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

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  ftott"   com
is&is AjtLjL&TARS &-&-&
"Hot-mud guitar and sandpaper-vocal soul, rendered with young muscle and good heart." Rolling Stone
"Electrified world boogie from Mississippi Fred McDowell's legacy.
whips up the beats   W BlUt
fUGRRl^ra«   UvlllvT K I
masters the (tk
C Cottwncrcuti Drrve
with special guests
PURCHASE TICKETS $08008 AT hob.ca OR ticketmaster.ca (^fflTfPm
iwd 2001 byRana E p. 4
what do natalie cox, stella marrs, and julie doucet have in
common? by Cassandra Satana and Lia Kiessling p. 10
operation makeout by Barbara p. 12
c.o.c.o. by Duncan McHugh p. 14
ladyfolk of Vancouver's roots scene by Val Cormier p. 16
tram: another band to commit suicide to by Bleek p. 18
Vancouver special p. 5
culture shock p. 6
7" p. 7
radio free press p. 8
strut and fret p. 9
real live action p. 20
under review p. 22
dj profiles p. 25
charts p. 27
on the dial p. 28
kick around (comic) p. 29
datebook p. 30
we couldn't decide whether or not this was a
"women's issue." some of us thought it should be, while
a certain other of us wanted to print "every issue is a
women's issue, read the masthead, you dumb fucks"
on the cover, the rest of us just weren't sure, the result
is a giant ad-packed bonanza of inconsistency, who
cares? not me; i just come for the free office supplies,
but dig this cover featuring the art of andrea nunes, a
girl with really long hair and an orange suitcase full of
awesome drawings, cover layed by lori k.
edit rtx:
Barbara Andersen
ad rep:
Maren Hancock
art directrix:
Lori Kiessling
production mananger:
Christa Min
ann, where are you?:
Ann Goncalves
real live action editor:
Steve "The Scissors"
Russ "K-Grind" Davidson,
Farah Dhaishi, Lori, Duncan
McHugh, Christa, Matt Searcy,
Tara Westover
photography and
Scott Malin, Andrea Nunes,
Duncan McHugh, Ellinda Siu
Bruce Arthur, Gordon Au,
Duncan McHugh, Kia, Tom
Peacunt, Erin Shaw, Lucas TdS,
Jason Trigg, Tristan Winch
on the dial:
Bryce Dunn
Julie Colero
More Beer, Please
Matt Steffich
us distribution:
Lindsay Marsak
Linda Scholten
© "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2
(to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the April issue is March 14th. Ad space is available until March 21st
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 or in type. As always, English is preferred. Send
e-mail to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellincham, 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 822.301 7 ext. 0, or our news and sports lines at 822.3017
2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at
http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd.,
Vancouver, BC, V6T 1Z1, CANADA.
printed in Canada
Events at a glance:
Richie, Agee, Dr J Rm J
itside Women's (
DAFT PUNK 'Discover/ Advance Listening Party @ INSIDE
ts insiae
TnHH nmntani i ubq McKeehan & Dana D in 1
FRI APR 27 MARK RAE @ CROSSFADE S i . very year, tnousanas ot women across tne giooe raise tneir voic-
J_jes in unison to celebrate International Women's Day (March
8th). This day is designated to reflect on the progress made by
women's rights movements and to focus on issues that still need
addressing and action. International Women's Day is a tradition of
almost a century. The protests of female factory workers in the late
19th century demanding better working conditions sparked the idea
for the event. The first International Women's Day was celebrated in
a handful of European countries in the winter of 1911. Under the
force of the women's movement in the 1960s and with some prompting from the United Nations, March 8th became the official day of
women's solidarity in 1977. The event evolved from a day of celebration and reflection to a week and, in some cases, a month. In
Canada, International Women's Week will be celebrated between
March 4th and March 10th, March 8th being the highlight. This day
presents an opportunity for women divided by geography, economics, religion, or simply lifestyles to come together and march for
their collective rights. Despite almost a century of efforts for gender
Maren iutn, mere will De a mixed dance at the Mt. Pleasant Community Centre (3161 Ontario St.).
For those of you with the flames of activism burning in your
souls, there are plenty of opportunities to get involved. If you are a
woman with a thirst for authority, you can volunteer as a safety officer to help insure the safety of all participants on the day of the
event. If you have strong maternal instincts and infinite patience,
you can help out with the on-site childcare facilities. Finally, if you
are artistically inclined, you may volunteer an afternoon of your
time to help distribute posters and pamphlets around the city. However, for those who are either incredible busy or very lazy, you can
simply contribute by spreading the word around to you friends,
families, and co-workers. Finally, make sure you pack up some
warm fleece, your loudest, most boisterous friends, and a healthy
dose of passion (or anger) and join Vancouver's women in their
march for women's rights and solidarity on March 10th. See you
InternationaL Women's Day: Past, Present, and Future
by Rana E - drawing by Andrea
equality, women's rights in many countries are still suppressed by
fascist political regimes, sexist economics, and patriarchal social systems. Canadian women still face issues of suppression, some of
which are evident in our own backyard. In Vancouver's East Side,
female sex workers continue to go missing only to be found dead
without so much as a flinch from local authorities. Childcare is
scarce and costly, poverty is prevalent, and abortion providers and
clinics still face the dangers of harassment and attacks.
Every year on International Women's Day, hundreds of Vancouver women and their supporters gather to rally and march; to
raise their voices on the issues that matter to them and to their sisters
worldwide. This year will be no exception. The 24th annual march
will take place on Saturday, March 10th, to mark the end of International Women's Week. The event will start with a gathering at
11:30am and a short rally at Grandview Park, followed by a march in
the Commercial Drive area. There are several speakers and performers scheduled for the rally, including representatives from
women's labour groups, aboriginal women's groups, international
activists and female musicians. A gathering at Britannia High School
will follow the march where several organizations will have information tables. There will be on-site childcare. On the evening of
information on the march, call 708-0447
e information on International  Women's  Day, check c
TUNE  IN  TO  CITR  101.9  FM
:s hosted by
• kid's programming hosted by Christina
• spoken word programming by local won
• a  discussion on  women  in  punk/hardcore  hosted  by
"Steve'Trom the Steve and Mike Show
• alternative women's health issues and more hosted by Karen
• live local rock courtesy of Operation Makeout and Mink on
Thunderbird Radio Hell (9pm)
• all this and more! Listen and learn with the ladies of CiTR!
Check us out on the web at www.ams.ubc.ca /citr
MDiSCORDER: Who are you (names, ages, instruments
y Perdu (45)—electric rhythm guitar, vocals
■ Ben Nevis (18)—keyboards, acoustic guitar
Icaptain Mark Stevens (30)—electric lead guitar
■John Ancheta (26)—bass guitar
z Mohammed—drums
our has it that Biffy endured some variety of nasty
■ hand injury several years back. Tell us all about this
■ and how it has affected your musical career.
■ Well, back in '76, I was doin' a show down in Calais,
■ Maine with the legendary Mr. Chuck White. Now old
|Chuck couldn't see a damn thing being blind and all, and
e young feller started chuckin' beer bottles at him. I
n't gonna take that, you see, so I jumped off the stage
went on down there to settle a score. Dirty rotter put
a broken bottle right through my hand and screwed it all
couldn't play guitar no more. Left music altogether after that. Got dropped like nothing else from my
■ record label. Thought it was the end of my career. Only
(these last couple of years, I really picked the guitar
in't play it worth a damn no more, but 1 got
■ these other fellas here to help me out.
jHave any or all of you seen Deliverance? Would you
consider starring/making a cameo appearance in a musical version
of said movie? Say by Rogers and Hammerstein?
Biffy: Ben wants to play the fella that says "You sure got a pretty
You've got quite a few guitars on the go... and a keyboard too! Is
this your usual lineup, and do you ever take this show on the road
for some tourin'?
Biffy: Yes, ma'am, this is in fact our regular lineup. We've been coast
to coast a couple o' times now—most of the fellas in the band here I
met on the road.
So, Biff, out of bird watching, stamp collecting, and taxidermy, of
which of these have you partaken?
Biffy: Well m'dear, although in my youth I was quite a little collector, and I am fond of birds, taxidermy has been front and centre for
me damn near all my life. After my hand got all wrecked, I made my
living as a taxidermist in Boxta, North Dakota for over a decade.
You name it, I've stuffed it.
George Dubya has invited you all down to his native Texas for a
big ol' barbecue, and you guys get to bring two bands to accompany you on stage. To whom would you give this privilege?
Biffy: I tell ya, for one I'd bring Robyn Hitchcock 'cause I'm awful
partial to his music, and he's someone I'd like to meet. Secondly, I'd
bring the fellas from Primal Scream 'cause I know they like to party.
Finally, if at all possible, I'd gather up the ashes of the Fendermen
and put them in a jar up on stage so as they might get some of the
they deserve.
Finally, Biffy Perdu, is life really just about bourbon,|
pork rinds, and pickup trucks?
Biffy: You forgot a few things such as scotch, dirty!
women, rye, the right to bear arms, beer, tractor pulls,|
and rum.
Ask yourself two questions and answer them.
1. Question: Rumour has it that you were close friend:
with Elvis Presley—is this true?
Answer: Elvis was a good man, and I'll remember hin
fondly always, but he never could keep up when theB
boys were out havin' fun.
2. Question: Mr. Perdu, did you in fact sell your soul forB
rock 'n' roll?
Answer: No comment. •
1969 Renegade Blues Brigade
1973 Stoamp Music
2001 The Untold Power oftlie Cosn
c/o Bedlam Studios
12220 Vickers Way
Richmond, BC V5V II
(New Town)
(New Town)
(Independent) I
www.biffvperdu.com RALPH
This Is For the Night People
(Bongo Beat)
Some people write songs with
poetic lyrics, and some people
read poetry out loud over the
sound of bongos. Ralph combines
creates something more. By writing and performing real poems
with real musical arrangements,
he turns them into real songs too,
which means that you can enjoy
listening to Ralph even if you're
not paying attention to what he's
saying. At the same time, these
really are poems and not merely
song lyrics—they're fresh and
simple as lyrics really should be
but almost never are—so you can
enjoy reading the words (conveniently included with the CD)
even if you don't put the disc into
your machine. The poem/songs
are about travelling across
Canada, about New York and
Paris, about the joys of being in
the right place at the
right time with the right
person, about music, loneliness,
Kerouac, and even old-fashioned
Protestant-sounding spirituality.
Perhaps not surprisingly, since
Ralph is a newlywed, there's
plenty of tenderness here too,
although never anything senti-
t "Trying to keep the
spooky space-age in
group, an extremely
year French class, prog-n
with an industrial bent, a £
the tradition of Black Flag, the
Avengers, and the Dead
Kennedys, loud and fast and full
of pointed social commentary. But
crisp and noisy as these songs are,
there's a cheery kind of feel to the
melodies, and the lyrics are occasionally leavened with humour,
as befits a group of older-and-
of punk cred and a well-earned
sense of perspective. From the
a gar.i
I thus
ick  (a  class
ing Youth Gang i
smiths or total fucking wankers.
Chances are they occasionally bat
for both squads, so their results
are going to vary. 1 wonder what
they're like live. I'd also like to
A heartfelt thanks goes out to
"Niagara-based" SUBLIMINAL
THEORISTS, who were kind
enough to label their CD for me:
required, a femaU
makes an appeara
Bridget Sullivai
faux   folk
'J Boo.
i Boom, and sings
the sad and lovely "That's What
Lonely People Do" this time
around. Needless to say, the musicians are good too, playing styl-
lally Beat-era type pieces
nut   t
which is exactly the right thing tc
The Myth of Summer
The Parlour Steps, a band which
includes one-time members of
The Vinaigrettes and Santo, is
one of those groups that draws on
styles and genres. Depending on
which part of which song you're
is a morose/dreamy folk combo, a
the place too: male and female
singers, accordion, violin, piano,
guitars, drums, childish keyboards, as well as samples, backwards tape, and effects. Never
fear—The Parlour Steps hold it all
together, whether playing
"Inchworm" as slowly as humanly possible, imitating monks in a
cave on "Myth of Vancouver,"
rocking out on "Orange Glow
Honey," maintaining a dark/pretty groove on "West Sannich [sic]
Road," or experimenting with
Past Prestissimo
There's no question about what
kind of music these guys are playing Aging Youth Gang doesn't
mess around with effects or studio trickery or guest artists, nor
should they. This is punk rock in
RUUD FAMILY. My first mistake
CD, What Light, What Heat,
through headphones; their
over/ealous use oi the pan feature
started making me cross-eyed. I
think calling this collection of
unless it's the work of your
retarded little brother, or sister of
course, though I have to say I
wholeheartedly support anyone
with the balls to sample Mr. Adolf
Hitler. The Family, by the way,
even purchased; life ain't fair (eh,
ladies?). The first offering from
these lads goes by the name Quick
and Dirt}/, and it consists of 27
tracks of pain. I really don't
understand people who try to
suck and take pleasure from it,
like that cool skater kid who
scored a 7% in your grade 10 soma il.com >
On  Might  Soil,  the  Shame
cedes vomit to bang out a full 30
remember by name. That one is
"Your Face My Ass", a no doubt
Nirvana-inspired ditty that con-
"Don't give a fuck/'Cause 1 don't
have a fuck to give/Don't give a
factory of phatness. here's NL\A
PSIONIC. Oooh, this one's
labelled too: "ambient groove
experimental." What the? Truth
be told, this one's a lot better thar
the previous. It could be the occasional addition of a beat that real-
Why   the   persiste
Perhaps I'm being i
on the boys, but the thing band:
have to remember before wasting
their time and money sending mt
i- tli.it
n Vain
but they are apparently too cool
also hail from this beautiful bit of
paradise, though they are not yet
too cool to be contacted (see
below). I can't decide if these guys'
(sorry, ladies) are sensitive song-
:." Get
last. ■
Last, and yes least, here come
shame is right. I'm being mocked
by my co-workers for a CD I neither recorded, performed on, or
^ moonl
H^k                             "   An impressive marriage of
Ij^^^    ^^|JjB|j\w^k                        AMG. All Music Guide
^^^<BH     HHr                         "Our young Swedes break a lot of
i#     ^                                                new ground, using technology as an
k   'JiV^HBB                 expressive tool     It is also the non-
H^L                        effectively to communicating the
■^k   <                adventures of Ola Frick and Carina
■IP^P^Hk                                              INDIEPORT
|BV^  t/^^^9               'Moonbabies are surely one of the
B^K         _^                            most talented bands in the European
^Jk ^                   underground scene" - SPLENDID
HM^tf                     "' can count on the fingers of one hand
the number of albums 1 have played in
■J^^^^^^a^^                          Ihe last five years which are as good
■J^*                            as this       ZEITGEST. SCOTLAND
^^■J                                                    "Terrific co-ed sung, sparkly. hypnotic,
but rough around Ihe edges Swedish
^^^^■J                                     pop   this debut is enthusiastically
^P^^                              recommended"    TWEE KITTEN
^k duckweed
244? nw Market St»!54 Seattle, wa 98107 usa www.auckweedrecords.com
Friday April 27
Orpheum Records,
Capitol Hill district, Seattle
(5:30 pm)
Friday April 27
The Gibson House
Friday, May 4
Portland State University,
Portland, Oregon 112 pm noor
l-Spy, Seattle
experimental music set
SIL2K night (9 pm)
Blue Moon Tavern,
University District. Seattle
2001 MarcU 5 AjT\
anthony monday:kuwaiti correspondent
The Eroticism of
Shopping. Or,
The End of the World
As I Knew It.
