resembles a
younger Iggy Pop — with
horrible leather accoutrements and unholy hairstyles.
Ewww! Their song, "You Got
It," is just as filthy and unspeakable, oozing sewer sen-
Daisies EP is art-rocky and
mysteriously layered. "Hookup Charlie" features tremulous, high-pitched vocals
floating over and through a
haze of distorted
claims to be influenced by
PIL and it shows. "Daisies"
is a very slowly rendered
track with detuned guitars
and feedback which eventually melts into loose jazz. This
is a notable single, but I
would recommend higher
mixing of the vocals, since
they kind of drown under
all that Art. (Somethin'
Cooking, address
'      *.]
Dark  Cloud-
by    DARTS
paving of the planet.
Neko's voice, in particular,
is memorable and refreshing,
backed by excellent insfru
mentation which include:
slide guitar and fiddle.
(Bloodshot, 912 W.Addison,
Chicago, IL, 60613)
chine. "There's Nothing Here
It Won't Fix" is more
deconstructo-punk. Jonas, the
sole member of this band,
rock song. On
the song entitled
"Butterfly Effect,"
the violin is used in
such a way as to impersonate what a butterfly might
sound like if butterflies actually made any noise. (His Legions From The Hillside, 325
Huntington Ave. #18, Boston, MA, 021 15)•
/apologize for leaving any starved zine readers sans resources last month, but illness had me down for the count.
As the spring equinox dances past, however, I'm back up
to speed and ready to fill your backpack with double the zines
for all your warm weather reading excursions!
#5, free ($2 by mail), 8 1 /2 x
11, 40 pgs, newsprint
This Vancouver punk zine has
really cleaned up its act since the
editors' earlier xeroxed attempts,
with sharper writing and layout.
Diverse, well-written columns and
a couple of punk interviews,
rounded out by a dizzying amount
of ads and music reviews, make A2D
a good resource for fans of Aat
scene, (c/o PO Box 56057,1 st Ave.
Postal Outlet, Vancouver, BC, V5L
5E2, <a2d@hotmail com>, <http:/
/members xoom.com/a2d>)
ANTITHESIS (Vol.  5  #1,
Spring 1999)
free, 8 1 /2 x 11, 40 pgs
Published by the Simon Fraser
Public Interest Research Group
(SF P!RG), these zines voice the
student activist group's ideas and
concerns in an upbeat atmosphere Antithesis moves beyond
the expected political and social
articles to feature comics, games,
recipes and poetry. Veronika's
"An Exercise in/Sanity" presents
a search for adequate mental
health care, highlighting in its
personal account the frustrations
ond miscommunications of finding what one needs. BHM zine
looks at issues of race and racism in both general surveys and
particular investigations. These
well-designed zines reverberate
with enthusiasm, ambition and a
true determination to stay positive in the face of problems in our
society and the world abroad.
#308/309, $2.50,8 1/2 x
11,10 pgs
Newsletter of the West Coast
Science Fiction Association, this
is an absurdly priced, sparse
"zine" catering to the sci-fi community with letters, book reviews,
resources, and talk of events.
Hardly of interest to anyone other
than members of WCSFA, and I
suppose that's the point (c/o
WCSFA, #110-1855 West 2nd
Ave., Vancouver, BC V6J Ul
#1, 8 1/2x5 1/2, 16 pgs
#12,8 1/2x5 1/2, 20 pgs
These zines originate from the
copiers of Vixen Press. As Erin and
Tess state in the Vixen catalog,
"We've been doing this zine Aing
for about eight years or so and
we're not about to give it up." Tess
heads up Superfly zine, while Sitter is the first attempt from a girl
named Cheryl Admittedly, I was
disappointed by Aeir latest efforts.
Superfly has clearly established its
own look and vibe after 12 issues,
but Tess was correct in her diagnosis that # 12 was rushed to meet
the VanCon deadline. A thematic
structure, or simply more elaboration, would have made for a much
more satisfying read. Cheryl's Bit-
terwas skimpy, frivolous and lacking in writing style. There is obvious desire for self-expression here
from both authors, but Ae execution needs work. Both zines offer
a little taste of what could be done
a lot better. Get in touch with
Vixen to be part of their
upcoming compilation 7
and r
work, (c/o Vixen Press, PO Box
4106, Vancouver, BC, V6B 3Z6,
(poems by Daniel Rajala)
1 -shot, 8 l/2x5 1/2,28pgs
From an artist who's moved
around a lot in his 40 odd years,
Death Came Dancing brings us
poems touching on drug addiction and the search for meaning
in life, mingled with sketches of
"the Streaker" (Daniel's alter ego
and artistic inspiration). While
the poetry, bordering on dull, is
very conventional in thought and
language, the regional and personal references give it an edge
worthy of at least one read-
through. (#32-746 Richards St.,
Vancouver, BC, V6B 3A4)
one-shot, $2, 8 1/2X5 1/2,
52 pgs
I can't recall the last time I de
voured a zine so quickly and excitedly. This is a fantastic collection of writings from 30+ zine
kids who are proud to admit (in
this forum, at least) that they
touch themselves — and like it!
The personal confessions are
complemented by reprints from
"professional" sources — everything from medical analyses of
the orgasm to a Mormon
church's guide to "overcoming"
masturbation. What sets this zine
apart is that the contributors are
almost all girls. For providing opportunities for girls to "come out"
and relate on masturbation in a
style not unlike a giggly game
of Truth or Dare, ILMBTY is a tri-
umphant success, and the
epitome of what a themed
perzine should be. (c/o
Wendianne, PO Box 264, Sierre
Madre, CA, 91025-0264,
#12, $1 & 2 stamps, mini,
28 pgs
I believe Motorcycho was reviewed in the first Discorder zine
column I ever read, and this mo-
torcycle-themed fanzine hasn't
slowed down a bit. I'm amazed
at how they can include every
tried-and-true zine element and
make it totally unique to them.
Loved the recipes, reviews, travel
diaries and discussion of "the
Wave" that bikers exchange.
Great stickers and catalog of
Motorcycho releases. Look out
for the humorously ignorant
1970's reprint about "protecting
your property" (tattooing your
"old lady"), (c/o PO Box 1564,
Point Roberts, WA, 98281-1564
#20/#22, $2,8 1IIX 5 1II,
40 pgs
Exceptional perzine from longtime zinestress Ericka. Her
straightforward, compelling style
and delicious layouts make for
irresistible and engaging articles
about family, relationships,
abuse, therapy, and much more.
Power Candy elicits such a response from the reader that you
wish you could have Ericka there
with you to discuss Ae topics fur-
Aer. She runs Ae reputable Pander
zine distro, maintains multiple
websites and actively contributes to
the zinesters@onelist.com listserv.
(c/o Ericka, PO Box 582142,
Minneapolis, MN, 55458-2142,
#1, $2,8 1/2 X 11, offset
Aiming to compile random cartoons done in the last five years,
Kevin's goofy collection of strips
highlight his sharp, subtle drawing style. Some dark humour interspersed with pure silliness
makes for an enjoyable read,
(c/o Kevin Long, #91-1947
Pendrell St., Vancouver, BC,
V6G 1T5)
16     f*£
99 Kinetoscope
(dir. Terence Malick)
This was the only film that was
nominated for any of the big
prizes at this year's Academy
Awards (I think it was nominated
for "best director"! that was worth
my while. In fact, I left the cinema dazed, moved. My only
gripe with The Thin Red Line was
that, at times, I felt as thought the
bit strong. Most of the
tl drew
- ther
was something about much of the
cent tone that I found captivating
— but there were times when the
images and the score conveyed
enough, when the narration got
in the way. An article in Sight and
Sound has complained that the
film's mastery is marred by its
romanticization of Nature, by its
depiction of its tropical setting as
some kind of untroubled Eden. I
think the film avoids this pitfall by
associating     this     type     of
character to the narrative; he is
one character among many in a
film where the notion of a single
protagonist seems ridiculous. Individual tales are told, but really
the film is about the enterprise as
a whole (at least for this particular division), and how individuals are affected by Ais kind of
undertaking. And Malick's version of the Guadalcanal conflict
has so much depth — its cinematography, its acting (there isn't a
weak performance anywhere in
the film), its mise-en-scene, its
classical allusions hold up.
Days of Heaven may have
more consistent narration,, but
this is a far more daring, more
breathtaking work, and one well
worth the wait.
(dir. Stan Brakhage)
Tuesday-Thursday March
Blinding Light
I was struck by the nostalgia of
the screening on the night I went.
These were recent works, but I
couldn't help but feel that they
were from a bygone era.
My favourite was Boulder
Blues and Pearls Others
seemed to prefer the shorter,
more compact films, but my favourites were those that got a
chance to stretch their legs, those
that induced an almost meditative state. This one also featured
an exceptional soundtrack/score
by Rick Corrigan and I got the
feeling that the two had worked
on this project quite closely.
Among Brakhage's own comments on his Yggdrasill
Whose Roots are Stars in
the Human Mind "... I am
compelled to comprehend
Yggdrasill as rooted in the com-
thought process, to :
ing [as] alive today as when
Nordic legend hatched it. I share
this compulsion with Andrei
Tarkovsky, whose last film, The
Sacrifice, struggles to revive The
World Tree narratively, whereas
I simply present (one might also
say "document") a moving graph
to approximate my thought process, whereby The Tree roots itself
as the stars we, reflectively, are."
This was my other favourite. This
was the one where Brakhage's
"moving paintings" had the most
depth, where his images began
to move in and out in an almost
spectral manner as opposed to
just up and down and side to
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!)
r} sfggsisssa Under
Are We Not Femme?
(Mr. Lady)
Frumpie One Piece
(Kill Rock Stars)
These iwo totally different sounding bands Aat share only Ae end
of Aeir names have been lumped
together by me because Aey share
the same horrible fate of being
played once or twice and then
getting lost in the shuffle   What's
wrong with Ais picture? It's not the
albums' fault, Aat's for sure ...
The Butchies is the latest
musical outlet for Kaia, proprietress
of Mr Lady records and rad
outpunk girl This band sounds
neither like Team Dresch (who
KICK IT), nor like Kaia's solo albums (which were boA really cool)
— it's different and I can't figure
out what it does. It popfocks in a
sensitive, socially aware kind of
I missed the boat on The
Frumpies back when they started
their lo-fi onslaught in the early
'90s, and fooled myself into Aink-
ing Aat I could hop in Ae dinghy
Aat is Frumpie One Piece — all
Aeir music packaged up nice and
neat for Aose of us not yet in Ae
know. This release follows the
Frumpies' progress from static and
screams to (relative) tunefulness,
compiling previous material Aat
appeared on releases from
Chainsaw, Wiiija, Lookout, and
Kill Rock Stars.
I guess I'm just losing my edge
— or my musical attention span.
I know that both of these albums
will be really well received by
fans and fledglings alike, people
who care enough to give these
albums the time and attention
This is a tasty little gem recommended for those with slightly
obscure tastes From minimal percussive (inklings mixed with early
Star Trek synthesizer sounds to Ae
full-on chaos of a marching band
gone awry, Drumhead are
hardly repetitive and never boring. Big dark things lurk in Ae
back of a room full of quirky, percussive kids' toys, and
woodwinds serenade bass
drums Some of the more intriguing instruments used include a
grand piano from the
Guggenheim Museum (recorded
in situ?), earth plates, nipple
gongs and various things found
lying around the house and street
All this and computer interference
too. Sheila McCarthy is the queen
behind the scenes, with help from
Tony Maimone of Pere Ubu and
Mekons fame and many others.
Serve Drumhead straight or mixed.
Anna Friz
18     «pJl 99
Soft Favourites of Yesterday
and Today
I don't know what to say about Ais
local release They call it "alfCo-
nadian trip hop," so maybe Aat
means something to you? It's definitely original and I bve Ae fully
instrumental songs with the extra-
smooth beats and wiAout Ae silly
voice samples, like the excellent
second track, "Remix your own
shit " After a while though, I found
Aat all Ae voice samples got quite
annoying and Aey definitely don't
add to the mix. The music is cool,
ranging from nice and relaxing to
ass-shoke-inducing If Aey just left
out Ae damned talking, it'd be a
great listen. (<info@fryertuck com>)
Chris Corday
Uglier Than You
(Bridge Burner)
I've never liked Hissy Fit live and
I've never understood why every
critic in Vancouver seems to love
Ais band Uglier Than You, Aough,
is making me Aink twice about Ais
locol four-piece. This is one disc Aat
I fully expected to hate, but I've got
to admit Aat I like it more every
time I hear it All 1 I songs are solid
rockers, the lyrics are smarter Aan
average, and lead singer Gisele's
awesome riot grrrl snarl has been
stuck in my head for days. Covering The Dead Kennedys' "Too
Drunk To Fuck" earns Aem bonus
points, too. I wouldn't say there's
anything really ground-breaking
here, but who cares? It works anyway (PO Box 3507, Vancouver,
BC, V6B 3Y4)
Max Power
Call-And Response
African   American   Folk
(Smithsonian Folkways)
BoA Aese albums have been re
released as part of the 50th anni-
Smithsonian Folkways label. Ella
Jenkins is known for her children's recordings and has produced over 30 albums on
Smithsonian Folkways over the
years. Call-and-Response was
Jenkins' first ever recording, originally recorded and released in
1957. Primarily a children's album,
it highlights African chants and
songs as well as a few of her own,
sometimes led by children themselves. African American Folk
Rhythms is a reissue of a 1960
recording and is a rich example
of the congregational singing, call-
and-response, work songs and
chants in African American tradition. Jenkins has combined traditional spirituals like "Old Time Re
ligion," and "Wade in The Water"
with her own compositions to
shape on album Aat depicts Ae
African American struggle for free
Ella Jenkins has a gorgeous
deep rolling voice, she plays one
of my favourite oppressed instruments (Ae ukulele), and her simple arrangements will stay in your
mind for weeks And that's the
point: her music is not just for listening, but meant to be played,
sung, and carried on BoA CDs
are valuable archives of oral tradition, and since the words are in
Ae liner notes, you too can join
Anna Friz
One and One is One
(Real World/Astralwerks)
Astralwerks have come out wiA
some pretty funky shit in Ae past
couple of years — and Joi doesn't
disappoint its label siblings.
Like Q-Burns and the Abstract Message (a personal favourite of mine from Astralwerks),
Joi is a perfect marriage between
ambient sounds and upbeat
dancey rhyAms. Taking cue from
the likes of Talvin Singh and oth-
ers, Joi have gone bock to their
genetic and cultural roots to mix
traditional "Asian" sounds wiA Ae
best of modern technology.
And it works.
The CD roller-coasters its way
through much faster break-beat
styles then takes sharp turns to Ae
more ambient and mellow, all very
smooAly and quickly Each song
seems to blend easily wiA Ae others, but distinct in their own right.
Happily, the vocals, which appear seldomly, compliment the
music, rather Aan distract.
I Aink it's a dandy CD technically, stylistically, and artistically.
Buy it. Borrow it. Get it. It is
good. That is all.
Anthony Schrag
The Bed Is In The Ocean
The temptation to view this album
as mediocre is present right from
Ae first note of the first song. And
then something funny happens.
Karate begins to demonstrate
their staggering ability to write
phenomenal music Aat sounds like
noAing you have ever heard before, ot least not all in one place.
No one I've heard has been able
to put Ae kind of rambling lyrics,
masterful jazz guitar licks, and
down-tempo indie drumming into
one package. Somewhere along
the way, powerchords even creep
into Ae mix, alongside melancholy
vocals and a definite country-western feel. Despite the overlap of so
many musical styles, Karate has
managed to create an album Aat
retains a consistent sound Arough-
out. Backed by skilled musician
ship, Karate has put forward an
album Aat is definitely worA more
Aan a cursory listen to Ae opening notes of Ae first track.
Patrick Gross
Los Super Seven
Husband: Hi, dear, how was your
day at the office?
Wife: Fantastic! Mike, from the
Aird floor, brought in a new CD to
play on the stereo. It was Ais group
of Mexican-American musicians
called Los Super Seven
Husband: Oh yeah? I Aink I've
heard of Aem.
Wife: Mike said thot David
Hidalgo and Cesar Rosas from Los
Lobos are in the band, along with
"Conjunto" pioneer Flaco
Jimenez, country star Rick
Trevino, and "Tex-Mex" legends
Joe Ely, Freddy Fender, and Ruben
Husband: Wow! Sounds pretty neat.
Wife: Oh, it is. From Ae occordion-
led "Margarita" to Ae cover of
Woody Guthrie's "Plane Wreck
at Los Gatos," there's not a single
letdown on the entire album I
couldn't stop humming along the
whole time And to top it all off,
proceeds from Ae album are going to a group which seeks to provide opportunities for Mexican-
American youA But enough about
my day, how was yours?
Husband: Well, Mikey wouldn't
stop crying and Jana wouldn't take
her nap. I didn't have a moment of
rest all day.
Wife: Why don't you run down to
Ae record store tomorrow and pick
up Los Super Seven's album?
There's enough lullabies on Aere
to quiet the little devils down.
Husband: That's a great idea,
honey. I Aink I might just do that.
Say, you sure look like you're in a
good mood. How'd you like to fix
me a tuna sandwich?
Wife: Listen, buster ... I may be
chipper, but I ain't Aat chipper. Get
your lazy ass off Ae couch and fix
gabby resch
Absurd Pop Song Romance
Wow! I've never been a huge
Pansy Division fan, but I have,
in the past, recommended that
people go see their live show just
for the energy and pure spectacle
of it. However, Absurd Pop... solidifies the Pansies, in my mind, as
a solid punk-pop ouffit.
San Fran's seminal queer-core
trio — who have now logged seven
years, six albums and numerous
singles — have now become a
quartet and Ae fit could not be
more perfect. The twoguitar assault
fits perfectly wiA Ae anAemic feel
of most of Ae album.
My only complaints, and Aey
are very small, are Aat Ae second
half of Ae album does not keep
up Ae energy which Ae first half
establishes and Aat Ae sound clips
scattered throughout the album to
intro and extro some songs are also
a bit of annoyance. But please ignore my little gripes, because Pansy
Division's newest effort is its most
solid to date.
(Up Records)
I couldn't figure out what to do wiA
Ais record I tried dancing to it,
moving various parts of my body,
shaking, but I stopped doing Aat
after I saw my neighbours pointing and laughing at me Aough Ae
I tried singing along wiA the
few remixes Aat had vocals, but I
couldn't find Ae pitch or a catchy
melody, and my mom told me to
be quite because I was giving her
a headache
I tried sitting down on Ae floor
and getting sad like I do with oAer
records, but Ais music wasn't depressing enough, and it wasn't
overly happy either
I stared at Ae CD case for a
while — Look! The Make-Up!
Cornelius1 Stereolab! — and
three leaves on Ae cover.
So I laid down, closed my eyes,
and tried to figure out what I was
supposed to do. Then I started picturing circles bouncing, colours
dancing, clouds and echoes. This
CD is better than watching TV.
Christa Min
Pole is the working name for
Stefan Betke, who otherwise
passes his time as a sound technician at Berlin's Dubplates and
Mastering, a subsidiary of Mark
Ernestus and Maurizio Von
Oswald's cool record label Basic
Channel (who also operate the
prestigious Chain Reaction label,
recognized for Aeir fine minimal
electronic music). Betke'sodd, quiet
atmospheric music composed of
wellorganized crackles, hisses and
static on top of low, clean bass
sounds and drifting hints of melody
is a sooAing hypnotic listen. Oval
comes to mind, but Betke is as interested in staying inside Ae music as outside it, and his dub-inflected works help feel out Ae balance between the cerebral and Ae
emotional. AlAough Ae result is
often remarkably empty sounding,
CD1 is full of deliberate content.
The space says as much as Ae
faint, echoing, meAodically programmed electrical ticks. What is
particularly impressive is Aat Betke
is able to approach a somewhat
obvious idea, almost a gimmick -
- using record static and Ae sounds
produced by malfunctioning electronics to make music — so successfully. WiA less tact, Ae result
could have been dull, self indulgent
and unlistenable. ByAe way, Pole's
CD2 is more of the same.