I had a slight dilemma writing this. You see, my mind-
opening (closing?)
Women's Studies minor and
own experiences as a young,
able-bodied, white male in
Canada gave me a deep
understanding of the sexism
and oppression in this country.
verse that whole "intersection"
size- thing. But I guess my car's
breaks were dusty and worn,
and     I    couldn't    stop    at
hurtling though the traffic
lights and crashed into the ice
cream truck of "Western infi-
ing this month's article from
the point of view of my pet
budgie—that bright yellow
ball of feathers and nervousness I call "Killer"—but I fear
his sheer dullness (he doesn't
even squawk) wouldn't really
amount to the greatest of
So, instead, you get me: a
white boy riding the sine
waves of culture shock in
Muslim Kuwait, one of the
a place w
a place v
old studt
monthly alii
ies in the world:
water is actually
/e than gas. It is
; some 14-year-
receive a larger
alary. A place where
shopping and money is
praised above the traditional
the a
iste of
than drinking the
cleaning fluid—and gives you
a better hangover.
We know the facts, we've
seen   and    heard    them   all
and r
ubt you're
getbng tragically bored of me
woeing and spouting the
melodrama. Oh poor me, the
sold out white boy, the homo-
modified existentialist seeking
an understanding of Islam. But
you're just going to have to
deal with another angsty column. Maybe the budgie article
would have been more interesting.
Anyway. I went shopping
on Thursday night—the
Islamic Saturday night. There's
not much else to do in Kuwait.
In fact, shopping seems to be
the national sport. And why
not? Everyone has money, and
it's a good excuse to be in a
public space. There are a lot of
malls here. A lot. And not just
normal, everyday, "Hey look
it's a new Eatons/Sears/
Zellers." No. These are marble
temples devoted to the shopping god. These are pristine
houses of commerce where
only the most expensive shops
and boutiques reside. In one,
there are Jaguar and Porsche
outlets on the ground floor.
Western highbrow culture in
the Western lowbrow venue.
And because of the religion—
and that whole ownership
thing—there are few public
spaces where men and women
can mix. Even the movie theatres have the larger, "Male"
sexual perving at 17-year-old
boys in his school, the Top 40
lifestyle and all the con-
"     uld hope for. A
and    the
sviously, all women belong
i a family). The only places
here males and females can
ix, albeit under the rough
scrutiny of security guards, are
And what better time but
during the "Hala February"
festival. As far as I can tell, it's
a festival in celebration of,
what else, shopping. Seriously.
of-   den
Kuwait City are awash with
hormonal boys and girls, oozing around each other under
the pretext of keeping the
economy of Kuwait flourishing and wholly capitalistic.
You can practically smell the
repressed sex, see it in every
skinny Arab boy's eyes, in the
darkly shrouded hips of the
girls. I mean, I could be projecting and all, but, wow, it
feels ferocious. Suddenly, I'm
the exotic, the locus of "other."
The prey. I become desired
because of my position of
whiteness. And for a while, it
feels damn good. For a while.
And then the hollers and
the body jostling grow. As the
night wears down, and the
sale prices spiral, and the
patent leather Gucci pants, the
designer jackets, the Jaguars
and BMWs in the street all
swirl. And like in those movies
where it all just becomes too
much, the honking and yelling
of another culture, the decon-
struction of self and socialization, the blue eyes of the
Syrian men, the thick dark hair
of would-be lovers melt, and I
can't breathe. It happens.
It might be my own sexual
desperation or the projection
of my unconscious desire of
the "exotic," or the repressed
colonial in me, but Thursday
nights at the mall become a
frighteningly sexual event. I
return home, alone, feeling
degraded and dirty, and wholly frustrated. Who knew the
mall could be so erotic?
But I guess when the
majority of life is about segregation, any public space
allows the flirtation of eyes
and the thick language of want
to spill out, and for a while, we
become animals. And Friday
morning, the holy day, she can
don her black abaya, walk like
an upright uniformed shadow
to her duty, and he can melt
into God. The white boy still
lies in bed. I know I must not
criticize, must not
world through my o
but hey, what else a
to do? I got an autist
there are sheep in
yard, and I have
see this
a I going
ric budgie,
i TV that
plays nothing but sports fish-
Send porn. If I am going to
attack the Prophet's word, at
least let me be less sexually
frustrated. •
www.nitrorecords.com  SCC fl.f.|. llUG OR HlC SrtO" Jam TOUP
ZMSmQitcf&lan Cultural Centre,
^m-   Uancouuem-
3/18 @ UJild Bill's, Banff
3/19 @ mac€ujan Hall
sin-JBallroom.Calami O
AFl - The Art of Drowning LP/CD
Scratch store lately?
•"j'!.'.! B i ii' *i F1% 13^" -' i v .%lrj;^ .vJ ift ■^^"ifr^WF^*?^
r (between Robson & Georgia) with a constant supply of new releases at good pri
T""-J*een tpjthe Scratch,web si|e lately*--^,.
Our store is now online, with fun content added daily/Stop by
we offer technical training in video, audio and
new media production and post production including:
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we also have a 2000 sq. ft. studio available for
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contact Tricia Middleton at 872.8337
hours of operation:
11 am to 6 pm
Monday to Saturday
o ilwcorder Seattle, WA 98105 USA)
THE GIRLS do pop songs as
well, but in a (supposedly)
legitimately old-fashioned sort
of way. I hate it when records
it this
girl-group gems fi
n the '60s,
and i
After a deadline-bending
vacation, I'm ready to
hit the keys after repeatedly hitting the buttons on the
record player. I've received a
few nice platters in the mail this
past month, and I scooped a
few choice singles while rummaging through bins in Seattle.
I'd just like to give a major
shout out to the extremely kind
clerk at Fallout, who was good
enough to let me listen to a
bunch of stuff on the loudspeaker in the store. Ahhh,
Seattle. Add a sad note to my
voice as you hear me say that,
as sweet Seattle is now the only
place you can be if you're wanting to visit Singles Going
Steady. If you're making the
trip, for vinyl's sake, make sure
you hit up the arcade across the
street where you can play Ms.
Pac-Man and drink beer AT
I found a bunch of singles
in my desk drawer the other
day, obviously squirreled away
for the express purpose of providing column fodder. I think I
forgot about them for a mighty
long time, unfortunately, and so
will only briefly gloss the scene.
Standout slab: QUASIMOTO's
"Hooks 45" on Stones Throw,
Peanut Butter Wolf's label, is a
dirty little funk tune with the
high-pitched MC getting all
gross about ladies and their,
um, cold sores. Plenty of laughs
(or nervous titters, depending
on your style) to be had here,
while your back end be grooving to the excellent beats in
action, www.stonesthrow.com
BLACK CAT #13 always
gets me going, and as the recent
slew of remixes with the band's
screeches as backbone can testify, it does the same to hipsters
all over this fair continent. "The
Experiment Vol. 2" has new-tome's CASINO STEEL giving
two BC#13 tracks a digital
working-over, using creepy
ultra-sterile beats to mess with
the already kinda frightening
hardcore spazz of the band.
Very enjoyable. (The Electric
Human Project, 500 South
Union Street, Wilmington, DE
19805 USA)
And on the analog tip—a
new AISLERS SET single!
"Attraction Action Reaction" is
a catchy, gently meandering
pop song of tip-top quality.
Some horns and a piano are
thrown in for good measure,
but the band needs no bonus
points on an already perfect
song. "Clouds Will Clear" isn't
better, but it's as good. It's a
rite in tl
Payback Time, c/o the Georgia
Straight, where I will do my best
to act like a stupid teenage bov
and chastise you until you cry.
But I digress. The matter at
hand? Two rock-solid solid-
gold songs. The Whyte Boots'
"Nightmare" is an amazing
rg  about  a
Records, no contact.)
Local fodder for the feed-
bucket? THE NEW TOWN
ANIMALS. Mint's been pretty
busy at the pressing plant, and
this is the label's latest offering.
Not what I expected, this record
dishes out some catchy old-
style punk rock. Less dirty than
I'd thought it would be, the diction is good and the spelling
bad, the way punk rock ought
to be. I've yet to see this band
on the town, but have seen the
delinquent vandalism the boys
have left all over the downtown
address the class with a stern
lecture on the penalties of plagiarism and the values of originality.
www.momentbi; loreimpact.com
Running out of steam here,
and I'm ready to cool down
with DIANOGAH. Getting all
post-rock on it, but without the
over-used vibras to sooth us
into brain deadness, this three
piece presents a very listenable
two-song single. If the recent
Tristeza album left you a little
v thb
i for s
;. i'n
e that tl
v ill
. girl
girl tells he
johnny    ch
in  death, and
love song that's decided that
love doesn't have to be about
smut or innuendoes. This one
would serve as ideal mix-tape
fodder. (Suicide Squeeze, 4505
University Way NE, Box 434,
^^^^^^ "Chico's Girl,"
defending the
bad-news boyfriend, asserting
that, even though he's from the
wrong side of the tracks, he
really is a swell guy. I believe
you,  lady,  just  please  don't
be shows to see in the near
future, and if you choose to
attend, make sure to pick up
this single. "Lose that Girl" is a
sad anthem to aging punk rockers who've gone and missed the
grown-up boat, and "Now That
He's Free" is a song about making it out of jail and starting a
new life, a subject with little or
no bearing on my squeaky-
clean life. (Mint, PO Box 3613
Vancouver, BC V6B 3Y6)
has a catchy name, but the
band's music is no fire-bomb.
Tasteless  joke,  perhaps,   but
attempt at the (sadly, still) musical flavour of the month, crappy emotive crap. STRUNKEN
WHITE, the band on the flip-
side of this "Rock School!" split,
is slightly more tolerable, but
only because its members were
smart enough to steal Fugazi's
style. Ms. Colero would like to
There's no plodding feel to
these tunes, which alternate
from slow and pleasant to fast
and weird. Oh, and take note-
Steve Albini produced this,
and he likes the band, too!
(Southern, PO Box 577375,
Chicago, IL60657 USA)
Last one, I swear. Real
quick, I'd just like to say that
White and Brian Muldoon) are
not the best ever, but they sure
do pull off a mean cover! A re-
release of some pre-White
Stripes action, this three-song
single with one original tune
and two covers will suffice until
I can get my hands on the real
deal. Yet another band I'm a
step or two behind on, The
White Stripes do rock and roll
right. The Upholsters are dirty
and gritty, and worth listening
to if you want some roughage
in your musical diet. (Sympathy
For the Record Industry, no con-
2001 March 7 w*
dio Free Press that,
the cut and paste
This mi
with the a
BEANS zinc
signs of gro
issue (#13)
and sports,
of the best
band interv
Editor Matt
with San  F
rent and dot
ss scene-killi
ptly titled COOL
, which is showing
wing up. This new
is magazine-sized
i full-colour cover,
lying to offer some
and most varied
iews and articles.
Kelly has had it
irtland, citing high
-commie yuppies
its. Good for him.
u can thrive, I say.
mother great read
8 from several mal-
range  news clip-
her cool-ass compilation CD with Brown Whorenet,
Mumble and Peg, Goma, Xiu
Xiu, Foibles Iran, Aids, The
Monitors, Food (aka Bill
Brown), Cooperatives, and
music from Trans Am, The
Zambonis, Ex-Girl, and Three
Day Stubble who are interviewed in the zine as well.
Long time Vancouver zine
SOCKAMAGEE is still kicking,
>r flogging, away. Editor Steve
lany «
and   fills
• orgen-
ure. Admittedly, 1
er this zine earli-
luried within the
loobie den before
ed. My apologies
to Mr. Richards for getting to
this so late. Why an interview
with '80s metal muscle rock-
head Thor? Don't know why,
issue—be thev b-n
being recc
5. If
the comic and zine 1
order one for $2 f
Richards at 2037 Stainsbury
Avenue, Vancouver, BC V5N
Catherine Kidd's PSITT1CINE
FLUTE is a remarkable short
story in simple, zine-like form.
Kidd conjures dream images
and possesses a fascinating
attention to detail. What starts
out as a playful encounter with
friends is eventually woven into
a beautiful and delicate story of
the human relationship to treasured objects, the mind, and
other people. A very mature
and touching work which, like
the author, deserves some seri-
nonetheless. Seems Thor has
been involved with punkers
Ten Days Late lately. Strange,
yes. Sockamagee is an example of
the classic fanzine, revealing the
preoccupations and fancies of
the editor: comics, The Three
Stooges, obscure video, etc., taking us to places we never
thought we'd ever travel or
wouldn't necessarily travel
again. Sockamagee usually
includes some comics from
Vancouver's Colin Upton too;
this one certainly does. This
is free. Once again we see the
need for a grass-roots publica-
try and fill the gap left
by a
fuckas in ti
potential o
r-Moo $2.00 ems
t.50 US. J
lmlnlM 9 mi
' tr' h y^mm\
l/EB PEliLirjl
ous attention. This is brought to
us by Conundrum Press at 266
Fairmount West, Montreal, QB
H2V 2G3. <conpress@ican.net>
Now, in the "We're gonna
make a difference" category
ZINE OF SFPIRG. What is it?
The SFPIRG stands for Simon
Fraser Public Interest Research
Group, and this new, thick zine
owned by mutha-
; who waste all that
corporate spin and
think that this
corpora te-bash-
and useless
topic, you're not
paying attention!
We need zines
like this to gather up all this
responsible and
information and
get    the   word
children    ' are
Anyway, send
your angry letters to me but be
sure to pick up a copy of
Antithesis at local indie-supportive magazine shops or contact
<sfpirg-zine@sfu.ca>. They also
have        a        website        at
s a packed dia
guess it needs no end of lit
mags and zines. Okay, so here's
the new one: RAIN CITY
REVIEW begins with a big
bang, gathering together many
poets, reviewers, and columnists. Andrew Lithgow's article
"Heresy in the Modern Age"
looks at the past and present of
oppression and persecution of
free-thinking writers. Good and
heavy stuff. For chapbook writers there is now a place that
supports your industry with a
review section. Interviewed
inside is Mr. Tim Lander who is
a local, hairy bohemian and, oh
yeah, a chapbook writer, playwright, and busy busker.