Sam Prekop
(Thrill Jockey)
I am a committed fan of Sam
Prekop s work: I have fondly listened to Shrimp Boat, enjoyed
Sea and Cake, and now totally
love this new self-titled solo album.
Such experience is actually incidental, I Aink. No matter how familiar
you might be wiA Prekop, as a
participant in whichever group, Ais
is a great listen. It's low key even
when up tempo, warm but cool,
charming, smooth and wiA an
overall happy/sad sensibility. All
Ae playing and arrangements are
top notch, wiA occasional strings,
horns and organ complementing
the bass, guitars, drums and
Prekop's soft voice. Although
Prekop is Ae principle songwriter,
it seems like a bit of a collaborative effort Fellow Sea and Cake
member Archer Prewirt is one
player, as well as oAer notables
Josh Abrams, Chad Taylor, Rob
Mazurek, Julie Pomerleau, John
McEntire and Jim O'Rourke, who
also skilfully acts as producer. But
Ais album is "solo" in Ae sense
Aat jazz records often are: a group
is formed and "lead" raAer Aan
just fronted and serving only as
back up, if you can appreciate the
difference. This jazz connection is
more Aan superficial: jazz chords
and progressions are used and
Taylor's drumming is clearly in a
jazz way Some have made Ais
jazz element a point of derision,
calling Sam Prekop, Sea and Cake
and apparently everyAing else out
of Chicago "fake jazz." Well,
whatever, it's a dumb debate To
my ear, there is no question of lost
authenticity here, or any canny
of   :
bohemianism. Anyway, such jazz
character sounds more like a sincere reflection on Bossa Nova and
Ae belter aspects of "West coast"
Cool Jazz. In the case of Prekop's
work, while Ae result is a hybrid
sound to be sure, it is a Aoughtful,
well executed one, with no indulgence or excessiveness, but instead
good proportion, clear design and
Things Fall Apart
Black Thought. Rhazel. ?uestlove.
Malik B. Hub. Kamal. Dice Raw.
The Roots. The most highly anticipated hip hop album of the
year has finally been released.
Philly's finest have once again
partnered lyrical genius with live
jazzy beats. It's refreshing to
know that the lyrical content on
the album digs deeper than
"fucking ya mama's bitches while
holding a glock ya head" kind
of bullshit. Rather, The Roots hits
us wiA poignant lyrics with Malik
B rhyming about how his "attitude
a product of society/so sometimes for gratitude, you know you
can't rely on me/niggaz eyein
me, with looks of they anxiety/
wondering in what's in my heart,
velocity or piety" (the Spark).
Possibly the onfy hip hop album
named after a novel (Chinua
Achebe's Things FallAparfj, this is
a diverse collection of dope tracks
that range from Ae sooAing "You
Got Me" (destined to be hip hop's
new bve anAem) to Ae pumping
"Adrenaline!" (Ae title speaks for
OAer contributing talent on the
album includes Erykah Badu, Eve
of Destruction (the female MC on
"You Got Me"), Ursula Rucker,
Common, D'Angelo and the
mighty Mos. So pick up the album
... shoot pick up all five different
covers ... Did we want more? Hell
yeah, we did ... we got more ...
and we're still getting it.
The Third Meeting at the
Third Counter
Satisfact play new-waveish post-
punk guitar stuff, wiA some nice
sounding keyboards and cool
basslines. I Aink Ae problem with
Ais record is Aat the band wanks
out far too much wiA Aeir millions
of guitar effects pedals. Half Ae
album is taken up by the swirling
noise Aey drain from Aeir amps
The guitar noise and feedback
seem to just go on and on wiAout
much attention being paid to song
structure or guitar hooks Unfortunately, Ais method of songwriting
is only interesting to me in small
doses and halfway through Ae album, I found myself quite bored.
The last couple tracks, however, are a bit more interesting and
quite creative — they almost make
up for Ae lock of catchy guitar parts
on the rest of Ae album wiA some
great driving bits of keyboard and
bass. Not a bad CD, but not spectacular eiAer.
Chris Corday
Destruction of the Universe
Three guys and a gal compose Ais
hardcore metal band that was
formed in London, Ontario back
in '92, and this album, Destruction
ofthe Universeis Aeir latest release
Their musical influences stem from
' Ae heavy metal end of the musical
spectrum, yet wiA Nicole Hughes'
vocals, Ae garage rock sound is
miraculously transformed into
someAing I could almost call melodic. Upon listening to Ae CD for
the first time, I immediately thought
of Veruca Salt, but this was only
an initial impression. It gets way
better. AlAough Nicole's voice has
that "baby-doll" sound (as iD
magazine described it in the
Jan.21 -27, 1999 edition), it is penetrating nonetheless and adds an
indisputable element of character
among Ae heavy guitar riffs.
Tamara J.
Actions and Indications
They're back! Once again, Aese
Tacoma boys have released a new
album Aat will give Aem Ae credit
Aey deserve. The first song is a
typical driving melodic master-
i known as "Antilyrical." It
anyAing off Aeir Four album. There
are a few others on here that will
bring back Aat same tingly sensation in your spine as some of Aeir
previous work. The slower songs
are just as good as any pogo
stickin' jumper songs and Ais will
be a great album for the summertime. No slouches here, Seaweed rocks once again.
Ken Paul
Stark Raving
This CD is warm, crisp and live.
Engineers chose to mic Ae studio
in stereo, raAer than the individual
instruments. Thus the balances
among players are earned, raAer
Aan mixed, and Ae auAenticity is
audible. All Ae concert material
Aat appears on the CD shines wiA
Ae same live spontaneity The re
cording's clarity is undeniable, as
is obvious in Bradshaw Pack's
1991 Ae earth for you a standing
place. The piece is busy yet uncluttered, thick with directed polyphony, and entertaining
Bruce Mather wrote Standing Wave for Standing Wave in
1 994 to showcase super-clarinetist Francois Houle The composer's work shines with urbane Montreal glamour, and Houle realizes
this ambience wiA ease. The ensemble accompaniment is an engaging counterbalance, rather
than a passive backdrop, adding
richness and texture to Ais exposes
flash. Any ill-founded doubts regarding Standing Wave's abilities
will be crushed by this CD's inclusion of Boulez's Derive of 1984.
Here is a different rendition of Ae
work Aan what is normally heard
(Ae composer conducting IRCAM,
1991). Standing Wave's reading
of Derive is bright and almost ecstatic, not weighed down by Ae
millions of institutional francs showered upon the Boulez troupe.
While these two versions compliment each oAer admirably, Standing Wave positively outclasses The
Claude Vivier Ensemble's version (1988) of Vivier's
Paranurabo (1978). Standing
Wave delivers crunch and emotive
contour, leaving the earlier recording — which did not involve Ae
composer directly — sounding limp
and unfocused. Canada's greatest
composer would have enjoyed
Standing Wave's tribute.
1996's Wanderer, by Cam
McKittrick, ends the hourlong
disk, toodling through contrasts
and maudlin-but-sawy piano Aat
refuses to weep out loud. The modern classics included here show
both how well the ensemble can
play standard repertoire and how
well our local composers stand up
to the same. Standing Wave is vital to any collection founded on
John Keillor
Pretty good. Not great, but pretty
good. A lot like the last album, a
lot like Epitaph. However, I don't
really think of them as Ten Foot
Pole anymore since Aey lost Scott
Radinsky to Pulley and baseball.
If you're known for your singer,
where does Aat leave you once
you kick him out?
Dave Tolnai
(Thrill Jockey)
If this is the future, then I don't want
any part of it. This album — as
artistically clever and competent as
it may be — creeps me out. Down
with robots singing songs.
Apocalypse Dudes
(SFTRI/Man's Ruin)
OK, OK, forget about what you
think a great rock 'n' roll record
should sound like, 'cause Ae self-
proclaimed "world's number one
rock 'n' roll band" is gonna blow
Aose beliefs outta Ae water and
make you a believer of Aeir over-
the-top, hyperactive, super-sonic
sound in no time. On your first listen you're gonna hear huge guitar
breaks, Aick-as-a-brick bass and
walloping drums, but upon repeated (and I do mean repeated)
listening, you're gonna start to
notice all the little things that
Turbonegro take from all the
great rock 'n' roll bands of Ae past
and multiply tenfold, wiA the jack-
hammer Jerry Lee Lewis piano
in "Get It On" and the Cheap
Trick mixed wiA Kiss teen sex anthem, "Good Head." These guys
have achieved near-legendary status in their home of Oslo, Norway
with Aeir live shows rivalling all of
Aeir North American counterparts,
and judging from Ais genius of an
album it's easy to understand why.
Bryce Dunn
Hangovers in the Ancient
It took me Aree tries to make it
Arough Ais album, simply because
Ae opening track scared fhe hell
out of me every time I heard it.
Why? Subject matter including
mighty sparrows, things as hot as
fire, and worshipping bedlam
clowns, all prominently layered
above an inorganic soundscape.
Violent Green are not your
typical Up Records band, employing sample and drum machines as
well as a multitude of vocal effects.
While Ais results in an interesting
album, its by-products include some
pretty grating songs. In particular,
the liberal use of vocal effects is
fun at first but gets tired after a few
listens. The amount of work that
went into this album is immediately
obvious and there are glimpses of
stark production perfection, but unfortunately it just doesn't make an
easily enjoyable listen.
Apple Venus Vol. I
We haven't heard much XTC
since, a good part of Ae decade
ago, guitarist Andy Partridge
freaked out from an excess of stage
fright and disappeared from Ae
front lines of the music-making
scene, horrifying XTC fans everywhere. It seems silly for me to be
talking about the new maturity of
a band who formed a year after I
was born, but Aeir hiatus did wonders for Ae beauty and complexity of Aeir music. This album is a
far stretch from the early punk pop
days of singles such as "Are You
Receiving Me" and the quirky
"Making Plans for Nigel," but it
doesn't suffer from a lack of the
overt poppiness which also
abounded in later songs like "Dear
God" and "The Ballad of Peter
Partridge and his partner in
crime, Colin Moulding, are older,
wiser, and not at all afraid of orchestral instruments. Strings and
flugel horns lace Aeir way Arough,
feeling mellow, content wiA life,
and maybe even yearning for a
little adult contemporary cheese.
alia h.
Forward Til Death
It's Been About Five Years,
Hasn't It?
This was an interesting exercise in
relative comparison in listening to
Aese two compilations. The respective compilations follow the short-
term (1998) activities of a long-
term US indie stalwart (Lookout!)
and Ae long-term (five years) accomplishment of a new Canadian
label (No).
Forward Til Death features a
song from every 1998 Lookout!
release (marking the label's 1 6th
year) as well as some unreleased
material from The Donnas, The
Mr. T Experience and Gas
Huffer, amongst oAers. This album displays the SF. Bay label's
straight-ahead rawk approach
which has proved to be its strengA.
I find it interesting Aat the last track
is a live, unreleased track from Ae
loud-garage outfit, The Criminals; it is a tune which seems to
be "cashing in" on Ae sound spearheaded by bands like The Murder City Devils or any number
of Man's Ruin's bands, which the
kids digs so much. Perhaps originality is not a huge concern for
Lookout — but Aen, such raw energy can't be found just anywhere.
Whereas Lookout! tends to get
caught in a bit of a rut, Halifax's
No Records seems to have been
the epitome of brave musical experimentation, as shown by It's
Been About Five Years, Hasn't It?,
a retrospective of Ae label's entire
catalogue. From Ae pop rock of
groups like Chaz Rules (Ae label's first signee) or Grace Babies to the strange brand of hip
hop geniuses like Hip Club
Groove, the musical mix is as
varied as could possibly be expected from one label. Check out
Ae excellent horn-tinged pop ditty
from Guelph's Red (who were, in
a former incarnation, celtic-rockers
Uisce Beatha), and see if you
don't wanna get up and dance.
Mike Chilton
Pop Romantique: French Pop
(Emperor Norton)
For some obscure reason, French
popular music of Ae '60s is having a comeback — sure beats me,
but so do lava lamps and bell-bottoms. So here it is, fresh off Ae press
and ready for springtime: Pop
Romantique, a cool kitschy remake, full of '60s songs by French-
friendly US Anglos, including four
Gainsbourg tunes. So live a little and have a French moment.
Now We Are 5
(Sonic Unyon)
This album, commemorating Ae
Hamilton indie label's fifth anniversary, covers a lot of ground. From
the raw heaviness of Tricky
Woo's "Teenage Hurricane," to
Ae Beatleesque acoustic track by
Mayor McCa, to the sonic odys-
sey presented in the remix of
SIANspheric's "Watch Me Fall,"
Aere isn't much territory Aat isn't
explored. I don't think anyone
would like it all, but there's definitely something for everyone.
Despite Ae album's occasional less-
than-exceptional songwriting,
Danko Jones' "Dr. Evening" is
a brilliantly raunchy proclamation
of his rock stardom and his status
as God's gift to women. AnoAer
highlight is the definitive Hayden
track, "Neil Young Son."
This is a solid collection that's
a little rough around the edges,
which isn't such a bad thing.
Justin Callison
(Arsenal Pulp Press)
I always find it funny when people produce pornography and
pretend it's something else. Normally, something like Quickies
would fit into this category and I would normally find it very
funny. Instead, however, I was just thoroughly bored by the book.
It's a short fiction anthology of "gay male desire" with 69 entries, all about two-Aree pages long. It's 207 pages of sex beween
men. Sex in alleys, sex in baAs, sex in beds, leaAer sex, s/m sex,
club sex, fun sex, quick sex, sex, sex, sex, etc., ad nauseum.
Now, perhaps its my prudish English background, or the problems I have with gay culture in general — but that's a little excessive, don't you think? Not to mention boring? (And what of the
fact that it just reinforces stereotypes about gay men?)
Sure, the first couple of articles turned me on. But after 16
entries, everything falls into the formulaic feel of pulp porno —
some Adonis-like creature shows up, the shy protagonist gives
him head. Perhaps they fuck, then the Adonis creature disappears, both knowing they will never speak again.
The entries all have titles like "Logger-Sex" and "Paperboy"
and "Cowboy Boots." As with all porno, it's a little predictable.
The interesting Aing about Quickies — and Ae thousands of
books just like it — is the audience to whom it is targeted: a sort of
intellectualised gay elite, who can pretend to be philosophical about
sex. As if Ais book were a deep contemplation on gay male life.
It's not.
It's just sex.
There is nothing wrong with porno. I am all for porno. Some
of my best friends are in porno. I just have problems when it
claims to be something other than what it is and ends up reinforcing stereotypes. Which is what Quickies and all this pulp gay
fiction does.
Anthony Schrag
)9 ®^SI®3B Real Live
Thursday, February 11
Starfish Room
Non-stop popl Feisty opened up
this fun-tastic eve wiA a set which
included some new songs, os well
as old familiar ones. Victoria's
Run Chico Run played Aeir set
of keyboard-enhanced pop to a
receptive audience, acting and
playing enAusiastically (translation: Aey were slightly sauced).
They were a zillion times better
than the fast time I saw them,
when iheir dependency on Sloan
antics had been raAer tedious to
endure. The Salteens were in
top form. EveryAing fit into place
to make Ais set Ae ultimate in toe
tapping, sing-along goodness.
This is a band who's got me humming keyboard ditties as I walk
home from the bus stop in Ae
middle of the night — that's
catchy! Peppersands headlined with their standard flair by
spewing bubbles at the crowd
and rocking out. As far as I could
tell, everyone went home happy
(maybe humming like me?)
an observer
Black Angels
Sunday, February 14
Vancouver E. Cultural Centre
This evening was a real success
for  players and  those  who
brought a valentine. An audience
of only half capacity was treated
to exceptionally intimate lyrical
performances. The feeling suggested 19th-century Parisian or
Viennese salon entertainment,
where Ae best would play for a
privileged few.
The first half began with
Thierry Pecou s Histoires en
Ecrins from 1995. Four duets in
different parts of Ae room, one
at a time, performed counterpoint
of differing quality. Then Ae players gathered on stage to develop
the sounds together. In essence,
characters were introduced and
Aen played out a scene. Conductor Wallace Leung made Ae simultaneous renderings of each
voice look easy, like a magician
incanting a favorite spell. Rarely
does such a recent piece settle
so well.
The rest of Ae concert was
dedicated to George Crumb,
perhaps America's most beloved
living composer and firecracker
enAusiast. His 1976 Dream Se
quence, for small ensemble on
and off stage, a companion piece
to Black Angels, proved a compelling contrast to Pecou's cumulative narrative. While Histoires
used time to gaAer ideas togeAer,
Dream sustained an atmosphere
Aat suspends time by negating
musical events wiAin Ae sound
fabric. What remained was an
aural quality that lulled Ae listener
into an ease of synchronicity wiA
Ae music. The effect was similar
The second half was 1970's
Black Angels: Thirteen Images
from the Dark Land, Ae contemporary classic and best-known
electric string quartet. While Ae
t half included a prepared
jnded ir
Black Angels was a complete
epic, an expression of despair for
Ae war in Vietnam. It is a musical
tale of departure, absence, and
return, full of quotes, alternate
sound technique, and numerology. Most quartets tend to play
up Ae theatrical and emotional
range of the work (refer to the
Kronos' slick-yet-savage record
120 NE STATE #418
new    on    kill   rock   stars
Pro Forma LP/
various artists
Drinking from Puddles
LP/CD (live comp. from
Portland station KBOO)
7ffi°re Vo,.
send for free catalog
der, more memory.
The nuts ond bolts of Ae
performance went well, in spite
of the work's difficulty. Hats off to
Peggy Lee for her wonderful
artificial harmonics solos. And
hazzah for all Ae excellent blending that comes with putting Ae
music first.
John Keillor
STANDING WAVE CD release party
Sunday, February 21
Vancouver E. Cultural Centre
Three pieces on the CD were
• heard in concert, including Elliot
Carter's 1990 opening, Con
Leggerezza Persona: Ommagio
a Italo Calvino. The performance
pleased, but Ae work was derivative of '50s serialism. New World
composers need not sound dated
and European. This point was
driven home by George
Crumb's following Eleven Echoes of Autumn: 1965. Whispers
of Lorca's poems, innocent enAu-
siasm for colour, and an individuality unconcerned with
academia greeted listeners with
Crumb's faint yankee accent.
record well — owing to his handling of silence and sound reverberation — it is perhaps best
this piece was not included on
the disk, Aough the playing was
downright inspired.
Jacqueline Leggatt
capped Ae first half wiA the CD's
opener, 1998's Farandle II. It
depicted the way in which our
Canadian landscape shapes us
internally, illustrating the imperfect
cognitive links drawn between
past and present in any
soundscape, celebrating faiA and
memory instead of faith in
memory. Passion's object took Ae
form of musical material in the
same way recollection traces a
lover's face in far away Toronto.
The second half of the
evening began with Kho Lho by
that reclusive Italian nutcase,
Giacinto Scelsi. From 1966,
this flute/clarinet duet maintained the composer's grace as
a wealthy, castle-dwelling
coolkid committing eccentric acts
at his leisure. It did almost nothing: no gestures and no contrasts, internal yet aloof. Scelsi's
poise and distance sharply contrasted with Carter's reappearance in Ae program wiA 1982's
Triple Duo, revealing Ae composer's academic soul. Triple
Duo's heartfelt compositional in-
formed-ness was both grating
and monumental. Its form was
inventive, simultaneously explicating and developing material from
an opening, polyphonic mass.
Standing Wave's world-class
performance successfully drew
poetry from this musical behe-
moA. The concert's namesake,
Stark Raving, ended Ae show.
Standing Wave commissioned
this work from John Korsrud
in 1994. Brief ond sturdy, it
blasted along happily, accompanied by cellist Peggy Lee's infectious smile. This piece also made
Ae cut onto disk. (See CD review,
p. 19.)
John Keillor
Thursday, February 25
WWU, Bellingham, WA
Just trying lo distract the little kid out
front of lhat student union building
was frustrating. She was smearing
Ae congealing blood of a dead
crow about a plaque dedicated lo
generous donors of one sort, then
another. Then a line of fans between
the concession stand and a temporary table marked by a pale yellow
staff. Critters and med students and
Ae notorious Bellingham Sideburns,
professional rock fans, were Aere.