Overall, the magazine looks
terrific and has fantastic
potential. Contact S. R. Duncan
for more information at
<srduncan@portal.ca> •
BLEEK AT *233-61
Celebration Of Regret    CD Release
withThe Bend Band & The Silent Treatment
Sat Mar 31 - Ms. T's Cabaret - 339 W. Pender St
Also available from C-f^P* 3fiJL 3Lj~4&fr
Evan Symons:
Transition To A New Dream
Ten Year Obsession 1984-1993
Uneven Steps:
Cactus Eye 7"      Pacified CD/CDRom For t^ac
Celebration of Regret CD/CDRom For Mac & Win
Available Now at Scratch Records
In On It
Wednesday, January 24
Vancouver East Cultural
Been thinking a lot lately
about how shows end. Some
recognize the door and know
enough to go out right there,
while others sail straight past
it for another wasted half hour
or so. Some shows seem to
have no clue when to stop and
still others are magnificently
redeemed by their endings.
In On It, the latest play by
Daniel Maclvor presented by
his company da da kamera,
falls into the last heap, but in a
very interesting way. The piece
is performed—by Maclvor
and actor Darren O'Donnell—
with an almost surgical brilliance. Both men have hefty
and impressive resumes as
actors, playwrights, directors,
and filmmakers, while
Maclvor (House, Here Lies
Henry and Monster) is one of
Canadian theatre's heaviest
hitters. The production is a
sophisticated take on the play-
within-a-play structure and
dives right to the centre of the
onion in the opening scene: a
terminally ill man trying to
extract the truth from his
power-tripping physician. Just
when our involvement is
greatest, the scene is abruptly
cut and discussed by the actors
rehearsing it. A third layer
emerges when we realize that
the actors are lovers, and their
relationship becomes its own
Maclvor and O'Donnell
navigated the play's structural
complexities with such suave-
ness, diving and surfacing
among its layers so cleanly
that it all began to feel like a
very classy exercise—a series
of clever theatrical arabesques.
This surprised me because the
stories being explored had
such depth and emotional
potential. Also because there
were so many pleasureful high
points. A mimed game of catch
in which the actors synchronized their movements and
conversation with the sound
effect of the ball thocking into
their hands, a joyously naff
dance routine to a '60s pop
song, and O'Donnell's exquisitely pitched characterization
of the dying man's wife
Brenda are but a few of them.
I finally realized that one
of the play's most impressive
features—its structure—was
also keeping me from connecting with it in any but the most
cerebral of ways. But just
when the evening was threatening to become less than the
sum of its brilliant parts, the
analytical buffer zone—personified by the rehearsing
nlapsed. In the last
working on. Now we got to
connect. Every loved one
who'd ever died, might have
died, or eventually will die,
crowded the stage as the final
spot narrowed on the dead
lover's favourite jacket—puddled on the floor where he'd
flung it in a tiff before going
So Maclvor brings us to an
intensely emotional cash-out,
but did he really mean for the
ride to be so chilly? Probably.
Friday, February 9
Vancouver    East    Cultural
A year ago, a couple
and as
lit ti
a nds
ind recording makes
it sickeningly obvious that he
dies in a car accident idenbeal
to the one suffered by a character in the play they've been
it aL
february fimh april 2001
schedule oat now.
fascinating as well.) Just the
other day—as if it was their
anniversary—they came back
and brought three of the minstrels with them.
In unfussed succession,
Martyn Jacques and the
Adrians Huge and Stout of
The Tiger Lillies walked
onstage with Noam Gagnon
and Dana Gingras of The Holy
Body    Tattoo    to    begin    a
f Cir
. Of i
?> that v
home bickering. One of them
see how things were between
them. They showed us their
home movies made while they
were in Paris. In them, were
old geezers on bicycles, couples by the river, people practicing the tango in dance
studios and crumbling scenes
of the sort that make you long
to be almost any place that's
old. They danced to the music
having The Tiger Lillii
sent in the flesh this time
round intensified everything,
and being able to watch
Jacques' face as he performed
his runes of sacrilege and sorrow was a gift.
Flirting with parody, but
never consummating, Jacques'
stately falsetto renderings of
"Send in the Clowns" and "I
Could Have Danced All
Night" accompanied Gagnon
snd    Gin
igh    the
of s.
of o
r favo
strels, and most often this
dance was the tango because it
was the only thing that kept
them from thrashing each
other to bits. (Although watching them do that was awfully
eccentric geography of their
tango. Gradually, the sound-
tracked violin of Warren Ellis
would take over and his
screaming, broken rhythms
would drive the dance to
become ever more frantic.
Remounting a work can
involve many changes and
enhancements both technical
and artistic, but because Circa
ration  of a  relationship,  it
changed in ways that were
very deep and often quite subtle—like the passing of a year.
It seemed as though elements
which had previously run in
isolated sequence now overlapped: the order of things
was pulled around—as if the
couple's memories had
rearranged themselves, giving
rise to new meanings. William
Morrison's filmscapes ran parallel to the on-stage action
much more often, making for
some pointed connections, as
when erotic footage of Gingras
arched over a chair played
behind some of the skillfully
violent duets in which the
dancers tried to fling and
shake each other into submission. Sad and lovely respite
roamed through Paris while
the couple moved wearily to
the Lillies' "Sleep with the
The two didn't smile this
time when they left us. In fact,
it felt more like a big, dark,
beautiful notion came and
took them away. Although the
glitter twinkled once again as
it fell, the film that played was
the one in the cemetery. And
the man with the accordion
was singing a song called "The
Pall Bearers." They didn't look
upset though, just amazed. •
DiSCORDER is sad TO say
That SGS has cLOSEfJ its
doors 'in This c'ity. Pete QNd
the boys rKaNK you por Your
visiT TKeiyi 'in SeaTTLE aT
2279 2 ave
or ordEr online aT
For oll your punk
grand re-opening
Wednesday march 7
^ iiQtas
SistcrFunk: Tliefijridicn'sRKJpeningCi^^
, in honour of International Women's Eve & our new home at the Lotus (455 Abbott St.)
featuring DJt Ariel & Jan-° along with your hosts DJ Lush & Nat X
partial proceeds go to the Downtown Eastside Women's Center
doors & 9:30 • info 604.893.5519 «;
2001 March 9 YOU DRAW LIKE A GIRL:
When I was a kid, my comic book heroes taught me I had a lot to
to. First there was Blondie. Besides having an alien-like figun
knack for waking her husband up on time, she taught me that 1
loved cooking and all we needed to know about power tools
lived in the garage. Then there was Cathy. With her sniveling .it
lose weight and get married, I was sure her destiny would become my own the second I decid
is decision to use myself as a character, it was
just natural to me," says Doucet, whose polite and soft-spoken tone
caught me off guard. Doucet's work, like that of many women comic
book artists, has been labeled as autobiographical. This is a label Doucet
is both cautious and accepting of.
"Yeah, a lot of
an interview with
Juli E
her 1?
by Lia Kiessling
;t work, The Madame Paul Affair, which hit the shelves
Doucet's work is even more raw becat
f as the main character in all her comics,
umk, living in a crappy apartment, wasting ti
rt school. "There
"In the beginning
e really naturally to me, and then there
) longer true," says Doucet. "So I started
ise I just didn't know what else to do."
b date, Doucet has four books published: Lift Your Leg, My Fish Is
(1993), My Most Secret Desire (1995), My New York Diary (1999) and
2000. Although she has been practically immersed ii
for the past 10 years, Doucet admits drawing comic books was not in
the game plan when she entered art school. "I had such a naive type
of drawing every one was telling me I should be drawing children's
books or something," says Doucet. "So I dropped o
welfare, a very art student thing of me to do." Doucet says it was
only after sending her first work to Weirdo Magazine in the States
that she began to gain any recognition for her work.
"It was only a year-and-a-half after I put out my first fanzine
that I was published in the States," says Doucet. "So it happened
I had sent rr
says Doucet. "Then I n
planned to start his own magazine, but when Julie told him of
'ish to be published, he changed his mind. "He offered to pub-
ly own comic book, which was super good news," says Doucet.
:unny because it's not at all what he meant to do with his life, he
/anted to do the magazine." Drawn and Quarterly Publications
respected graphic art pub-
ng companies and hosts numerous artists such as Archer Prewitt
Debbie Drechsler.
•oucet says she's
I'm not so sure I'll go back to comics," sighs Doucet. "The thing
e been doing only that for the past 10 or 12 years and I was
ng really hard all the time for not much money. I just got sick
Doucet will have another book out with Drawn and Quarterly,
of a sketch book. "The style will be similar, but a lot of it is portraits."
In the meantime, I'm just thankful I discovered the world of
Julie Doucet when I did. At least my daughter will grow-up knowing that there's cooler things in life than fitting into a sparkly blue
and red bathing suit. •
DiSCORDER. Your full name please.
Natalie Phillips-Cox. Sometimes people
call me Noodlie or Nats.
How and when did your business
Basement Creations come about?
Basement Creations has been in the making for years, and it finally now is official.
My interest m making things started really young. I used to make clothes for my
Barbies and pets. Then as a teenager I
started making myself dresses and clothes
and altering thrift store finds. That lead
into my interest into all things handmade. I decided to learn how to reuphol-
ster furniture after seeing this woman
Libby's work in a tattoo shop. She
reupholstered old furniture and made it
look beautiful and cool. Not all frumpie
and stuff. I bought a bunch of books and
took a class. I really got experienced in
reupholstering furniture from doing my
own chairs and making a lot of mistakes. I
have been reupholstering furniture part
time for three years now.
The leather bracelet idea came from
seeing some leather cuffs in this fancy LA
store, and I thought they looked cool, so I
made some for myself. Then friends wan
them some, and it just grew from there. I
Kill Rock Stars when I came up with silk
on bracelets to create a whole new kind of band merchandise. I don't like wearing band tees; band tees are such a
typical thing to sell. I thought it would be cool for bands to
sell something a little less obvious and kinda new and cool.
So far I have made them for Sleater-Kinney, Bangs, Lies,
Sean Na Na, Smitten Kitten zine, Bratmobile, The Gossip
and a few others. It's kind of time consuming to make
them, but it's fun.
I also make furry hats, fake fur rugs, pillows, plain
leather bracelets, and I am coming up with bunches of new
things every month. I am gonna start making belts, and
other styles of leather and vinyl cuffs with studs on them
and rhinestones.
Did you know that wearing bands or markers of different
colors on the right or left has been a tradition in sexual
subcultures for decades?
rock 'n' roll reupholsterer
by Cassandra Satana
it home and
ling logos
Yeah, I learned that a while ago when it had a resurgence in the Olympia dyke scene in the early '90s. It
was the whole hanky-in-the-pocket thing. It was hilarious. Everyone was sportin' hankies, and we were all
trying to remember what meant what. Someone
passed out a leaflet that had the meanings of it all,
kinda like a hanky dictionary.
What is "selling out"?
Not sticking to your values and goals. I have sold out
plenty of times in my life, but I try to stick to my goals.
For instance, I worked at Amazon.com for about six
months until I about lost my mind and couldn't
believe I had to do that to make ends meet.
Is there anything else you'd like to add? What would
you say to an aspiring lady small business owner?
You may have to work 12-14 hours a day sometimes,
but owning your own business and doing something
you love makes working a shitty job for five hours
seem much worse. Also, don't be scared of failing, otherwise you won't do anything. •
Stella Marrs takes the recent feminine past—
symbolized by the domestic relics of 1950s
America—and transforms it into a vision of a
better feminist future. She lias been operating
her postcard business from Olympia,
Washington since the 1980s.
DiSCORDER: What is success?
Having a dream, a vision, a plan.
Knowing how to give yourself the time
and space to dream and envision.
Developing and manifesting your ideas
into this world we live in. Here's the really hard part—at the same time while
doing that work—guarding your health
and a certain amount of happiness.
Realize that maintaining physical balance
is a critical part of being able to work.
Why does Olympia have a thriving art
From the vantage of a finite time-frame
(20 years), as an artist in Olympia—I
think that the thriving is the result of a
particular idea/attitude: Personal properties of technology and space are
thought of and shared as "The
Commons" in this town. People share
their time, materials, space, equipment,
resources, enthusiasm, stupidity, and
hope. This attitude of giving and snaring,
taking and using, bonds each person participating in this circle of making, opening a world of resources at the asking,
and many opportunities to help be part
of someone else's project. So its the result
of a whole culture of being challenged by
what you see other people around you
seem to be pulling out of the magic hat,
by Cassandra Satana
serious infectious fun constructed with
cardboard, duct tape, coat hangers, and
obsolete technology.
What goals do you have as an artist?
My goal is to make as many
object/events in my life as possible that
shifts perception and energizes other
people to be cultural workers toward the
type of platform of justice that Ralph
Nader was running, basically. His ideas
don't strike me as leftist, they just seem
logical to me.
If you could see any art show right now,
what would it be?
I read about this German photographer,
Andreas Gursky, who makes these giant
photographs. I saw just one of his images
reproduced in The New Yorker—it was a
two page spread of a photo that's originally nearly seven feet high and eleven
feet long. Its a picture of aisle upon aisle
of a candy store in LA, with people shop-
y 99
He is havir.
at MOMA in New York in the spring,
images of stock exchanges, airport
lounges, etc. I am driven to go see this
work because I have been telling myself
an idea for several years now: scale
equals feminism NOW. I interpret this to
myself that the way to make work in the
world that is noticed and has impact,
seems to be a matter of scale. How large
can you go with an idea? •
I* Li ft
10 DtAcorefer 2001 Morel* 11 All four members of Operation Makeout
look younger than they are. It could be
the healthy Island air (all of them hail
originally from Vancouver Island), it could
be the matching high-tops, it could be the
careful, stretching amateurism of their
music. Whatever it is, it gives them a
freshness and an energy that many
longer-established bands lack.
I talked to Katie La pi (guitar and
vocals), Lee Evernden (bass), Chelsea
McDonald (vocals), and Anna Clarke
(drums) in an ominously lit Main St. cafe.
DiSCORDER: You guys made it to the finals of
Shindig 2000! I wanted to know how you felt
about the whole thing—or even just parts of it.
Lee Everden: Well, considering we didn't even
think we were going to make it past the first
round, I think it was a lot of fun playing with all
the bands.
Chelsea McDonald: A good experience, I
Katie Lapi: I was surprised we made it past the
first round too, judging by the comments and
stuff [from the judges].
I didn't actually see any of the nights that you
played, but I heard from a roommate of mine
that on the final night, a lot of the audience was
supporting you, and they were surprised that
you didn't win. Is that your impression as well?
Chelsea: I don't think you ever really know what
other people are talking about.
Anna Clarke: There was a lot of people there. It
was lots of fun—there was more energy, so we
had more fun that night.
Katie: I think that was our best show at Shindig,
of all three nights.
What did you think of the kind of comments
that you got? [laughter] I haven't read them.
Anna: Some of them were good.
Lee: Some of them were pretty typical, I thought.