Bangs were loo small for the
stage. So smurfly Ae Aree girls persevered, playing punk lo avenge the
burning of Aeir village by Ae evil
Then Seattle's Hovercraft wilh
standard band gear and a roster of
pedals lhat lucks just under Ae noise-
band salary cap. They played an
hour uninterupled and synchronized
to the loopy video lhat recounted
Ae fast 30 years in psychedelic images. The crowd was captivated,
staring at ihe Aree on stage — Aeir
faces flushed with diluted, magnetic
and finally projected colour — like
a nokoutine on Ae highway.
I bve Sleater-Kinney. Without
even thinking, I bve this band. I
bve Ais band because everybody
loves Ais band because everybody
loves Ais band. Rock rock rock,
hooray! Love with hearts and sprinkles on lop, please. Can I lake Aat
home wilh me from happy foreign
lands of rock? Cake and love and
Grated love.
Saturday, February 27
Starfish Room
No.2 started off the night packed
wiA energy. I hod never heard
onyAing by them before, but I
imagine they would not sound
quite Ae same on tape. They are
quite poppy wiA cool back-and-
forA lyrics sung by a lanky male
guitarist and an angry female
bassist. The band played about
seven songs, barely pausing to
tell Ae audience about Aeir lack
of audience banter or guitar problems. Eventually each song started
sounding like Ae preceding one,
and I, abng wiA Ae sold out club,
started getting anxious for who
we had come to see.
After a very lengAy half hour,
Elliott Smith stepped out from
the murky smoke, guitar grasped
in hand and a large smile on his
face. To my disappointment, he
was followed by his touring band.
I would have much rather preferred to spend Ae night listening Elliott belt out his folky, love-
tainted whiny observations of life
strictly by himself. The band
bounced into a very poppy set,
similar to No.2, whose drummer
I noticed was playing again for
Elliott. Eventually the songs became more folky, reminding me
of Hayden's recent show back
in December. Finally Ae backing
band stepped away from Aeir
instruments and Elliott presented
himself to us. His faithful voice
filled Ae room with hope, accompanied by tiny notes plucked on
his guitar. My eyes filled wiA tears
as I strained to take in as much of
the sweetly flowing poetry and
insight as I could. Then he left us,
maybe to give us some time to
truly appreciate everything he
had put forth, turning us loose on
the cruel, bitter world wiA Ae inspiration and knowledge Aat al-
Aough bad Aings happen to good
people, Aere are probably some
more good people around to help
Carrie Sleater-Kinney at one of their
many recent engagements.
2fl   *p«£99 us out.
chocolate baby
Sunday, February 28
DV8, Seattle, WA
After seeing Fugazi in Olympia Ae
night before, I dreamt Fugazi, I ate
Fugazi, I cried Fugazi. Could Ae
Seattle show possibly top what I
had experienced Ae night before?
Yes. It did.
If you didn't already have a
ticket, you were screwed. If you
had one to sell, like I did, you sud
denh/ became popular. I became
"The Canadian Lady." People
were willing to pay me $40 (Aat's
$61.20 Canadian). The show was
a benefit for Ae Teen Dance Ordinance Resistance, a group fighting for Ae right to have all ages
shows in Washington State.
Sleater-Kinney was a late
addition to the bill and they
played a mere half hour. Between Carrie's kicks, Janet's
beats, and Corin's screams, Aey
stoned the crowd. I think
Danelectros are becoming the
indie guitars of Ae Northwest.
Martin Bruback, a fast talking, suspicous, rhyming, skinny
guy, gave an entertaining performance, mostly talking about
the evil media and hypocracy.
The Ex was amazing. After being married for 20 years,
Aese Dutch men and woman can
still go mental. Who needs guitar picks and snare drums when
you can use scrub brushes, towels and pot lids instead? Katrin
became everyone's new hero.
She sang lead and drummed at
Ae same time, and I don't mean
like Phil Collins. The Ex played
an encore. That's right. The opening band played an encore.
When Fugazi came on, I
could not see land. I saw an endless sea of white males, but Aank-
fully, no one was surfing. Fugazi
was relaxed, I Aink. They were
cracking jokes. Ian was dancing.
Guy, who kept ditching his guitar, was almost a rock star. They
brought out the school band instruments for "Version," wiA Guy
on clarinet and Jerry Busher on
trumpet, who also doubled up on
drums along wiA Brendan. They
did a completely different set
from Ae Olympia show and I lost
count of how many encores they
played. This was the show of my
life. It was Fugazi. I am ready
for death now.
Christa Min
Sunday, March 7
Richard's on Richards
The place was stocked, Ae crowd
twitching in anticipation, and J-
Swing opened up with some
solid and classic tracks on Ae steel
wheels. Respect to all Ae young
ladies with the smooth dance
moves. We were perplexed at first
as to why Ae young men chose to
kick back and look cool instead
of joining Ae dance floor.
As soon as the first of
Oakland's Hieroglyphics crew
stepped on stage, we realised
Aose same fellas were just saving
energy for Ae mosh pit which immediately ensued. Not your average hip hop show and not your
average mcs. The Prose, Souls
of Mischief, Casual, and Del
did not perform in a linear fashion one after another, instead
choosing to represent on stage
togeAer, providing us wiA a full
serving of ingenious lyrics and
phat beats.
Hiero immediately put to rest
Ae rumour Aat Ais would be Ae
last show for Ae whole family. This
hardworking group have been
releasing their music independently since Ae early '90s wiA Del,
Casual, and S.O.M. each releasing a cassette-only album during
the past year on the Hiero-
Imperium label. The resulting prod-
uct is tighter Aan ever. This show
was sold out and over a hundred
sorry folks were turned away at
Ae door. Some old favourites (including "Mista Dobalina") were
presented, as well as some new
tracks like "At the Helm," "The Last
One," and "You Never Knew"
(which busts the lyrics "manoeuvring to Vancouver...") making Ae
already rowdy crowd get wilder.
The only thing we could have
wished for is a longer set. "Get
Well Soon" to the maniacs
breakin' on broken glass after Ae
show. From '93 to infinity, Hiero
proves to get Aem heads nodding
and fists pumping.
lauren and jan-9
Thursday, March 11
Croatian Cultural Centre
This was one of Aose shows Aat I
couldn't remember Ae next day
because itwas so boring. Which
is a shame, because Snow-Jam is
usually a memorable event.
Unfortunately, I missed Ae first
few bands. SomeAing about me
getting Aere at 8 and Ae show
starting at 4, or someAing stupid
like Aat. How could I know that
By A Thread, Planet Smashers, and Chixdiggit would all
be done by 8?
So, first up, Satanic Surfers.
I guess Aese guys are from Sweden. The drummer sings and Aeir
sound ranges from metal to
Millencolin. That just about says
it all. I hate Millencolin and I Aink
Aat metal should have died when
Ozzy quit Black Sabbath back
in Ae '70s.
Next up, 88 Fingers Louie
Back from the dead. They put out
a good effort, but really... Just like
Screeching Weasel, you were
better off broken up.
Lastly, gob. Gob, gob, gob,
... What have you done to yourselves? Honestly, the split with
Another Joe was awesome. Too
Late... No Friends took awhile,
but I grew to love it and your original EP is five years old and still
kicks ass. And now, you put out
an album on Fearless Aat sucks,
and everybody is freaking out. Oh
yeah, Ae show. Well, just like Ae
oAers, it was a wall of indistinguishable noise.
But honestly, I don't blame ihe
bands, but Ae Croatian Cultural
Centre. The sound sucks, it's way
too big and ... well, Ae sound re
ally sucks. I know, somebody next
issue is going to write an article
about Ae Less Than Jake show
held one night later and about how
great Ae place is and how great it
is that all Aese kids are supporting
the Vancouver "scene" and I'll look
like a retard. But you know what?
Fuck off. Positive attitudes suck.
Dave Tolnai
Friday, March 19
Celebrating Aeir ten-year anniversary, Mystery Machine really
went all-out for Ais show. Stellar
opening acts, lots of cool free stuff,
and an almost maraAon of music
made Ais Ae best concert I've seen
so far Ais year.
The Liars were Ae first of
many pleasant surprises Arough-
out the evening. Over the course
of their half-hour set, these local
boys won over the growing
crowd with a wonderfully tight
set of slightly fuzzed-out guitar
rock. Given a little more time to
grow, it won't be long before
these guys are headlining their
I don't Aink I've ever loved an
opening act as much as I did The
Klauskinskis. This is one of
those rare bands that, over the
span of their short set, truly get
you excited, make you forget
about the main attraction, and
Aen when they're done, leave
you wanting more. Imagine get-
Cambell-2000 of Hovercraft gets lost in both
her silhouette and bassline during their
show in Bellingham.
ting the chance to see
Spiritualized in a club setting
with only a handful of people
around you. But please, change
the damn name.
As far as Mystery Machine
shows go, Aey really can't get much
better Aan Ais. Much to Ae fans'
delight, Aey played what they
referred to as Aeir longest gig
ever. WiA a set list of over 20
songs spanning Ae entire decade of Aeir existence, Aey kept
Ae crowd happy well into Ae
wee hours of Ae morning.
(2526 Main Street)
In my opinion, the restaurant is one of the best innovations any culture has come up with. Well-chosen
restaurants give diners an almost infinite number of choices in a space of luxury and decadence. The
tricky thing about restaurants is that your choice in dining locale says as much about you as what you
wear or the music you listen to. For example, what would you think of somebody if, on your first date,
they suggested going to the Naam? Is this really somebody you'd want to get jiggy with? Another
concern far many of us is the cost associated with dining out. While it may be nice to drop a few
hundred bucks on a totally kick ass meal, it is probably money better spent on something like rent. The
tension between the seemingly contradictory forces of 1) good food and atmosphere and 2) the cost of
the meal, is where someone like me comes in. I will selflessly commit myself to eating out on a somewhat regular basis and report my findings to you, the concerned public. There is no way I'll let mediocre vinaigrette destroy that well crafted facade you've spent years perfecting.
!w is of Monsoon, located at 2526 Main Street. I have heard a lot
>urces for sometime now, so I figured it was about time I checked it out
■xcuse than a friend's birthday? The six of us arrived a little past seven
as I sat down I noticed that there were some drink specials advertised,
ited liquor, I decided I had better order one. Much to my disappoint-
right, kind of like a crucial ingredient was missing: rum. After my $6
ith peanut sauce. The chicken was a little
ighlly spiced enough to be
about Monsoon from different sc
for myself, and what better an e
on a Sunday evening. As soon *
Having a weakness for disa
ment, my drink didn't quite tc
Shirley Temple, I shared an appetizer of chicken skew*
;r-cooked, causing it to be dry, dry, dry. The peanut sc
>. So often peanut sauce just turns out to be watery peanut butter, but not hei
Entree-wise, I went for the sea bass and masala fries with banana ketchup. This sounded like an
intriguing combination that I couldn't pass up. The sea bass was very lightly battered and given the
density of bass in general, it was quite light tasting. A real pleasure to eat. Unfortunately, what passed
for masala fries at Monsoon were actually just your typical sally restaurant fries. However, somebody
there knows their sauces because, like the peanut sauce, the banana ketchup added flare to an otherwise bland sidedish. Put together, the sea bass and masala fries created a moderately sized portion,
but the $ 1 2 price tag seemed a little high to me.
Of special note for those of you who are vegetarians, do not settle for the spinach and lentil
dumplings. We left three or four napkins filled with half-chewed dumplings for the staff to clean up. If
you really want to eat a veggie meal at Monsoon, order the squash.
Also, if you are so inclined, Monsoon has an alright wine list put together of selected wines that are
supposed to complement the east-meets-west menu creations. I had a glass of Ae chardonnay and
found it to go well with the bass, even though I have no idea if it is supposed to or not.
Overall, would I recommend Monsoon? That's tough. For having such a limited menu, I would have
expected the food to be a little better, not that what I had was bad. I found my meal to be adequate, but
not excellent. I did like the atmosphere in Monsoon, though. The music was loud enough to be heard
but quiet enough to talk over, creating an atmosphere perfect for faux-fine dining and intimate conversation. I guess I'd have to say, yeah sure, go to Monsoon, just don't expect your world to get rocked.
Bill K
SIDE 67     *
■ ____]
HEAVY METAL S-Jfenadine Records presents
Jalo-pea                                      /fZZxzTi^S
The MinioODS                                            fiRENADINf
me 6iribOTb$l»«S7/__£v UWt Si-V/»72ra
CDs S12ppd (Payable to Alex Megelas)
and/or send for a free catalogue at:
PO Box 42050, D1, Montreal, PQ,
H2W 2T3, Canada. (514)933-7588,
Thee Goblins
Steaminf Tooiie
Tricky Woo
Win Tickets to see
Gomez & Mojave 3 @
the Starfish Room on
Saturday, May 1st,
courtesy of Universal
Concerts Canada, wen
also slap you with a copy of the
fab Gomez CD "Bring It On",
courtesy of Virgin Records.
Just tell us which
member of the
Addams Family
you'd most like to
make love to,
& we'll enter your name
in the draw to win!
Enter via fax: 604.822.9364; mail: 233-6138 SUB Blvd, Vancouver B.C. V6T 1Z1;
email: citrradio@mail.ams.ubc.ca; or just drop it off to our office at the above address.
Please specify "Gomez Contest" in the heading, and include your name & phone number.
Enter as many times as you like! Deadline for entries is April 24.
1  m
Pre - Prequel Gatherirl
Friday, May 14th, Starfish Room
1055 Homer St
Doors: 8 PM, Show 10PM
Tickets: $12 + Service Charge
Available at
Zulu Records, 1869 W 4th Ave
Scratch Records. 109 W. Cordova
Comedian Patrick Bahrich
The Royal Imperial
Comedy Improv Players
Star Wars Gameshow
Music! Short Films! Animation! 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, "April" charts reflect airplay over March).
Weekly charts can be received via e-mail. Send mail fo "majordomo@unixg.ubc.ca"
with the command: "subscribe citr-charts"#
april 99 long
april 99 short vinyl
april 99 i
ndie home jobs
1        plastikman
artifakts (be)
1        donnas/toilet boys   split                                            lookout!
1        full sketch
1 2      the surfdusters
surf after dark
2       longstocking              will you stay?                                        k
2       kinnie starr
bk lounge
3      gaze
shake the pounce
3       built to spill/marine research split                                                        k
3       radio berlin
receiver's end
4      april march
chrominance decode
4       the parcels                 s/t                                brentwood estates
4      full sketch
5       built to spill
keep it like a secret
5       silver scooter             tribute to the phone calls        peek-a-boo
5       dreamy angel
laundromatte queen
6      the budget girls
on a tight budget
damaged goods
6       the hellacopters        down right blue                        sub pop
6      team strike force
lager + lime
7       pan sonic
7       wolfie                         you're lucky i'm skinny              parasol
7       clover honey
three four
8      destroyer
city of daughters
triple crown
8       marine research           s/t                                                              k
8       nagasaki fondue
9       satsuma
9       fuck on the beach     fastcore on the beach         slap a ham
9       brian ruryk
10    gob
how far shallow takes you        fearless
10    tight bros   ...             take you higher                      ten-in-one
10    bishop of battle
coldward & stormward
11     coldcut
let us replay
ninja tune
11     harry dean stanton   you don't miss ...                   rx remedy
11     the chick magnets
make-up girl
12    godspeed you black.
slow not ep
12    north of america       bayonet point                       montesano
12     fridge art tiara
13     seaweed
actions and indicatio
ns               merge
13    bangs                         maggie the cat                       ten-in-one
13    the dirtmitts
wee turtles
14    gang of four
100 flowers bloom
14    tricky woo                 bittersweet                          sonic unyon
14    submission hold
source of fuck
15    t-model ford
you better keep still
fat possum
15     disgusteens                 nothing personal                        longshot
15    emulsifier
up the down side
16    johnmcentire
reach the rock stk.
16    the windowpaynes      lost friend                                    get hip
16    transvestimentals
incidental transvestimental song
17    freep
take a deep breath
17    n case/whiskeytown     split                                         bloodshot
17    dixie's death pool
she rides a bike with an engine
18     sebadoh
the sebadoh
sub pop
18    junior varsity             juvenile                                     remedial
18    tickertape parade
audience with the pope
19    the molestics
manufacturing hokun
king hokum
19    make-up/lung leg     split                                            southern
19    tampax twin
20    sam prekop
thrill jockey
20    magnetic fields          i don't believe you                       merge
20    thee goblins
golden tokens
23     fryertuck
r&b favorites
soft favourites of ...
24    cat power
moon pix
Ska-T's Scene-ik Drive Top  5  rekkids
what we listened to ...
25    the roots
things fall apart
(Fridays,      10AM-12PM)
26    smog
knock knock
drag city
1     olivia tremor control
black foliage
27    various artists
yoyo a go go
1     the kingpins       let's go to work                                         stomp
2    royal trux
28    oh susanna
3    low
one more reason to forget
29    various artists
homeless in BC 2
2     liberator   '         worldwide delivery                      burning hear
4    low
secret name
30    looper
up a tree
sub pop
5    low
i could live in hope
31     bombay ihe hard way
guns, cars & sitars
3     rude boy            shut up and dance                                    stomp
6    sonic youth
a thousand leaves
32    the pastels
7    latin playboys
33    takako minekawa
cloudy cloud ...
emperor norton
4     slow gherkin      shed some skin                                  asian man
8    looper
up a tree
34    the deadcats
millions of dead cats
flying saucer
9    gardener
new dawning time
35    sleater-kinney
the hot rock
kill rock stars
5     various artists     scoot quarterly                         victory/jump up
10 CiTR 101.9 fM
Jason <dcl silva
jmrnmsrim® ^jm& v^g
z3 i^^ssmm On The Dia
12:00PM All ol time is measured by
its art Tliis show presents the mosl
recent new music from around the
world Ears open.
Reggoe mna all styles ond fashion.
5:00PM Reolcowshit-caught-in-yer-
boots country.
WIRELESS alt. 3.*00-5:O0PM
6:00PM British pop music Irom all
SAINT TROPEZ alt 5:00-6:00PM
International pop (Japanese, French,
Swedish, British, US, etc.),  '60s
soundtracks and lounge Book your
jet sel holiday nowl
QUEER FM 6:00-8:OOPM Dedicated
lo the gay, lesbian, bisexual, and
transsexual communities ol
Vancouver and listened to by
everyone. Lots ol human interest
features, background on current
issues ond greal music from musicians
ol all sexual preferences and gender
HEU.0 INDIA 8-0O-9-00PM
GEETANJAU 9:00- 10:00PM
Geelanjali features a wide range ol
music from India, including classical
music, both Hindustani and Carnatic,
popular music from Indian movies
from thei 930's to thei 990's, semi-
classical music such as Ghazals and
Bhojans, and also Quawwalis, etc
Hip Hop — Strictly Underground —
Strictly Vinyl  With your  hosts
Checkmate, Flip Out & J Swing on
the 1 & 2's.
Oecter spins techno. So chill out with
us. Have a nice day
8:00 AM
8:15-11:00AM Your favourite brown-
sters, James and Peter, offer a savoury
Wend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy eoch weekly brown plate special.
Instrumental, trance, lounge and
BLUE MONDAY alt.  11:00AM-
1:00PM Vancouver's only industrial-
electronic-refrcKjoth program. Music
to schtomp to, hosted by Coreen.
Feeling a little French-impaired?
Francophone music from around the
globe, sans Celine Dion.
4:00PM I endeavour to feature deod
air, verbal flatulence, o work of music
by a 20-century composer — can you
say minimalist? — and whatever else
appeals to me. Fag and dyke positive.
will triumph? Hardcore/punk from
beyond the grave.
the Sports department for their eye
on the T-birds.
POLYFILLER 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. Hosled by the ever-
suave Gavin Walker. Features at 11.
April 5: A brand new olbum from
vibrophone ond marimba master
Bobby Hutcherson: Skyline.
April 19 A classic from drum genius
Elvin Jones, Coalition, featuring
tenor saxophone giants George
Coleman and Frank Foster.