How do you mean by typical?
Lee: I'm not sure.
Chelsea: A lot of comparisons.
Katie: We always get compared to Sleater-
Kinney, and it gets kind of aggravating. It seems
like every time there's two girls singing in a
band, or playing guitar [that comparison is
Can you guys tell me your creation story? The
12 DiAcorder Operation Makeout origin myth? It doesn't have to be true.
Katie: We were originally all nurses at this hospital. We didn't know
each other, but we kept on getting in trouble because we kept making out with all of the patients—the comatose ones—we were making out with them all the time. Finally they caught us and kicked us
out, and we thought, "What else are we going to do if we can't be
nurses?" So what better thing to do than start a band?
You used to be in other bands as well, right?
Anna: Katie and I were in Molly together, and I was in Welcome to
Beatsville, a short-lived band.
Those were both on Vancouver Island?
Anna: Yeah.
Katie: Chelsea and I were in a band called Rescue Annie together.
Lee: I was in a band called Skeksis, and that's pretty much how I
met Katie and Anna. We played shows together on the Island.
Where exactly on the island are you guys from?
Lee: I was from Parksville.
Anna: Katie and I were from Ladysmith.
Chelsea: I was in Gibsons.
So you're all imports! And I saw you guys play in an earlier incarnation before Lee was in the band.
Chelsea: Oh no!
Katie: Um, Hotel 6.
And you, Katie, were wearing tea strainers on your head. What
was the reason for that?
Katie: I was really into those tea strainer glasses. I made them one
year for Hallowe'en, and I was really into wearing them all the time.
But my eyes are deteriorating, so it's hard to see with them now. I
think we're much stronger now with Lee—I think we really needed
that bottom end.
Can you tell me about how your CD came together? It's obvious
that you put it out yourselves, and you got it recorded yourselves.
Is there a story behind that?
Chelsea: I think Lee can tell that one.
Lee: I was going to recording school, and the opportunity arose to
record there for free, so I volunteered our band. It was good because
we got to record on 16 tracks—it was a 16-track analog machine—
and then we dumped it into the digital domain and did the mixing
in ProTools and stuff. Then we took the CD to a duplication house
and got it burned out.
Anna: It was kind of rushed, though, so it wasn't as good as we
wanted it to be. We wanted it to come out before we went on tour.
Katie: We were all learning stuff, too. Lee was obviously learning
the recording equipment, and I was learning how to put the cover
and stuff together. The colours didn't turn out the way I wanted
. But I'm still super glad we did it. I think it's really good
that \
> did it
Lee: I feel the end product could have been a lot better if we'd spent
more time mixing and doing certain things, but that's what happens
when you rush.
Katie: It's DIY.
Are you planning on shopping it to labels, or are you not really
interested in all that?
Katie: Our next recording—we start recording next weekend again,
and we're recording five songs. We're planning to send that out to
see if anyone else will put it out for us.
It takes a lot of energy to do everything yourself.
Katie: It's the promotion. That's the hardest: letting people know
that it's actually out there. I just think a label might be able to give
more support with distribution and stuff.
Where did you go on tour?
Katie: We went down the coast of California for two weeks, to San
Was it mostly all-ages shows?
Katie: Everywhere except Eureka and Hoqiuam.
All: Hoqiuam.
Katie: In Washington. It's near Aberdeen. It's like a hick town. We
played at Thumper's Tavern.
How did that go?
Anna: It was actually really good. It was pretty entertaining.
Lee: It was kind of a weird atmosphere. Lots of rednecks.
I guess there are always a few kids in every town.
Chelsea: We were the youngest people there, I think.
Anna: Yeah, they were all, like, over 30 or 40.
Katie: But the guy who put on the show was the nicest gi:
other band was buying us pizza, taking care of us and stuff.
How old are all of you?
Katie: I'm 21.
Chelsea: 21.
Anna: 21 in a month.
Lee: 20. The funny thing is that none of us were 21 when we ]
[Thumper's Tavern in Hoqiuam].
How long have each of you been playing music?
Katie: Well, when Anna and I were in grade nine, we decidi
we wanted to start a band. Then we decided we needed ti
instruments. So it wasn't until about grade 10 or 11 that I reall;
ed to learn how to play guitar.
Anna: I played guitar. I just started playing drums with Wi
to Beatsville, and 1 didn't know how until I started playing wi
I played d
rums about seven years ago, and
mtil Operation Makeout. This is
I only plaved drums am
Katie: This summer we're going to try and go for a month across
Do you all write lyrics?
Chelsea: Me and Katie write them.
Where do they come from?
Chelsea: I guess whatever's going on for me at the time.
I was reading the lyric sheet this morning. The words conjure up
interesting pictures, but it's hard to figure out what sort of angle
you're coming from. I guess it's more personal impressions than
Chelsea: Well it's harder on our earlier songs because [Katie and I]
didn't really collaborate with our lyrics, so [our respective] lines in
one song might not be about the same things.
The italicized lyrics are Katie's, right?
Katie: Yeah yeah yeah. The italicized ones are the ones that I wrote,
and I sing them.
And now you write them together?
Chelsea: No, we still don't write them together; we just tell each
other what we're writing about now. It keeps the songs much more
What's "Intermission" about?
Katie: "Intermission" is about a relationship that I was in, where
someone cheated on me.
That totally wasn't what was coming to my mind when I listened
to that scng.
Katie: What did you think it was about?
I don't know! But it was a lot more general and maybe historical.
Less personal.
Katie: It was just kind of about... seeing it coming. Almost knowing
that something was happening, without really knowing that you
Do you have any more immediate plans in the next little while?
Katie: Our tour in the summer is the next plan, starting in August.
Also, we're going to try to get better distribution for the CD we
already have. We are working really hard on trying to be creative
with how we write our new songs, trying to keep things as interesting as possible. We are all much more comfortable with each other
now than we were when we started, so it's much easier for us to
throw out new ideas and start experimenting. Chelsea and I have
also started to be really aware of how our vocals are interacting.
We're trying to figure out new ways to write over each other without being so confusing and overwhelming.
I'm sure people ask you about girl bands all the time. What's your
favourite boy band?
Anna: Boy band as in Backstreet Boys?
Interpret it as you like. How do you feel about men in rock?
Lee: Don't we all like Atom and His Package?
He's not a boy—he's a man.
Katie: The Dead Poets.
Anna: Yeah, the Dead Poets are awesome.
Chelsea: The Make-Up, although there's a girl in it. But they're
mostly boys, just like we're mostly girls.
Anna: What's your favourite boy band?
[Lengthy pause] Now that you put it to me, I realize what a stupid
question that is. •
March 8th Live! on CiTR 101.9fM at 9pm on Thunderbird
Radio Hell
March 29th at Ms T's Cabaret with The Riff Randells
April 28th at Seylynn Hall ivith d.b.s. and The Cost
By Barbara    •    Photos: Lori
2001 March 13 CHRIS * OLIVIA = CD-CD.
was still good to play in front of a bunch of people
every night.
C: It was a great experience.
> the studio after only two shows,
have you dealt with the lack of live experi-
other groups
out, I really
O: But I li
C.O.C.O. were nice enough to elicit with DiSCORDER before
playing a benefit show in Olympia, WA. Their debut album,
C.O.C.O., zoas released late last year. This boyfriend and girlfriend duo are the new dance floor overlords.
DiSCORDER: You guys are dancing aficionados. What's
your favourite music to dance to?
Olivia: My favourite music to dance to is dancehall,
Jamaican dancehall.
Chris: Dancehall, reggae, we listen to a lot of stuff like
O: Or soul.
C: Yeah, a lot of 70s funk and stuff, stuff with really deep
beats. There's a lot of really great underground disco that
happened in the '70s, a lot of stuff like that. B-52s, stuff
(ike that.
e when I hear dancehall.
You've been playing to a lot
of indie rock fans, played
with the sort of bands that
have fans who
rily inclined towards
ing. How have people reacted to you?
C: What I've heard a lot,
especially   during   the
Sleater-Kinney tour, we played a lot of
shows and people were telling us that while we were
playing, there were lots of smiles.
O: I think people were surprised.
C: Yeah. We've gotten a really positive response. Most of its been,
"Wow, you guys are really fun," or "Hey, I danced tonight." It's been
really cool.
O: It's not weird at all in Olympia. People like all sorts of stuff here.
They expect to see anything when they go to a show. On tour it was
a little different.
It must have been strange to be playing such large venues before
having released an album.
C: Yeah.
O: We had the CD at the time, but it hadn't been released yet. But it
just using that for
C: Me, personally, I've played i
before, live. That's really where I o
enjoy performing.
O: I've only been in one other band, but we'd only
played two or three shows. But I grew up singing. I
was in choir, so I was used to singing in front of people. It's just easier for me to sing with a band, so
now I have the music, I'm not singing a cappella. So
it didn't really bother me, not having much experi-
na rural.
C: And your parents...
O: My parents are musicians, so I grew up watching
shows with them too.
Your band name is based on your names, Chris
and Olivia. Why did you choose C.O.C.O.?
C: It was rather spontaneous, actually.
O: We were going to play four songs at this party
and we had to give them a name before we played,
illing it
around with a couple of
other friends.
So there's no connection to Chanel at
all? Because, if you look at your logo, it
has Chanel's interlocking "C"s, and
Coco Chanel is the company's founder.
else] did that for the letter-    «
postcard. We have postcards
coming with our vinyl, v
our shirts too.
So no secret couture aspirations there. You're
part of a proud tradition of Olympian duos,
and you're about to tour with the Parlour
Maids, who are also a duo. Why did you chose
to be a two-piece?
O: We just started playing in our basement, and
we didn't know who else we'd want to play with
us, and who else would go for playing with us
C: Yeah, yeah. Another good thing about a duo is
that the exchange of ideas flows a lot better.
When you have three or four or more people,
there's a lot of people that have their own separate ideas that they're putting in. Things progress
a lot slower. But maybe in [Olympia] people just
get their ideas out. The duo format
works out a lot. Another thing too is that we
playing a lot at the house and people
would come over and hear us and be really into
O: Sometimes with a drunken dance.
C: Yeah, and a lot of the music that we both listen
to, dub reggae or anything like that, you're listening to the beat and the bassline. Especially
when those parts break down, sometimes it's the
best part of the song. Keeping it simple is the
way to go.
Have you felt any sort of limitations while performing live?
O: Not really. We just improvise with what we
know we have. And if we leave something out,
that's okay, special effects that we had at the studio. We've had people tells us that we need a
guitarist or a keyboardist, but [laughing] usually
they want to do it.
C: That's the point of our band. Like you said,
14 DtAcorder you mentioned those bands before. I've seen all those bands live.
They can deliver a feeling and be able to deliver their message clearly without really needing anyone else. You understand with The
White Stripes or C Average. Those are
only two bands, and they're loud, and
technical, and they still freak you out and
grab you too. And they're just two peo-
[To Olivia] What was your first band,
Decoy Decoy, like?
O: Pretty Built To Spill-ish, the guy that
was kind of leading it, Brian, was really into things
like that. It was mainly him and this guy Geoff's collaboration. I
wrote my own basslines, but they came up with most of the songs
and structure and all that. There would be exceptions. It was kind of
emo-ish, I guess.
O: Yeah!
Did you have anything to do with the
design of the website?
O: Chris actually did that. This girl,
Johanna, she kind of put it all together.
She put our picture there and stuff.
C: We got together, and we discussed
how the layout would be. She was like,
"You can make it look however you
want." So I just kind of built on it, and
then we got together and put ideas about
what she was able to do—click on this,
make this move—she was really helpful.
The website says that there is a new
album on the way. Have you guys been
O: We're going to do some recording
C: Probably after our tour, in March.
O: Right now we only have four
songs kicking around. We just
recorded four songs at Yo Yo
Did you record with Calvin Johnson
O: No, that was Pat [Maley].
C: Of Yo Yo Records. Those songs are
going to be going on different compilations. We're doing a split 7" with
The Parlour Maids, they're trying to
get that out before tour. There's going
to be a Yo Yo compilation out before
Yo Yo A Go Go [Festival this summer]. And there's this girl named Jen
Shirelle who puts out a series of 7"s.
She lives in Philadelphia, we played
a song for her.
In the song "Move On," it sounds like there's a reference to
the chorus of Lipps, Inc.'s "Funkytown." Was this at all con-
O: No, it wasn't. And it kind of happened that way, and for a
long time I was going to change the words from "move on,"
because I didn't want to sound like that, but I couldn't think of
anything 1 liked better, so I just said, "Fuck it." We figured it
out later and decided it sounded best anyways, so whatever
Sort of a silly question, but you've only been playing the bass
for a couple of years. How did you come up with such a sweet
bassline for the song "#1"?
O: That was the first bassline I wrote. That was the first song
we came up with. I don't know, it was the first thing that came
to my head when we started playing.
ie of it.
What's the buzzing no
C: That was this ancien
board, I forget what the n.
it is right now.
O: Something "Korg."
C: Korg might be the nam
It was a synthesizer, and, basically, the noises were so complex
on this thing that, if you created
a sound and you left that sound,
you wouldn't be able to get it
back. There's so many variations, there's so many switches
O: It's impossible to find the
C: It's this weird analog thing
where it worked by feel.
You're both vegans, and on the
song "Yes/No," you sing "Don't
eat meat." Was this a spur of the
moment lyrical rhyme, or more
of a conscious decision?
C: Yeah, yeah. When I tried to
create the part, that was the first
thing that came to mind but
then, when 1 thought about it, I
wondered whether or not I
wanted to do that on the record.
But when I thought about it, it's
who we are, where we come
from, and how we live, so that's
just how it came out. At the end
f  the
i the
about confusion, indecision. I just got that
Last question, what do you think of the scene in Olympia right
O: It's been really great the last couple of years, well, the last year or
two. There have been a lot of new bands coming out, a lot of parties
and shows. For while there wasn't much going on.
C: There's this really cool movement that's going on, not just here,
but kind of all over, this party music, or dance music, or retro blues
music. There's Gene Defcon, The Gossip, there's been a lot more of
that. On top of that, you have more heavier bands, like The Tight
Bros From Way Back When, this awesome band, just really powerful, or C Average, or The Need. There's a lot of really creative people
and the directions that they're going in are really extreme, but they
kind of [all fit] a niche. •
C: Pretty Boise.
O: Yeah, pretty Boise. Brian's from Boise, so...
[To Chris] You're known primarily as the
bassist for Dub Narcotic Sound System and
others. When did you start playing drums?
C: Growing up, when I started listening to music,
bass and drums were the things that I listened to
the most on records that I listened to. So drums
was always something I kind of thought about. I
never really had a drum set or access to one until
a few years ago. Before we started the band and
there was a drum set around, I'd hear lots of different beats listening to records. You know, if you
hear something cool, you want to express it, and
I spent a lot of time trying to work the fundamentals of drums. Being a bass player and working with a lot of drummers has kind of helped
me to learn drums and even back, learning to
play with another bass player, playing drums.
___ It's the rhythm
.... _ section thing—
n the two
And    how    did
I C.O.C.O.    start?
Did you just start
playing in the basement?
O: I said I wanted to learn how to play bass, and
he wanted to get better at drums. We'd messed
around for a little bit, but not very long, so we
just started playing it.
How many years ago was that?
O: Gosh, about a year and a half ago, almost two
years, probably the Summer of '99.
C: Yeah.
You designed the cover for the album.
Sou iffu coffee lioe
-thing.com Qy      ^^
 .....■'      "
A benefit.for tfieOowntown
East Sfde Women's Shelter
Soufffu collect'/'at
"An evening of entertainment
brought to you by some of our
finest female artists and
'Starting the evening off wrSffS* *«
screening of Rachel Raimistls
"critically acclaimed documentary;
... "Mibody Knows My Name"
" "ISHQ^curj^ntan^tl^^xi^es
the lives of women in Hip hop
throughout the USA.
Wdi Cascade
fpya Evanson
taurie Bricker
*Adrien Moore
*DJ Ariel
■Rai^M^^Onai^Rodeo -
'SusanCormier. 'Madass, .....   n
*QB the Matriarch
*Theresa Cowan
Thursday March 8,2001
at Sonar, 66 Watef^^^^
Doors open at 9pnT
Tickets $10^
2001 Marclt 15 Women have long played a vital role in Vancouver's roots
music scene and continue to do so. In the past few
decades, artists such as kd laxig, Sue Foley, Neko Case,
and Oh Susanna have cut their musical teeth here before achieving
greater fame.
One of the foremost proponents of roots music locaUy is the
R.A.N.C.H. Society (Roots Allied Network Community Hosts). Its
president, Shelley Campbell, has worked many years to bring attention to our local scene. "We're a non-profit society, aimed at promoting and sustaining a strong roots music community in
Vancouver, Victoria, and hopefully spreading the roots gospel internationally," she explained over a pint at the Silvertone Tavern.
Shelley fronts her own band, Auburn, and also works with local
roots darlings Radiogram. Her interest in the genre stems from listening to her parents' hillbilly music, playing folk-oriented music
on the coffeehouse circuit, a brief stint as a Deadhead, and doing
the festival circuit with local worldbeat outfit Dobb and Dumela.
She later hooked up with musicians such as Butch Murphy (of roots-
rock combo Bughouse Five) and Ronnie Hayward, who was then
hosting the Saturday jam at the Railway Club. "Connections started
to roll, some members of Bughouse Five started to back me up, I put
together Auburn, I recorded [Misfit Cafe], and the rest is history!"
Shelley laughed. A new Auburn CD should be forthcoming later this
year, the added.
irolyn mark, Undo meme, shelly campbell
Although kd lang's days as a Railway Club regular were before
her time, Shelley remembers the inauspicious debut of Neko Case:
"I had heard through some friends about Neko. They said she was
really great, kind of like Wanda Jackson, and she was going to sing
a few songs with Ronnie Hayward at the Railway. She showed up,
didn't remember all the words, but she was really cute, and had a
wicked voice."
The idea of the R.A.N.C.H. society was first conceived after the
June 1997 closing of the Main Street Ranch (Main and 8th). Shelley
was part-owner, with Minka Rodin and Butch Murphy, of that sorely-missed vintage clothing/record store/cafe/performance space.
"The Main Street Ranch was a gathering spot for celebrating the
roots music community," SheUey explained. Her vision when forming R.A.N.C.H was to continue building a strong sense of community among fellow local roots performers. The idea was first
presented to the public via the successful aU-female showcase,
"Cigareets, Whiskey, and Wild, Wild Women," held June 1999, and
featuring Linda McRae, Auburn, The Fixens (Carolyn Mark's former project), and Daisy Duke. In November of that year, Campbell
threw a benefit concert at the Marine Club, featuring performances
by Linda McRae, Radiogram, The Ploughboys, Auburn, Mac
Pontiac, and Slack, which raised enough money to cover start-up
costs of the society. By spring 2000, the status of non-profit society
was official, and in mid-May, the inaugural RANCHFest showcased
close to 30 local roots acts at various venues around the city.
R.A.N.C.H. is now gearing up for its second annual
RANCHFest in May and gathering material for a compUation CD,
which will be sent out to radio stations who have already shown
interest via their website, some from as far away as New York and
the Netherlands. "It's interesting how we're finding modern means
to promote timeless music. It's a healthier time for independent
roots artists, and there's more radio support for 'Americana' music
internationally," SheUey noted.
She acknowledges that the Main Street Ranch concept may have
been before its rime for the neighbourhood, but the business experience gained has proved invaluable in "running the Ranch." The
R.A.N.C.H. society has three women on the board besides SheUey.
Two are musicians (Linda McRae and Robin Pollack) and the third,
Blanche Norton, "Cooks up a storm for us hungry musicians,"
according to SheUey.
"I've tried to make Vancouver a better home-away-from-the-
home-of-the-road for us locaUy-situated roots musicians and am
hopeful that together we can make it a better place for other acts to
want to come play. Up with networking within a large community
that celebrates the diversity and possibilities within the roots genre!"
SheUey has observed that over the last few years, there's been a
steady growth of female-based roots bands. "I think women have a
stronger possibility of being taken seriously as writers and artists,"
she noted. When asked about young women musicians in the local
scene who are catching her attention, she cited the Be Good Tanyas.
"New Music West last year was my first experience hearing them,
and I was completely blown away. They just seemed to crawl out of
their van, like time-warped, get up on stage, and there they were!
They have reaUy come a long way in the last year, which is great."
When I spoke to Trish Klein and Frazey Ford of the Be Good
Tanyas, they were still flying high from their experiences
at the Folk AUiance music conference, which was held
here in mid-February. While they might consider their music to be
more "funky than folky," the haunting simplicity of their vocalizing
and instrumentation (banjo, guitar, mandolin) owes more to the
mountain music of the Appalachians than the contemporary
singer/songwriter model. The BGTs have built a good foUowing
and "buzz" locaUy in the past year, and they'd hoped to carry this
over into the larger international roots music community represented at the conference. So did they succeed?
"Oh yeah!" exclaimed Trish, as Frazey dug through the newspaper bin at Turk's on Commercial Drive, hunting for a copy of the
National Post article on the conference which featured them.
"We had the most awesome time because we shared a [showcase] room with 14 other women who are in a coUective caUed Little
Red Hen," Trish continued. "Women from aU over North America,
and I think that we had the most unusual, eclectic array of performances: everything from New Orleans burlesque to spoken word, to
funk/soul and country blues. It was 24 hours a day jamming... and
everyone was so talented. We had the room aU decked out in flowers, red candles, fabric, red Ught bulbs, antique lamps. It felt like a
living room in there."
Frazey picked up the thread: "The hottest time crowd-wise was
at one in the morning; it seemed to reaUy get going then." Trish
interjected, "We had a sauna show up in the back of a moving van at
four in the morning, in front of the Hyatt. I was running around the
hotel in a towel [after the sauna], holding my clothes, naked!"
"Everywhere you turned there was a band jamming. There was
even a band playing in the elevator at one point, they were in there
for two hours entertaining/' Trish reminisced. Frazey continued, "It
was like being in a city of folk musicians. I felt like it wasn't going to
end, and this is just the way we live, in this crazy metropolis."
Both agreed that having the chance to meet and hear other
immensely talented women at the conference was inspirational.
Renowned Cajun fiddler Gina Forsyth dropped in and played with
them on a few tunes, and in the rare times when they weren't performing, they managed to check out some of the other musicians. "I
16 DiACordcr Women in the local roots scene
Vol Cormier
jhotos: Ellinda Siu
ended up in some amazing situations," Frazey remembered. "There
was a woman Ruthie Foster, an incredible gospel singer from
Austin, Texas. I was just awed by her incredible voice." "She
reminded me of Sam Cooke!" Trish added. "And to be five feet
away from a musician of that calibre was just rnind-blowing."
"I was just wandering, and every single thing I saw that night
was incredible. It was so incredible, my mind was like 'I can't take it
anymore'," Frazey recaUed. "Am I going to lose my mind if I see too
much incredible art in one evening? I had to go back to the Red Hen
room and Ue down!"
So what was it like to have created a buzz at the conference,
especiaUy as "rookies"? "It was scary," smiled Trish. "We were supposed to start one showcase at 10pm, but there were all these people
in the room, and out in the haUway. There were like a million delegates, it seemed, and it was such a spectacle. They were obviously
there to see you, and they were just, like, staring at you, and wearing these big [name] tags, and you're trying to avoid looking at
them, and trying to play. And it was about 100 degrees in the room
because there's so many people, and you're sweating, and your
instruments are going out of tune... I was stressed out to the max!
After that show I just wanted to go to the bathroom and vomit!"
"But overaU, we did weU under the pressure," Frazey concluded.
Both Frazey and Trish had some pointed observations on the
be good tonyos
music business, based on their personal experiences. "One thing I
reaUy like about the Red Hen CoUective, for instance, is that they're
aU out there saying, I'm a woman, I don't need some sleazy booking
agent guy, I don't need a guy manager to say you're a 'girl' act. It's
awesome having a female manager like we do, and powerful female
friends who know how to do their own booking. So many women in
the industry are relying on some guy a lot of the time," Frazey said.
Trish continued, "We've had bad experiences with male booking
agents. They can patronize you, and they're like: 'Oh yeah, pretty
girls, if s gonna be great—girl bands are reaUy big right now', or 'I
think you girls would be great with this 14-year-old fiddle prodigy.
Put her in your band and we'U get some pictures'. They want you to
play up the 'girT thing. Why can't we just be respected as people
and musicians?"
"I really like our manager, Mandy Wheelwright," Frazey
stressed. "Her approach is very feminist. She's reaUy into supporting women acts in a way that's respectful." Trish added, "We can
relate to her. Some of the other guys we've had to work with are like
used-car salesmen in the way they want to represent you. It's aU
about 'marketing the image', slick talk. Mandy is reaUy calm, nurturing, like a mom or auntie. Her approach is reaUy cool. She keeps
it aU very real, too. It seems like there's a lot of people out there who
like to talk about 'going places', being big stars. But she stresses that
we shouldn't lose track of who we are, take it step by step, and support ourselves as musicians over the long-term, rather than looking
for the 1>ig bucks.'"
What about women as role models? "I was inspired by female
artists when I was a teenager," Trish said. "Knowing there were
women out there in the music industry made me realize that I could
do it myself. Ani DiFranco made a big impression on me. This is one
woman who books herself, records her own albums, she's totally
independent, has her own company, and she's done really weU."
And despite the backlash in some quarters against Lilith Fair, these
two see it as a positive experience: "Things were run aU the way
through by women, not just as musical acts," Frazey pointed out.
Even as a young band, they're already inspiring younger
women. "I met an 18-year-old woman this weekend who told me 'I
was so inspired by your picture in the paper, and I'm just learning
how to play the banjo. Can you give me lessons?'" Trish recounted
■ with pride.
"The whole hoy's club' in the industry is breaking up," Frazey
surmised. "People are realizing how much cooler it is to work with
women, too. It seems like there's less ego a lot of the time, and more
of a natural approach."
As for the local scene, both agree there are a lot of amazing
musicians working in the roots music scene in our city, and hopefully the Folk Alliance conference helped draw some attention to
that. Local support of the scene has been a problem, they feel.
"People need to rip themselves away from their Uving rooms, and
go and check out more live music in this city," Trish urged.
With strong women like these at the reins, the local roots music
scene.is bound to gaUop along at a good clip into the new century. •
R.A.N.C.H. Society   r:; . .;.   .
Be Good Tanyas <htt^.//wwwbef^(g(f^f riMf
2001 March 17 Tram's newest album, Frequently Asked
Questions, may take some patience—perhaps endurance—to listen to, but the
rewards are there for the discerning ear.
Coming off kinda like Bread without the
leaven, or the weary cousins of Low who
were forced to take another human life and
are hating themselves for it, Tram follows
up their gorgeous Heavy Black Frame LP
by continuing to explore the bitter
struggles of the heart set to bitter downer
melodies. I spoke to Tram's Paul Anderson
by phone from London.
This is the one the shoegazers have been
waiting to kill themselves to.
by Bleek
drawing by Scott Malin
DiSCORDER: Can you tell me something about the sadness of
Frequently Asked Questions? Why so sad?
Paul Anderson: Sadness?
Yeah, of your approach to the music.
Well basically because... umm... I'm not very good at writing happy
songs. I always find that writing music is a great antidote to feeling
Are you a depressed person?
No, not really. I have been, but I'm not continually depressed, but I
always end up listening to that sort of music and writing it. It's a
kind of self-analysis, really.
Is the music based on experiences and disappointments in your
It's all pretty true to life, yeah. None of it's really of a contrived
Can you tell me about the other band members? How about Nick
Nick is really the only permanent member of Tram. I played in a
previous band with him, so we've been playing together for quite a
while, and all the other players on the album are basically session
So no one from bands like Broken Dog and such.
Nobody from Broken Dog on this album. They played on the last
one, but Clive [Painter], who helped me produce the first one, he
and his brother played in the live band. But no members of Broken
Dog anymore, just basically various musicians that I really just met
for the first time when we made the album.
Anyone in particular that I may have heard of?
There was the one track, the Tim Buckley cover "Once I Was," and
John Parish played on that. He's been playing with PJ Harvey.
Nobody else you probably would have heard of.
Speaking of Clive, the producer, he seems to be the perfect producer for Tram. He really seems to have developed the perfect
He did the first album, but myself and Nick did the second one ourselves. I mean an awful lot [of help] from Clive, he certainly gave us
a stepping stone.
So did the songs come out pretty much the way you heard them in
your head?
Yeah, I guess so. Sometimes it would be nice to have the luxury of
adding a few more strings or a bit more brass or recording it in a
better studio. But essentially most of the songs reached their desti-
Can you tell me about your past as a member of a punk band?
[, i■■<ised\ Yeah, quite a fe.v years ago I was in a punky, punk-thrashy
IS l)L*corder
band called Bin Hoeker, and we did basically what could be
described as the opposite of what Tram does really—played very
fast and very loud.
How about the assumption that loud equals heaviness, seriousness, or strength? In my opinion, a lot of the slower bands convey
more strength and integrity.
Yes. I couldn't agree more actually. I certainly derive much more
intensity by playing less or quieter or, you know, [through] understatement. I'think less is more in a lot of cases. Yeah, I kind of gravitate toward that sort of thing and from listening to stuff like Smog
and Low I just felt "Yeah," you know, "that's the way I want to do
You guys seem to capture an older genre—and I hate to name genres—but something like the shoegazer sort of sound. You revive
some of the best aspects of that. Is that something that you set out
to do or that you knew you were trying to do?