4:00AM Hosted by Trevor. It's punk
rock, baby! Gone from the charts bul not
from our hearts — thank fucking Christ.
9:30AM Listen carefully as Johnny
B. brings you the classical music
show featuring Canadian composers,
>. Radio
fuoco for the masses.
11:30AM Torrid trashrock, sleazy
surf and pulsalin' punk provide the perfect
scissor kick to your head every Tuesday
man. There's no second chance when
Kungfu is used for evil with drunken fist
Bryce. KilfyaaN
11:30AM-1:00PM Totes of puppy
love gone awry, and of baby ducks
crossing the streel, all backed up by a
sad soundtrack of various indierock
bonds for your own en|oyment and
education. Cry in your beer, please.
3:30PM Swing, baby.
SOUND THAT PITCH alt. 3:30-5:00
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 BOMBA 9:00-10:00PM La
Bombo (the bomb) explodes with the
best salsa and merengue, with your papi DJ Papilicious.
10:00PM-12:00AM     Nose
ambient, electronic, hip hop, free
J02Z, Christian better living LPs, the
occasional 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. Ambient, ethnic,
funk, pop, dance, punk, electronic,
synth, blues, and unusual rock.
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack 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 and
other issues in the Americas.
LOVE SUCKS 12:00-2:00PM Music
at work. (Cut up mixed genres —
eclectic, electric included but not
MOTORDADDY 3.-00-5.-00PM "eat,
sleep, ride, listen to Motordaddy,
RACHEL'S SONG 5:10-6*O0PM Info
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 sleoter-kinney, low, sushi...
these are o few of our faveohwrit things.
BY THE WAY alt. 7:30-9:00PM
Let's give alternative media a chance
- VIVA VINYL! 7"s new and old,
local cassettes and demos.
FOLK OASIS WXH0:30PM Featuring
the latest local and international
releases in folk/roots/world music,
phone interviews, in-studioguestsand
more. Requests alwoys welcomed!
10:30PM-12:00AM LetDJsJindwa
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.
FIUBUSTIR alt. 10:00-11:30AM
Part accordion-tinged  musical
meanderings, part experiemental
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 Ir00-2KX>PM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
Comix comix comix oh yeah and some
music. With Robin and Jules.
BOMBSHELL alt. 3:00-5:00PM
SHAPE UP alt 5:30-6:00PM
REELS TO REEL alt. 5:30-6:OOPM
Movie reviews and criticism.
OUT FOR KICKS 6*00-7:30PM No
Biricenstocks, nothing politically correct. We don't get paid so you're
damn right we have fun with it. Hosted
by Chris B.
9:00PM Roots of rock & roll.
HELL 9:00-11:00PM Local muzak
from 9. Live bandz from 10-11.
April 8: The Money Hungry Newlywedz
April 22: The Salteens
April 29: Satina Saturnine
11:00PM-1:00AM You adjust the
lighting, DJ Satyricon mixes the
sounds. Radio that could only happen
after the sun's gone down. Songs and
soundscapes for the naked city.
4:00AM Late nightvinyl. Occasional
skips. Cheers.
Trawling the trash heap of over 50
years worth of real rock'n'roll debris.
Stick out yo' can.
ONE LOVE 8:30-10:00AM Anything
and everything from the wonderful
world of music, as long as harmonies
can be sung, and the melodies be
12:00PM Ska, baby.
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats.
Versatile at any style.
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NOIZ 4:00-5:OOPM self-tided.
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS    9:00PM-12:00AM
Hosted by DJ Noah: techno, but also
some trance, acid, tribal, etc. Guest
DJ's, interviews, retrospectives,
s, anymore.
Rant, phone-in and kiss your mother
with the guests.
Exceptionally interesting girl talk.
GET 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 fhe 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 Extraordinary political re
search guaranteed to make you think.
Originally broadcast on KFJC (Los Altos, Cal).
10:00PM-1:00AM "Sho' 'nuff
bumpin'I'-Popu/ar Music. Phone,
write or call for reservations. Dance.
Admission $6.00.
PIPEDREAMs alt. 10:00-1:00AM
SOUL TREE alt. l:00-4:30AMFrom
doo-wap lo hip hop, from the electric
to the eclectic, host Michael Ingram
goes beyond the cal! of gospel and
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/Da truth will be found
bound in sounds/locked in my ears
like Earwax. Word. -Guy Smiley
with Sister B.
Arts Richelle Roe
Board Chair     Harry Hertscheg
' ••  iMcGee!
Demos/Cassettes Katrina Mc(
Richard Anderson
Mobile Sound   Andrew Orchard
Music Julie Colero
President      Tobias V
Production   Shane Vander Meer j
Program Coordinator Anna Friz
Promotions AfaHussey
Record Librarian        Alison Cole
1 :OOAM - 4:00AM
De^Ter) klutch Pet(Ter) klutch Det(l>r) klutch Pet(Ter) klutch Det(Ter) klutch
Station Manager L
Vice President       J
Mi   O  X   E
April 1 - Emerald Park • Pywakif Open • Clover Honey
April 2 - Luxury • Sir Hedgehog • RiF
April 3 - Volatile • Golers • Scum Element
April 6 - Tim • Fuzz 58 • The Cutlers
April 7 - SAM • Big Rig Sweeties • Mind Floss
April 8 - Autumnex • Chick Magnets  • Ty & I
April 9 - Bottom Feeder • The Humans • Jeffery Sez
April 10 - CD Release Party with Ford Pier & Thermos
April 12 - Galactic • Over Self
April 13 - Somebody's Children
April 14 - Honeymans • Side 67
April 15 - The Chased • Manhatten Project
April 16 - Satsuma
April 17 - CD Release Party with Mach Turtle • Lab Rats
• Faithless Wonder
April 21- Obscene Silence
April 22 - Punch Drunk • Vibrator
April 23 -Tendonitis
April 24 - Cd Release Party with Vinyl
April 26 - Willis • WDC
April 28 - Soldiers of Misfortune • By-Product
April 29 - Fast Freddie • The Hill • Cindaliss
April 30 - Free Coke For Supermodels
ZS H^g5®eMB Datebook*
FRI APRIL 2 Cubanismo!@Vogue; 30 Helens@Firehall Arts
Centre; Sonic Boom@Western Front; Vancouver Chamber Choir
perform Arvo Part's [ifony@Orpheum, Napalm Death, Aberration, Beverley, Soulcrusher@Starfish; Ellen Mcllwaine@WISE Hall;
Jesse Waldman@ Naam
SAT 3 Feelin' Fine in '99: The Radio, Pipedream, Aaeeiil, DJs,
door prizes, super 8 projeclions@Good Jacket; Sonic
Boom@Western Front; Limblifter, The Special Guests@Starfish;
30 Helens@Firehall Arts Centre; Felchers, LAMF, Subway
Thugs@Picadilly Pub; Natalie Merchanr@Queen E.; Nordic Trax
Release Party@Sonar; Bonfire Madigan@3B Tavern (Bellingham);
Spacious Couch@Chameleon
SUN 4 Sonic Boom@Western Front; Mary Lou Lord, John
Bottomley, Mark Browning@Starfish; Les Finnigan@Naam
MON 5   Rocksteady Ska Dance Nighr@Gate
Peggy White@South Hill Candy Shop
WED 7 Blinding Light Alternative Cinema@Blue Lizard; Fast
Freddie, Pound@Starfish; Future Boy@DV8; VCC Jazz
Ensemble@South Hill Candy Shop
THU 8 Mulitplex Grand@Blinding Light; Kurt Szul Duo@the
Naam; Innovations Fetish Fashion Show@Palladium; Dave
FRI 9 Veda Hille, Time Waits@Starfish; Jerzy
Godziszewski@Norman Rothstein Theatre; Arts County
Fair@Thunderbird Stadium; Susan McKeown@WISE Hall; Susan
Young & Helen Hull@Vancouver Art Gallery (part of noon-hour
concert series); VCC New Music Ensemble premiere works by
student composers@King Edward Campus Auditorium (info:
FAREWELL@Starfish Room; Kofy Brown@Chameleon, Mercury Rev@WWU (Bellingham); Meg Tennant@South Hill Candy
SUN 11 Standing Wave's Pacific Currenfs@Vancouver East Cultural Centre; VRCA Record & CD Fair@Kitsilano Community Centre;  Canadian  Orchestral  Premieres@CBC  Studio  40;
Snakefarm@Sonar; Stabbing Westward, Placebo@Rage
MON 12 Mark Farina@Sonar; Bongo Bop@Naam; Eagle-Eye
Cherry@Richard's; Rocksteady Ska Dance Night@Gate
TUE 13 Les Finnigan@Naam; Wide Mouth Mason@Richard's
on Richards; Mark James Fortin@South Hill Candy Shop
WED  14 The Liars@Starfish; Semi-Sweet@DV8; Jim Black®
Naam; Bob Stark@South Hill Candy Shop
THU  15 Tony Wilson Sextet@Starfish Room; Innovations Passion Fashion Show@Palladium; The Wheat in the Barley@South
Hill Candy Shop
MISSING, RYE CATCHERS, SPLITTING ADAM@SUB Ballroom (proceeds to the SPCA); Cessna, Zebrahead@Starfish;
Marianne Grittani@South Hill Candy Shop
SAT   17     Thrush  Hermit, Jack Tripper,  The Good Time
Clubsters@Starfish; Andras Jones@South Hill Candy Shop
MON 19 Keypoints: Contemporary Solo Piano@Community Arts
Council Gallery (837 Davie, info: 739.8047); Andrea Bocelli
w/VSO@GM Place; Rocksteady Ska Dance Night@Gate
TUE 20 Jay-Z, DMX, Method Man, Redman@GM Place; War
Of The Worlds@VECC; Jeremy Holmes Trio@South Hill Candy
WED 21 Dead Man@DV8; Marsha Thompson@South Hill Candy
THU 22 Ant Hill, Welcome to Grade Three@Starfish; Big Night:
Hard Rubber Orchestra, Queen Mab, Veda Hille, Paul Dolden,
more@Vancouver East Cultural Centre; Innovations Fantasy Fashion Show@Palladium
FRI 23 Man Or Astroman?, Zen Guerilla, Rock*A*Teens@Starfish
Room; James Keelaghan@Vancouver East Cultural Centre; The
Great Globe: Musica Intima Vocal Ensemble perform songs about
travel@West Vancouver United (2062 Esquimalt Ave.)