Uh... shoegazer... shoegazing. The term seems a bit buried in the
'80s. It's not necessarily something that I was wanting to emulate at
all, really. I can understand what you mean. Atmosphere is all
important, and texture, which I can see where your question is coming from but um... not really. I wouldn't want to use the term
It's almost as if you've taken something that people thought
couldn't be done anymore, and you've done it so well.
It's nice to know that you think we're paying attention to it. Is it
something that you'd necessarily associate with British bands?
Well, in a lot of ways perhaps I do. I mean there's plenty of American bands doing the slowcore or slow-fi, whatever you call it.
How about tours? Are you setting out to do any tours for the new
You mean in the States?
And in Canada.
Well, we're still trying to arrange that at the moment with Jet Set,
and we haven't set any terms yet. I mean we definitely, definitely
want to come play in the States; it's just whether or not we can get
someone who could play with us. It's got to finance itself. I mean,
we can't really justify piaying to half a dozen people every night.
What would be an ideal tour line-up? Pick a couple of bands that
you would really like to play with.
We've already played with one of the bands we've really wanted to
play with and that was Spain when they came over here, so we've
done that. Um... I'm in contact with the guy from Low quite a lot,
and that would be nice to do. There's a band from Canada I like
quite a lot called Godspeed You Black Emperor! that we'd love to
play with. Yo La Tengo would be nice. Calexico. Lambchop perhaps.
You're picking a lot of my current favourites.
Well, they're all great bands; it would be nice to play with any of
Would you be surprised if you had a hit song sometime?
Uhh... yes! [shockingly amused] Yes, actually. I would be surprised if
there was any sort of chart hits, but I don't rule it out in the future.
How about if you could describe your music to people who
haven't heard your music yet but will read this interview.
Oooh, blimey. Let's see. It's music that wears its heart on its sleeve.
And what does it sound like?
Oh dear, that's a toughy. Uh, it sounds like... it sounds like me doing
a bloody good impression of being an American band.
I think I'll drop the rest of that...
Well let's see. It's probably like... slow country folk.
Wow. Do you think of it that way?
Yeah, well it's like a cross between slow American country and
British folk of the early 70s.
Really? That sounds a lot more like Black Heart Procession, I
Yeah, I like Black Heart Procession actually.
A great band.
I missed them twice when they came over here. I've got one of their
albums which I think I put in my top 10 of 1999.
Describe your fans.
They're few but dedicated.
About your album titles, the last one being Heavy Black Frame.
Was that a description of the music in a way?
Coincidentally it was. I didn't set out to have it be a description of it,
but it seemed to describe it quite nicely. Like a lot of things I used for
writing its expressions I picked up from people when I've been talking to them in quite intense situations.
Interesting. How about Frequently Asked Questions, does that
refer to anything, like interviews or something?
It's an ironic name really. One of the main differences between the
first and the second album is the fact that we upgraded our studio
quite considerably, and we got digital recording software and everything, and then we had to learn how to use it to make this album. In
an hour of complete frustration, having read the manual, I came up
with the name.
That's great.
It just seemed like the perfect title for the content of the album. •
www.tram.org.uk live music reviews
Saturday, February 3
Showbox (Seattle)
I was running a bit late, as I had
just finished up a job for
DiSCORDER, so I missed The
And/Or's. The Jealous Sound
played a strong set with good
chemistry between the members. Headliners DCFC were in
their hometown, and perhaps
the pressure to perform well in
front of all their friends and
family was too much. The band
played an uneven set. Highlights
included a sweet cover of
Bjork's "All is Full of Love"
and a pretty solid version of
"Photobooth" which appears
on the Forbidden Love EP. Sadly,
the band did not play "405,"
one of my favourite Death Cab
songs. I credit the set's discontinuity to the wanky performance of the keyboard/guitar
player, who needs to be replaced.
The bass player was sexy as
always but seemed to be trying
too hard to rock out. The
acoustics at the Showbox made
it sound like the band was
singing through a wall.
Cassandra Satana
Friday, February 9
Vancouver East Cultural
Up until now, the two most
ever attended have been so far
beyond the merely great that
they've been all alone out there.
Now, The Tiger Lillies have
made it three. These gentlemen
are supreme entertainers, but
they're also a travelling medicine show. They don't write
prescriptions or try to flog
snake oil. They just roll out the
diseases so you can laugh, cry,
and dance around in them—
ultimately a more enlightening
and liberating experience.
From the opening number,
"The Graveyards of Marseilles"
to the first encore, "Sex with
Flies," they rooted through the
garbage, picked off the scabs,
fingered the villains and sang
lullabies to the wounded. And
always, the cheeky and strangely hopeful dignity of Martin
Jacques' delivery mocked what
needed mocking, while the
blackest humour hid a broken
Musically, they're a wonder. Jacques—he of the immac
ulate diction and voice like a
posh granny—is founder and
songwriter. His accordion
looked so cherubic and small
but sent forth the most powerful and insistent sounds: chords
of church organ richness, and
melodies that snaked like sad
wails around Adrian Stout's
monumental double bass.
Whether plucking his instrument for warm and nimble lines
or bowing it to wild effect, Stout
was amazing. The alias-happy
rhythm section was rounded
out by Adrian Huge on drums
(and a percussion kit of boggling complexity: knives and
forks, wind-up toys, feather
dusters, etc.).
At first whiff, even the
harshest subject matter came off
with levity—the frustrated
ambitions of a would-be serial
killer, the last 25 minutes of a
condemned prisoner, the
entreaties of a masochist, the
death of a schoolboy junkie—
and sometimes the balloon of
hilarity stayed afloat 'cause it
was just so goddamned funny.
At other moments, the load
came down in all its awfulness
and you were still laughing.
Used, abused and fallen
ladies populate Jacques' songs
to a haunting degree. From
'Pretty Lisa," who wanted to be
a circus star and whose tattoos
hid the bruises inflicted on her
by the carnie she ended up
assisting, to "Trampled Lily," a
flower crushed by too many
tricks, these are women with
dreams that went awry. But the
tales don't feel at all prurient or
sensational. They're delivered
with a sad, surreal detachment
that makes Brecht's slick archness seem voyeuristic by comparison.
The Cultch did a fine job of
atmospherifying the place.
Although some cabaret-style
tables placed around the edge
of the stage area felt a little contrived, it made the raked seats
feel like circus bleachers—a
bizarre contrast which somehow worked. The heavy red
curtains and chandeliers from
the Lillies' earlier performance
with the Holy Body Tattoo
remained, and the light had a
yearning dimness that made it
seem as though we were huddled at one end of the great hall
in an old railway station.
Thanks are due to HBT for
hurrying along the first
Vancouver appearance of these
priceless troubadours.
Penelope Mulligan
Saturday, February 10
Ms. T's Cabaret
This is what it's all about. No
bloated  rock-gods becoming
increasingly more arrogant
onstage even after losing the
original romantic spirit of
melody. These are three local
indie acts that make hometown
shows fun and very real. Down
in the small, dark venue called
Ms. T's Cavern... I mean
Catacomb... whoops, Cabaret, a
man smoking crack on the steps
wants to know how much it is
to get in the steam baths down
there, ha!
Hinterland started the
evening with their first show.
Some may remember the local
band Flutter whose original
members dropped out one by
one until the band's name
seemed irrelevant. A couple of
these folks remain as
Hinterland, an ethereal art band
with shades of Vancouver's
Rose Chronicles showing heavily in the atmospheric instrumentation and lovely vocals.
Hinterland is more concerned
with building an environment
of layered lustiness than providing a quick rock 'n' roll fix.
As guitarist John Lucas (who I
had traded mix tapes with for a
couple years prior to this
evening) confessed, "Close your
eyes and it's 1991."
Nicely Nicely was next.
Sporting suit and tie, these three
lads make terrific, unpretentious indie-rock and stir up a lot
of fun and splendid pop hooks.
Though not what one would
call ground-breaking, Nicely
Nicely just surrender to fine
rock elements that always seem
to be in style, conjuring the likes
of The Hollies, Young Fresh
Fellows, and Pure Joy. Silent
Treatment, if you weren't looking, appeared to have New
Order's Peter Hook on bass. To
me that's not a bad thing; I miss
that early New Order stuff. The
Silent Treatment, though, end
those comparisons there and
venture more into a pop arena
travelled well by the likes of
The Field Mice, Mecca
Normal, and Dressy Bessy.
Okay, maybe it doesn't make
sense now, but it did then.
The t
ning c
and went splendidly and when
three bands can enliven my
hope in local music, well that's
worth everything to a music
Note to local venues:
Darker beers please.
February 13-15
The Sugar Refinery
The first Beautiful Music
Festival, curated by Brady
Cranfield, happened exactly
one year ago and was a smashing success artistically and
financially (I presume), with
each night a complete sellout.
The absence of established
headliners (such as The Beans)
and advance promotion made
this year's model a more low-
key affair but largely worthwhile nonetheless. It wasn't my
intention to attend every
evening, but sometimes these
things happen. In the neighbourhood to attend a free
improv performance at nearby
The Slacks
Wasted bays
c<j/(t> out now!
/fy ^\WWW.r.C((-C3t.Co"fM>
2001 Marclt 19 1067 Granville, I missed the first
act of the festival, Dixie's Death
Pool. I have seen them on more
than a few occasions and was
assured upon my late arrival
that Lee Hutzeiak's hushed
baritone and able accompanists
were indeed in fine form. The
remainder of the evening proceeded with seeming irreverence for the festival's theme,
with DJ Aural mining a Mille
Plateaux-style vein that could
hardly be called beautiful (or
even pretty). Also on the homely side were headliners Entity:
Ephemeral, Eternity, a collective featuring members of
Broken Record Chamber with
Masa Anzai on further electronics—both interesting to be
villi <■
:ond night was
■yable (the t(
the Refinery's Pasta Raphael—
sooo good). DJ Neosphere got
things started, spinning a set of
mostly jazz ballads, marred
slightly by a grounding problem with the turntables. The
; the e
was Mark Szabo who turned in
a stunning set, confirming for
all in attendance his reputation
as one of our city's finest song-
smiths. A highlight came during the song "Agent, Agent"
(not a Szabo original): as Mark
sang the refrain "I'm not broke/
You c
t fix n
two audience members were
attempting to fix his sagging
mic stand. Maybe 1 am the only
one who found it funny.
Accompanied by Lee
Livingston of The Radio for
half the set, this was perhaps
the best Mark solo show I've yet
seen, with his voice and guitar-
playing in rare form.
Another short set by DJ
Neosphere was followed by the
evening's headliners The
Birthday Machine. Fronted by
Miko Hoffman and Stefan Udell
on guitars and alternating lead
vocals, they put forth perhaps
their most confident and solid
set so far. Miko's voice struck
me as particularly clear and
strong (due as well to a good
mix, I'm sure). All in all a wonderful show.
Understandably, I deliberated quite a bit on whether or
not to attend the third night, but
remembered snatches of Young
& Sexy songs floating through
my head all day tipped the
scales. Although performing
without their rhythm section,
they didn't disappoint either.
Really, this band at full steam is
truly one of the best pop groups
to hear their (long delayed)
debut album. Between sets, DJ
Soolah mixed up an eclectic
array of song and sound to perhaps the largest crowd of the
festival. I found myself wishing
he'd kept right on as (sorry) I
didn't really enjoy P:ano, the
final act of the festival. Sure,
they sing pretty and quiet and
play pretty and quiet, but the
utter lack of dynamics (save for
the number on which they were
joined by drummer Josh Wells)
and presence bored the pants
off of me.  They're young,  I
20 Di/scorder
know—in time, perhaps.
Last year's BMF really felt
like a festival, with the introduction of new acts and a full
blown finale (again, The Beans)
that were sorely missing this
year. Still, I had some fun and
Should it happen again next
year, I'll be there. Maybe not
every night, but I'll be there.
Steven Borracho
Friday, February 16
Richard's On Richards
Alright, first off, a minor gripe:
what's with making us wait
outside until the band finished
it necessary to punish the kids
who've been waiting in line for
a good hour or more after the
time that was printed on the
ticket (the show got underway
shortly after 7:00!), but c'mon'...
Well, Tuuli had barely finished said sound check before
struttin' their stuff to the now
trickling-in crowd, and as
enjoyable as they were, they
seemed a little off their game.
Could've been the early start,
their chemistry with new touring drummer (sorry I forgot
your name, but you play with
New Electric Riot, don't you?),
but the ladies didn't quite hit
their stride until the set was
almost over, and with only a
half-hour to churn out pop-rock
gems like "Cinema," "So Glad"
and "Tough Guys," their work
was cut out for them. Highlight
of the set had to be their rendition of that Garbage tune with
the redhead guitarist taking
over vocal duties, ironically baring a striking resemblance to
Ms. Shirley Manson were she 15
years younger. Oh yeah, and
the three times that the lead
singer whispered to her band
mate to ask whether or not her
skirt was riding up... oh the hor-
The Black Halos made use
of what little time they had and
tore through material from their
forthcoming release, kick starting with "Last Of The l%ers"
and not letting up until we had
into the crowd, only to hit me
square in the head! Hoping to
do one better, I immediately
tossed them back, narrowly
missing drummer Rob, as they
skidded across his kit. The new
stuff definitely packs a wallop
live, with "Some Things Never
Fall" standing out because of its
shout-along chorus, and "Sell
Out Love" has some catchy riffs
start the violence in March for a
tour across the U.S. and
Last year we "got
skintight" with tonight's head-
liners, but this time we're "turning 21," and even though they
may be of legal drinking age
now, they certainly didn't play
like it—just seemed like some of
the show was a little forced.
Hit It?" with that ripping
lead guitar opening from
Donna R., and "Little Boy"(my
favourite so far from the LP, but
why no "Play My Game"?). It
was when they played their
older stuff and changed the feel
of the songs that threw me off.
Why they chose to play
tunes like "Get U Alone,"
"Hyperactive," "Checkin' It
Out," and "Wanna Get Some
Stuff"(from American Teenage
Rock And Roll Machine) at the
same mid-tempo speed as the
newer songs doesn't make
sense. I know the change in
musical direction over the last
three records is significant to
the style they're into right now,
but they shouldn't knock the
songs for how they should be
played: fast and furious, the
"Let's Go Mano" just doesn't
lake i!
o do il
seen Billy get some good use
out of a pair of red lace panties
that spent the better part of the
show stuffed in his crotch. He
illy whip them
running through it—if you didn't check them out at this or
their record release show
(March 1 at Dick's), you may
have to wait a while as they
Don't get me wrong, I like The
Donnas and a lot of the new
record was executed well, particularly "Are You Gonna Move
It For Me?", "Do You Wanna
slower, it just makes me want to
go to bed.