SAT 24 Rufus Wainwright@Richard's on Richards; Dave Douglas Quartet@Starfish Room; Front Line Assembly, Carbon 6,
Dialate@Fiction.Space (Port Coquitlam — free shuttle bus from
New Westminster Skytrain  Station); Vibrator,  Removal,
Stagmummer@Brickyard; Fear of Drinking@South Hill Candy Shop
SUN 25 Man Or Astroman@3B Tavern (Seattle); Artisan@WISE
MON  26  Elvin Jones@Vancouver East Cultural Centre;
Rocksteady Ska Dance Nighr@Gate
TUE 17   Dave Phyall Duo@South Hill Candy Shop
WED  28    Chickpea@Starfish; Mark Crozer@DV8;  Larry
Perras@South Hill Candy Shop
THU 29  DJ nighf@Starfish; Flophouse Jr.©South Hill Candy Shop
FRI 30    Olivia Tremor Control@Starfish; Spirit of the West,
Lunassa,  Scruj MacDuhk,  SFU Pipe Band@Vogue; Time
Waits@South Hill Candy Shop
fish; Paperboys, Gaelic Storm, Mary Jane Lamond, Ad Vielle
Que Pourra@Vogue
SUN 2  Alanis Morissette, Sloan, Veda Hille@GM Place
C        B
O  O  M
9 9
Pro Musica
through 'til
Buy a festiv
s 1 lth annu
takes plac
Sunday, A
al pass for <
al Sonic B
e 8pm o
Dril 4 at t
>nly $20 c
oom festival of BC
i Friday, April 2
ie Western Front,
nd enjoy material
from more
new music
than 20 co
at its best! Fc
ti posers Vi
>r more inl
•■ho bring us local
o, call 708.3370.
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Nope, they
're not com
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want to che
have to ma
April 10. /
there. They
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you to West
ck out this cr
ke the trek
md Zulu Re
ve hired the
which will *:
ern Washinc
tically acclaimed outfit, you'll
across the border, Saturday,
:ords wants to help you get
} Magical Mercury Bus ($ 15
ick you up from Zulu, escort
ton University, and will bring
you back h
$15 Cdn. F
Dme. Zulu c
or more inf<
Iso sells ti
>, call 73*
< to the show, also
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant Pazz 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 (al Burrard) 689 3180
Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Denman Place Cinema   1030 Denman  (Vtest End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings  (downtown) 822 9364
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate   1176 Granville (downtown) 688 8701
The Good Jacket 225 E. Broadway (at Main) 872 5665
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
U    *p«£99
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main  (Ml. Pleasant)
It's A Secret 1221 Granville St. (downtown)
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards  1216 Bute (near Denman 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)
Palladium   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
606 6665
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
681 1625
687 6794
738 6311
Russian Hall 600 Campbell  (Chinatown)
Scratch Records  109 W. Cordova (Gastown)
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Singles Going Steady 3296 Main (at 17th)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main  (at 26th)
Squish'd Knish 4470 Main (at 29th)
The Space 316 Hastings (downtown)
Starfish Room  1055 Homer (downtown)
Starlight Cinema 935 Denman  (VNfest End)
Station Street Arts Centre 930 Station  (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Stone Temple Cabaret   1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Vancouver E. Cultural Centre   1895 Venables  (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club  2215 Granville  (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Washout  1020 Granville  (dowtown)
Video In Studios  1965 Main (Mt. Pleasant)
Virgin Mega Store 788 Burrard (at Robson)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre 1405 Anderson (Gra
Western Front 303 E. 8th Ave (near Main)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall 1882Adanac (the Drive)
Women In Print 3566 W. 4th (Kitsilano)
Yale Blues Pub 1300 Granville (downtown)
Zulu Records 1869 W. 4th (Kitsilano)
874 6200
687 6355
291 6864
876 9233
683 6695
876 7463
879 9017
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738 7015
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872 8337
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331 7909
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738 3232 	
IT VTA TREWQR w/ The Music Tapes Sc Special Guests - ALL AGES
* OMTDOT    APril 29th 8 PM at wwv $6 Students/ $8 General
4   »"*«• IN      '   f\ Vv* V*    Tickets 90 on sale April 5th at the PAC Box Office, Cellophane Square and Zulu Records. TWILIGHT CIRCUS DUB
New material trom bass bin rocker and transplanted Vancouver-ite, Ryan Moore' Well
known for his work with legendary Pink
Dots Ryan has kept htmselt more than busy with
this Burning Fire Records style dub proiect Imagine
dense compositions with deep swells ot uttra-phat bass, intertwined with an efficient
instrumental soundscape spartding with warm ambient grooves Drop by and give
The Ultimately Empty Million
Pounds CD, 2LP
Part odd. funky electro-
pop, part unpredictable and a somer
how faintly disturbing electro-acoustic collage, the
gorged, from the well-known eccentnc Richard James
James' work truly points to possible future music torms:
inchoate and articulate, thoughtful ant) capricious, coy and
bold, serious and ridiculous, important and not. A stupid
genius by default in a lime when genius is considered with
suspicion, what more can we expect from a man who drives
tank' For further evidence, please reference this EPs cover ai
or corresponding video. Sweet dreams,
Black Foliage:
Animation CD,
The long wait is finally over! Some two-and-hatf years
after their stunning debut Dusk At Cubist Castle.
Denver's most eccentric pop group successfully avoids
the sophomore jinx, by delivering the most melodiously
se record of 1999 Strong words? Perhaps, yet Hack
je deserves strong attention, as the quartet seamlessly
marry '60s pop jangle. Eno-esque ambience, and Ihe foHy ot
instrumental excursions, into a concise, blissful, and orgas-
a. Taste them again for the first time!
CD $1698    2LP$1698
FUGAZI-Instalment VHS
it when you thought your collection
| the heavy hitters hit harder still.
w decidedly dynamic tracks. The effect?
Enabling you to dance the night away with brass and sass, beats n' treats,
just like you always wanted to Electro burps for the whole family, sponsored by Ninja Tune, of course!
CD $1698     2LP $2098     avaiabuap™
Possible Cube CD
1. Features members of prominent
avant ensembles Tortoise and
isotope 217.
2. The post-present sound ot jazz,
hom s/electronic/bass/percussiorVorgan/ guitar
3 They get free-play music in the process ot becoming
4 17 compositions from a post-bop. dub. electro, improvisational
gene pool,
5 An evolution trom the previous Playground release, this will appeal
to fans of more spacious atmospheric frentic expenmentation1
6 A very appealing listen!
CD *16*»
Cohorts with the likes ol Calexico
and Giant Sand, this loungy instrumental ensemble have lead us to
say "Any Friends of DEAN MARTINEZ are
fnends of ours!". So with a new more
ambient inspired release, the true diversity ol songwriting
to show through Atardecar Is a more moody listen, owing equally to the
works ot Ennio Morricone and Angelo Badalamenli, as well as those of
today's more progressive combos — Directions In Music, Tortoise, and
the atmospheric elements of Aerial MM Perfect music for after dark or
strangely enough, betore daylight1
CD $1698
I   lha
is starting
Come On Die Young CD, 2LP
to the Matador Records roster.
^ these Glasgow lads who deftly mix the sonic
ly Bloody Valentine with the epic
and devastating bleakness of The Dirty Three, are
set to turn the corner and garnish their much
deserved attention! An epic new release. Come On
Die Young (nearly 70 minutes!) is predominantly
instrumental, capturing dynamics inexpressible
through words — the sounds hang in the air more
like objects to be examined, rather than just heard!
Simply put. This Band is Too Fucking Good.
Unfeasibly young, coolly detached, and painfully
important. This Band Is Too Fucking Good
CD $1698    2U>$2498
Slow Riot For A New Zero
Moody, poignant and Canadian, GODSPEED
YOU BLACK EMPEROR s forlorn, evocative
and instrumental work is a travelogue into
the heart of darkness. Sometimes the streets may
seem empty and the cinemas useless if not broken, producing a queer pent-up. inhibited sense of
self-presence, but remember this "aesthetic of
loneliness" can also be a useful guise or tactical
position, at the very least a furtive shelter for
thoughtful listening Could this phenomena be the
curious degree Zero for a New Kaoada' Join this
slow revolution in a Minor key, even if beneath the
pavement is onty more.
CD $1498    LP $1298
k et your punk on the installment plan! Super cheap and
■ super stacked- new tracks from NOfX, SKK OF IT
Pound for pound the meatiest cheapo sampler going!
CD$598    LP$598    Various
Secret Name CD, 2LP
That's right, American minimalist composer and im
Steve Reich gets the remix '"update" Irom a vanety of today's better-known
producers. Such names as Coldcut. DJ Spooky. Tranquility Bass and Ar
Parker fall under the influence, putting their own spin on the significant Reich oeu-
vre. But hey, this isn't just your parent's New Music, even if they might tike it too.
What's more, this project may help illuminate for the recreational listener the differ-
?n formal and informal technique that can often be incidental.
Sometimes what we don't know (but do anyway) succeeds just as well as
thing planed and consciously done. In other words, so what if it's art — let's dance!
CD $1698
eveloping the direction explored on their very nice Songs Fot A
release (again on Kranky Records')
further blurs the lines between drone soundscapes and chamber
pop to create a warm and relaxing sonic womb. Maximizing the potential of simple song structures and skeletal instrumentation. Secret
Name sparkles with
a minimal efficiency
DAVID GRUBBS-Tlie Coxcomb CD/IP PLUSH - Three Quarters Blind Eyes CD-EP
EUPHONE-Calendar of Unlucky Days CD/LP RAINER MARIA - Look Now Look Again CD/LP
PAN SONIC-A CD/IP GHOST - Tune In, Turn On, Free Tibet CD/2LP
HOWIE B- Snatch CD FRANK BLACK - Pistolero CD
SONGS OHIA-Axxess& Ace CD/IP DAVID SYLVIAN - Dead Bees on a Cake CD


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