Bryce Dunn
Sunday, February 18
Richard's On Richards
Well, back again to Gaytown
Dick's (as Eddie Spaghetti jokingly referred to it) for another
rock show. My apologies to The
Nasty On for missing the first
half of their set (my fasnionably
late entrance at 9:00 instead of
8:30), and to Jason for getting
my facts wrong on that cover
tune (you're right it was "7+7
Is" but now I'm gonna challenge you on who wrote it: I say
it was The Soulbenders?).
Good rockin' as always. Hadn't
seen the N.T.A. since New
Year's Eve, and it was good to
see them make use of a huge more guitar next time?).
Watching these guys is a trip
'cuz of Alex and Jeff's facial
expressions, but the rest of the
gang ain't no slouches neither.
Haven't seen 'em yet? Think
Toy Dolls meets Saints punk
Well what have we come to
expect from the evil powers of
rock and roll? Mucho mano cor-
nuda (which was apparent):
lotsa guitar wanking (mebbe a
little too much this time), but
inevitably an old-fsshioried,
straight up, n.o nonsense good
time. Could have used more of
the old hits too—where were
"Girl I Know," "Burnin' Up,"
and "Hell City, Hell"? But I
digress. Almost ready to pack it
in when they played their
trump card and had all the
band besides Eddie do some
bass solos; and when drummer
Dancing Eagle did his solo by
playing the bass with his sticks
while still keeping the beat, the
place blew up. Nineteen
Supersucker salvos ended the
show and then it was off to
enjoy the spoils of another night
of being "The Greatest Rock
And Roll Band In The World."
Bryce Dunn
Friday, February 23
Vancouver had waited just too
damn long to be graced by the
world's greatest DJ/tumtablist,
DJ QBert. This was just too
obvious on the February 23
standing in the rain, waiting to
see him at Sonar Nightclub in
Gastown. Having mad sponsors for this event, it was only
10 bones to witness history in
the making, which is alright in
my mind. QBert, one of the five
members of the Invisibl
Skratch Piklz, has led the
world in innovative styles. tc-.;h-
niques, and just plain skill for
pretty much the last decade. In
the e?.r!y '90s, QBert completely
dominated the world DJ scene
with his skill and unique style.
After eliminating all competition and claiming the titles of
the Disco Mixing Club (DMC)
1991 USA Champion and the
1992-1994 DMC World
Champion, QBert was asked by
the DMC founders to judge the
1995 DMC Championships
because he was just too damn ill
and left little room for competition. In June 1998, QBert, along
with another member of ISP,
MixMaster Mike, received the
DMC DJ Hall of Fame award.
QBert's success in the industry
was clearly justified with his
almost hour-long set on Friday.
Having just seen parts of
Qbert's new animated movie to
his '98 album Wave Twisters,
Richard Quitevis (QBert) took
no time to stir up the crowd and
drop jaws throughout.
If you don't have any
QBert, Demolition Pumpkin
Squeeze, Wave Twisters, and the
soon to be released A-Trak and
QBert Bucktooth Wizards are all
must-listen albums, but he's
albums, not to mention guest
spots on others like The Return
of Ihe DJ series. DJ QBert will
always fill rooms, so if any club
promoter is reading this, BOOK
Geoffrey Wilkinson
Monday, February 26
Video In Studios
Ignorant fucking music critics
like myself are the reason why
local musicians don't get the
respect they deserve. We swoop
on into the venue—sucking the
promoter's jugular for precious
+ls more often than not—listen
to a few songs, pull vague and
specious comparisons out of
our asses, and then mosey on
home to translate the whole
event into journalese. Look at
me, for example: arriving at
Video In for the Vote Robot
show at 10:15pm, I managed to
escape the dark metal room by
10:40. And I somehow still
think, editorial scruples
notwithstanding, that I have the
right to monopolize precious
print space with my ill-
informed opinions. Typical.
The two people I spoke to
at this show tried to make me
feel stupid and/or guilty for
leaving after such a negligible
appearance. Vote Robot, after
ail, are great and may never
play in this town again.
Consensus seems to be that I
owe all the acts on the bill my
time and energy. I might have
agreed with this idea a few
years back, but too many
evenings ruined by the stoic
endurance of unwanted music
have eroded my ability to care. I
have a couple of ready-made
justifications for my departure
' :ig. Firstly, the idea
s the n
that a
former something is yet another
example of the individualistic
privileging of the artist over the
sumer. The audience owes
nothing to the performer except
basic human courtesy. Secondly,
it was best for me to exit the
scene after -outhern pacifi+'s
performance because I didn't
want fatigue, boredom, or other
incubi of overwork to interfere
with the praise I intended to
heap on Josh Stevenson's set.
the band may be—lazy editors
always hate words that make
their spell-checkers light up—it
alludes, obviously, to a place on
this   planet   whose   standard
ness, warm weather, and isolated islands in rolling seas.
Plugging the kingdoms of
Vanuatu and Samoa into ana-
managed to squeeze out a stark
set of perfect length. Low frequencies built, through (intentional?) fluctuations of volume,
to a gorgeous spread of clicks
and pops over harmonium-like
drones. Slices of sound reminiscent of piano and gong provided some "real world" reference
points—at  one  point   I   was
pleasantly reminded of some of
Coil's more-or-Iess recent work
(1996's Black Light District in
particular, for those who could
give a shit). Meanwhile, a visual display bombarded the audience with harsh flashes of naive
hinting at hum
Is the
end of the set, these cute, frightening displays were disrupted
suddenly by a hilarious live
document of a metal band
rockin' out onstage. 1 was so
delighted 1 had to leave.
I'm sure the other performers, Vote Robot, Loscil, and 833-
45, were great. Buy all their
records and go to all their
shows. I've had my enjoyment
for the evening.
fhis month was mostly pretty dull, barbara managed to keep her cool until the
last day of production, when she started picking fights with random people-
including maren and certain delly employees —and overturning furniture in the
citr lounge, she blames it on the extra burst of testosterone caused by listening
almost exclusively to the misfits for weeks and weeks, when we weren't totally
overdoing it with static age, we also listened to the flex your head compilation
and the frogs and blue pine and propagandhi and the damned and the jesus
lizard and liliput and dilated peoples and the residents.
2001 HarcU 21 recorded media
Considering the sudden
rash of performance art per-
sonas which have recently come
on the underground—particularly electronic—music scenes
(take, for instance, the Canadian
double-shot of Peaches and
Gonzales) complete with fake
nd icier
s, lii
Morse Code in the Modern
Age: Across the Americas
(Thrill Jockey)
Can you go wrong doing a
cover of Roy Orbison's
"Running Scared"? Well maybe
you could, but that is just not
the case here. Brokeback manages to just make it over the EP
mark at 30 minutes with a meager three songs—impressive.
Although this is an interactive
CD, it seems to have taken a
dislike to my computer, so
sadly, dear reader, I cannot tell
you how the included videos
made me feel. What I am tell
you is that the album is presented in a smartly designed double
gatefold sleeve (they must
know that I'm a sucker for presentation). Ambient and pleasing are the words of the day,
with a touch of the Paris, Texas
soundtrack. Minute 5:10 of
track two, a trumpet track pulls
my attention from my book—
yes, this album is good. Did I
mention that they do a cover of
"Running Scared"?
Jay Douillard
(Kill Rock Stars)
The voices of Lou Reed, Patti
Smith, and Joey Ramone take
you by the collar and scream
"Welcome to New York." Every
other important New York artist
since them has been, in some
way, the bastard child of this
trinity. For example, just listen
to Television, The Talking
Heads, or, most noticeably,
Sonic Youth. Jim Carroll is
another such disciple. A professed worshipper of Patti
Smith, his voice drips puddles
of Lou Reed, with a little bit of
The Ramones here and there.
Of course, strong influences do
not necessarily make a great
artist. Jim Carroll, while an
amalgamation of VU, Patti
Smith, and The Ramones, does
not begin to approach their legendary heights. Of course, no
one expects him to. That said,
this is an odd little EP. The title
track is a cover of the famous
Del Shannon song (the song
der"). The thing with covering
a song that everybody knows is
that playing it exactly like the
original just doesn't cut it.
That's pretty much what Jim
does. What drove him to centre
his EP around this track is anybody's guess. The second song
is more standard Jim Carroll
fare: half-spoken, half-sung
vocals in that Burroughsian
heroin-tinged voice, doing his
best Lou Reed impression in
22 DtAcorder
front of slowish keyboard-oriented new wave. The last three
tracks are from a '98 performance in Seattle and include
two of his best songs, "I Want
the Angel" and "It's Too Late";
the third is from his disappointing '98 comeback album, Pools
of Mercury. The live performances are spirited and
remarkably well-recorded, rep-
I the
eclipses the original album version. However, when you strip
away the mystique from the
acclaimed poetry and the fact
that Leonardo DiCaprio played
him in the movie based on the
book about his life, all you have
are leftovers from a new wave
album that was made in 1998.
1998! It should be noted that
longtime Carroll collaborator
and former Patti Smith Band
member Lenny Kaye does not
appear on this EP; instead, his
backing band consists of the
members of Soundgarden and
the Screaming Trees. It should
also be noted that Jim Carroll is
no David Byrne.
godfrey j. Leung, esq.
Tlie Lost Dub Plates
(Kawaguchi Kut/Revolver)
When 22-year-old DJ Sushi,
aka Yukio Utada, committed
suicide on January 1, 1999 by
jumping in front of
train in his hometown of
Kunitachi City, the world lost
the "DJ's DJ." At least that is
what he was called by the likes
of Rob Swift, Eddie Def, DJ
Quest, DJ Shadow, and his fellow countryman and good
friend, DJ Krush.
The story goes that teen
phenom Sushi disliked the co-
opting of turntablism by the
mainstream, and as such, was
elusive—rarely doing interviews ami never taking part in
any DJ competitions or allowing photos of himself to be
This EP is the first and last
release of Sushi's work. It is a
compilation of two extremely
limited 12" "dub plates" (limited vinyl releases pressed for
friends and other DJs to use and
enjoy—only ten were pressed of
each) which came out in '97 and
'98. They consisted mostly of
solo work, but also some stuff
he did with DJ Jujitsu.
Together, the two were known
as the Otaku Scratch Crew (or
alternately, the Typical Scratch
Nerds). The two series of dub
plates themselves were identified only by a red "x" on the
label and have both recently
snagged high winning bids on
eBay (I'm talking about a grand,
here). You can read the rest of
Sushi's brief "legend" in the
ly took the Sushi story with a
grain of salt. My initial explanation was that since DJ Krush did
an intro to the fourth track,
"Ichiban Itch," maybe Sushi
was a cleverly-devised alter-ego
for Krush. Then, if the fans
liked it, he could spill the beans.
Well, no beans have been
spilled, and Sushi still seems to
be dead. Creepy and whacked
as that story may be, if you buy
it, then you have Utada's mother to thank for allowing the re-
release of these influential dub
Sensational life story aside,
Sushi's turntablism and musical
sense are uncannily top-notch;
in fact, I am still hard-pressed to
believe that most of this material was created by somebody
still in his mid- to late-teens. Six
of the eight tracks take a decidedly trip-hoppy and/or acid
jazz take on the art of turntablism. The closing two tracks,
"Ganguro Girl" and "Underdog
is Here," display a funk-meets-
pop turn on scratching which
sounds simultaneously catchy
yet still somewhat not totally
accessible or completely
groove-oriented. Categorizing
the sound of these tracks would
be underselling them; however,
the danceability or style of these
tunes is not as important as the
quirky yet sometimes eerie or
unsettling mood of the tracks.
There is a fresh, putt-out-
all-the-stops     approach     to
Sushi's work. Proof that others
think so lies in the fact that this
EP has shown up on more than
a few hip-hop or electronica
best-of lists for 2000, including
but not limited to Alternative
Press and The Manchester
Guardian Weekly.
It's a true blessing that DJ
Sushi's dub plates were finally
made available to the people.
Who knows what future record
scratcher this ground breaking
piece of work might influence?
Mike Chilton
This self-assured first full-
length from former Bombshells
and Bif Naked guitarist,
Siobhan Duvall, is everything
you liked about early-'80s
mainstream fem-rock, but were
afraid to admit lest it ruin your
indie cred.
Maybe it was being in that
BCTel commercial where she
sang that certain Blondie tune
that pushed her towards her
new-wavy guitar pop maven
image. One thing is for certain:
Miss Duvall sure brushed up on
her Pat Benatar, Go-Go's, and
Blondie lexicon of vocal inflections before invading the studio
with her crack all-star band.
This band includes Jack Tripper's
(and former Sarah McLachlan
band guitarist) Sean Ashby and
former Odds (and current
Sharkskin members) Doug
Elliot and Pat Steward. The
record is likely better for the
sure-footed musicianship these
players provided in the studio.
Duvall paints the canvas
that is Star with bright neon and
pastel new wave colours and a
spiky pop-punk brush, which
likely contains strands of hairs
from '80s pop deserters like
Joan Jett. Duvall uses that
brush to paint her strokes heaviest on the thrashy "Can't Stand
You." But the rest of the CD's 10
tracks also contain an inherent
punkish sneer that belies its
girl-pop v
Nena's "99 Red Ballons."
The album's lone misstep is
the cheesy, pseudo-plaintive
mid-tempo "After All." But
they can't all be winners and
arte out of 10 ain't bad, really.
Unfortunately, this album
will likely never be taken seriously by many people, even
though it is a charming, fun,
and well-made album. It will be
seen as too fluffy for the college
and indie scenes into which this
album will be slotted by the
mainstream. On the other hand,
it is too playful and self-effacing
to be given a chance by the
testosterone-fuelled, Limp
Bizkit-worshipping mainstream
into which the professional-
sounding album will be categorized by the college and indie
radio and media types.
As Blondie sang to music
snobs in her song "Rapture":
"Well now you see what you
wannabe/go have your party
on TV."
Pennies in the Parking r,or
(Cordova Bay/Ragged Pup)
The lousy thing about reviewing an artist's debut CD is that
in making a judgment on the
album, one also usually paints
their opinion of the band itself
with the same brush. I mean,
just look at how the Swedish
band, The Cardigans, have
been trying to shake the '70s
image Love Fool created. In the case of Victoria's Fan Tan Alley,
they attempt to pass themselves
off as such epic '70s schlocky
cock rock icons as Styx and
Foreigner. FTA mimics these
types of bands so much
throughout the album, they
come off as maudlin and hardly
musically relevant—especially
on the ballads. I hate passing
this initial judgment on FTA
because, even though the band
made my nose crinkle with
such stinky pieces of cheese as
"Hey Yesterday," I believe FTA
have the chops to churn out a
promising sophomore release if
they put themselves on a steady
diet of hard rock and punk...
999 Levels of Undo
(Sub Pop)
Twelve years ago, I was a DJ at
KUPS Tacoma, and there was a
period of time where I would
play Steve Fisk every week and
proclaim "Steve Fisk is God."
Fisk, as I remember, became
know as the Screaming Trees'
producer during the mid-'80s
and moved from one fuckin'
cool band to another, producing, adding keyboards and his
incredible and extraterrestrial
sense of rhythm. The bands and
artists he has worked with
number in the dozens, but some
of them include Girl Trouble,
Nirvana, Beat Happening,
Mocket, Boss Hog,
Negativland, etc. His own
bands have been the (disappointing) Pigeonhed and Pell
Mell. The list goes on and on.
My favorites are Fisk's solo outputs, especially the 448
Deathless Days LP and the limited K Records cassette release of
1 More Valley. These were the
more bizarre, personal recordings of a creative but odd man.
With 999 Levels of Undo, Fisk
sounds as if he's been able to
afford some new equipment,
but happily the weird shit and
fantastic Fiskisms are still flowing. 999 Levels... is a generous
heaping of expertly-handled
electronic wizardry and samples. A welcome addition to the
Fisk files, and evidence that he's
one of the heaviest hitters of the
Washington modern music
The local media wonder out
loud why Hissy Fit has not
reached some level of main-
likely because the local quartet
has time and time again been
incorrectly slotted into the punk
category—many times by the
bemoan their lack of success.
However, it has been the band's
own choice to be included on
compilations by such "punk"
labels as the Vancouver-based
Crusty Records. It is a shame,
because many potential fans
that would really love Hissy
Fit's brand of early '80s female-
"fuckin' breathtaking''-BPM Culture
March 13 in Victoria at The Icehouse
March 14th in Vancouver at Pound/7 Alexander
ZXCD $16.98 Free sticker with purchase iwiniesupplies\>
1972 W 4th Ave. Vancouver
fronted hard rock are subsequently scared off.
This seven-track beauty of
an album, the band's third,
shows the Hissy Fit hotrod firing on all cylinders and blazing
forward in overdrive. Guitarist
and frontwoman Gisele
Grignet's growly, slightly
threatening voice and driving,
hook-laden guitar work confirms my suspicion that she has
torn multiple pages from the
Joan Jett Expert Manual for the
Take No B.S. Women of Rock and
stuffed them into her back
pocket for easy reference. She is
that good at commanding the
listener's attention. The cover of
the Pretenders classic
"Precious" doesn't hurt, either.
Tightly sewn rhythmic support
from drummer Scott and bassist
Dave, and adeptly interwoven
guitar accompaniment by lead
guitarist Terry create a mosaic
of sound pleasurable to both the
ear and the dancing shoes. But
aside from perhaps the title
track, none of this album reeks
of "punk." So please, no typecasting, for the band's sake.
With the release of last year's
collaborational debut called
Featuring..., I declared
Internal/External—which is
actually the performance
moniker for Olympia-based
songwriter and recording engineer Paul E. Schuster—to be a
pioneer in a new style of trippy
Northwest electronica. With his
follow-up EP, Schuster enlists
the help of Rebecca Pearcy to
add her seductive Debbie
Harry-at-her-sexiest vocals to
the two tracks, "Anchordown"
and "Sweetness," both compositions whose bed tracks had
completely different lyrics and
vocalists on them on the debut
album (Lois Maffeo and Rachel
Cams, respectively), brother
words, as far as getting one's
money's worth of original
material is concerned, four of
the seven tracks on this EP have
been previously heard in some
form before. However, the real
value in this album comes from
the three original tracks: the
epic and deceptively simple
and incredibly danceable house
sounds of the album opener,
"Inside/outside," the celestial
head-bobbing sounds of
"Weedhead," and the guitar-led
indie-pop sounds of "Various
Transmissions." These tracks
show off Schuster's flexibility
and creativity as a composer. So
creative, in fact, that one might
think that if Internal/External
were to continue as a duo and
record a full length of new
material as good as this stuff,
they could carve a deep niche
for themselves in the in indie
electronica scene. They could
also likely help establish
Olympia as a place where this
style of quirky indie-pop
inspired electronica thrives
alongside other musical movements the town is known for,
such as riot grrrl and underground indie.
Mike Chilton
No Lullaby for Sleep
The cover art is not the best on
the block. Allow yourself to
take a step back and remember
what your mother told you. An
audible buzz does not surround
this band(are you even listening?). I sometimes wonder if the
junior high school logic ever
wears thin (popularity by association). I also wonder about
people who only read reviews
of albums they already own
(draw your own conclusions).
As far as the music goes: violin,
r, has-
md dn
Fugazi than Dirty Three. This
album is good, damn it. Please
take that leap of faith, listen to
this album and forget the time
you told the awkward tall-
short-fat-skinny-weird kid that
you   didn't   want   to   dance
- y°ur
: allow you partake in
the unbearable act of humiliation that might just make someone else happy.
Jay Douillard
(Emperor Norton)
This is the much anticipated
full-length from four goofy kids
calling themselves Ladytron.
Much  of  the   preceding   EP,
Commodore Rock, is included on
this disc of angular, '80s style
"futurism." Not a lot of the new
as what we're receiving from
bands like Ladytron, The Faint,
Winterbrief, and other revivalists working on twiddly, neo
new wave. Ladytron is at the
forefront of this odd revival, not
only scooping from 19 years
ago but also sounding like peers
of the glorious Stereo-Total and
Chicks on Speed and, perhaps,
some Add N to (X). The previously recorded and Bertrand
Burgalat-produced "He Took
Her to a Movie" is re-recorded
here in a minimalist form which
resembles Kraftwerk's "The
Model" and may direct us further into Ladytron's list of possible influences.
(Kill Rock Stars)
My only knowledge of Swiss
punk girl pioneers Kleenex
comes from their one track on
the 1981 Rough Trade compilation Wanna Buy A Bridge? and a
brief mention in a Sleater-
Kinney interview I happened
to read years ago, before
Sleater-Kinney started on their
long journey to Suck. I also
knew that they were forced to
change their name to LiLiPUT
after Kimberley-Clark started
bringing the axe of trademark
litigation down on them.
This CD re-release of all
Kleenex/LiLiPUT's stuff is an
excellent addition to any com-
pletist's library, especially the
second disc. Their arty, minimal
guitar pop is spliced with
weirdnesses typical of the early
'80s: "funky," "African" percussion, polyglot and multivocal
lyrical excursions, punk edges
buried under pop cleanliness.
The inevitable comparison, then
as now, is with The Slits, but I'd
argue that LiLiPUT were both
more skilled musically and
more consistent songwriters.
That's a pretty scary statement
■  to
has been essentially buried for
20 years. Get this CD and wonder why you haven't heard
LiLiPUT before.
Just one complaint: Kill
Rock Stars, where's the fucking
vinyl? You should know better.
Stephen Malkmus
Oh, great. Another educational
album. No, really, listening to
this album was so much of a
learning experience, I should
have received course credit for
it. For those of you not sure
about paying tuition for
Stephen Malkmus 101, here's a
brief synopsis of what I learned.
One: Pavement likely didn't
break up due to artistic differences—if that were the case,
then why does this album
sound like woulda-been
Pavement songs? Two: woulda-
been Pavement songs are better
than no Pavement songs at all,
especially when done by the
former frontman for said band.
If anyone should know how to
write 'em, it's him. Three: the
Yul Brynner Theorem. Any
album with a song on it about
Yul Brynner cannot be all bad.
Hey, I even dusted off my personal stereo so I could review
the course material while on the
bus, which is something I never
do unless there's a test that day.
No test here, though—just an
enjoyable album.
That crazy-ass Jeet K da
Tripmaster! After a couple of
years of skulking in the shadows of such hip-hop fusion acts
as Third Eye Tribe and Kinnie
Starr, that ol' jokester changes
his handle to Mazeguider—
somebody you'd expect to find
in the world of The Hobbit. He
then decides to ditch the turntables for an electronic effects
board and rap over that
instead—that is, on the couple
of tracks he chooses to rap on,
the rest of the tracks being boring instrumentais. Though Jeet
K/Mazeguider has a live per-
turn the page
for more
2001 Marclt 23 formance which is slowly
becoming one of the better local
hip-hop/rap acts going right
that this recording will hook
converts. This album has rough-
sounding beats which Jeet K
has unsteadily tailored together
artist" title he must be reaching
for. Let's hope he realizes that,
with polish, electronica and traditional hip-hop can co-exist on
a single album successfully, and
he   can   lose   the   silly' new
Complete "B" Sides
I was eight years old in 1987
when The Pixies put out their
first LP, Come On Pilgrim. I had
no  idea  who  they were.  At
about the same time 1 bought
tape copy of Bon Jovi's Livin'
On A Prayer EP. I'm pretty sure
that Bon Jovi is still around. In
, Ihe
It's put
last full-length, Trompe le Monde.
This was probably around the
time that 1 was getting into
Vanilla Ice's To the Extreme. I
think he's still around too. The
Pixies, alas, are not. I don't
know what any of this means,
other than the fact that it makes
sense that I've never heard any
of the tracks on Complete "B"
Sides before, since during the
time these songs were released,
I was naively swallowing the
music industry's Top 40 spoonfeed. Well damn it all, flow's my
chance to catch up, and in easy-
to-manage CD format to boot.
Here's the verdict: every song is
absolutely wonderful, with no
exceptions. Complete "B" Sides
song in Spanish, live renditions
of songs, cover tunes, a different
version of "Wave of
Mutilation," two music videos
interactively included, and it's
all extremely superb. The 19
songs feature Frank Black at his
most eccentric and the whole
band at their most danceable. In
fact, if anybody can listen to the
song "Dancing the Manta Ray"
without shaking or at least
wanting to shake their ass,
they'd better have ass problems,
or else there's something terribly wrong with the rock 'n' roll
chip inside their brain. This is
Frank, Kim, Joey, and Dave at
their collective finest. But then
again so was every album they
put out together. Damn, I'm
sorrv I missed it.
Jason T
Another Sidewalk's Bloody
(Pale Horse)
Solarbaby    frontman,    Marq
Desouza, has a penchant for
seems absolutely appropriate
that his trio's second album
takes a turn at the sign marked
"heartache" and marches willfully toward personal oblivion.
Gone from this album is Marq's
humorous wordplay. That sort
of stuff is now the sole territory
of his solo pursuits, which culminated in last year's debut,
Temporary Redemption. Instead,
this Solarbaby album is full of
epics about alcoholism, broken
hearts, malice, defiance, and
injustice. These snapshots of the
band's new world are bleak,
and yet they are stark and tragic images that stick in your
mind long after the CD has finished playing. Also gone on this
sophomore effort are the poppy
alt-country stylings of their
1998 debut, The Power of
Negative Prayer. The band has
replaced that sound with a mix
of introspective insurgent country—popularized locally by
such bands as Radiogram and
Flophouse Jr.—and a healthy
dose of '70s-style blues-rock.
Unlike the debut, this album is
intended less for dancing and
more for nursing a bottle of
Bushmill's and thinking of what
might have been. In a nutshell:
think Steve Earle with the needle still in his arm.
(Sub Pop)
Saint  Etienne  releases  their
compilation album Interlude on
March  20.  This  new   album
includes  b-side   tracks   from
three singles, three brand new
songs, a cover of a song by
Brian Wilson, and two club
remixes as bonus tracks.
It is too hard to explain
Saint Etienne's musical world
because they take us to
unknown places with their
sound magic. They evoke two
kinds of pictures: the sophisticated tastes of the city and the
friendly atmosphere of the
countryside; mature lady love
and young girl with mom; and
future electronic music and '60s
charming pop music. The reason why they give us these
incongruent feelings is because
Sarah's slinky, mellow voice
and Bob and Pete's stoic electronic backings are blended so
well. 1 suppose there is no person who can organize such a
marvelous    atmosphere    by
When I saw their live performance, I was very pleased
with Sarah's casual smile, pretty dress, husky speaking voice,
and lovely dance! I want to be a
good mood woman like her... I
love Sarah!!!
I am sure their music takes
you out to a more colourful
world from your dull daily life.
If you are tired of studying for
exams (like me) or want to travel somewhere new, why don't
you listen to this record and
have a comfortable moment?
Miki Hirano
Frequently Asked Questions
Sunny Border Blue
Rain Jacket
The amount of albums released
every month is pretty imposing.
"How," you ask, "am I supposed to spot rare gems among
the torrential outpouring of
mediocrity?" If you're really
prepared to entrust me with
carrying out this task on your
behalf, then go out and buy
something by Fennesz, Dose
One, or Chris Morris. If you've
still got your heart set on doing
the dirty work yourself then the
following reviews might prove
None of the albums
reviewed here come within
spitting distance of, say, Kid
606's GQ on the EQ—so let's not
waste too many words on them,
eh? A cursory run through, in
ascending order of quality,
ought to be sufficient.
In fact, your faithful
reviewer can't claim to have
much to say about Tram's
Frequently Asked Questions
because he only made it as far
as track four before slamming
his pointer finger on the stop
button and yelling "Shite!" at
the CD player. Strange, because
this band came highly recommended from a number of usually reliable sources. Clearly
they see some worth in FAQ's
slightly dreamy, vaguely rootsy
indie rock, but if you really
want something of this ilk, done
w ith far more verve, get an old
Thi owing Muses album.
If you already have their
whole back catalogue, you'll
probably want the new CD
from     Muses     front-person
k" 315 CARRALL St *TA
685   -   3922
Kristin Hersh. It's a pretty solid
effort but with fewer catchy
tunes and somewhat less intricate guitar playing than usual.
Also, Kristin isn't exactly
exploring any new territory
right now. Maybe she should
add   some   tearing   junglist
>aks  I
Hey, stranger things have
happened! Like Calvin
Johnson's Olympia-based K
label—champions of all that is
pallid and jangly—deciding
that being black and funky is
where the dope shit is at, G. The
latest upshot of this remarkable
about-face is COCO, a band
who sound exactly like your
high school chess club covering
songs by legendary punk-
funkers ESG. In theory, it's all a
bit offensive. In practice, it's
pretty good fun.
More contrived funkiness
from the Pacific Northwest
comes courtesy of local type Un
Jin AKA Rain Jacket. UJ seems
intent on humanizing experimental electronica with some
unusually lithe rhythms, a little
live jazz instrumentation and a
few world music samples.
Occasionally, the results are
drearily tasteful but, when
things start to get somewhat
more daring, interesting dissonances emerge—both harmonic
and stylistic. At it's best, this
local release beats the hell out of
all the world-class contenders
dealt with above. Now, isn't
that a nice positive note to end
Sam Macklin
Original Motion Picture
Soundtrack: Terror Firmer
I find it very fishy when the list
of bands on a Hollywood movie
soundtrack seems to completely
coincide with the latest Top 40
pop/rap/r&b hits that the big
record companies are pushing.
Not only does it make for a
piece of crap compilation that's
really nothing more than a thinly disguised advertisement
package, it usually means that
the film itself probably isn't so
hot either. Shamefully, Go-Kart
Records and the makers of
Terror Firmer seem to have
caught on to this poor attempt
at a marketing scheme, and true
to my theory they've come up
with quite a stinker collection of
tunes. This soundtrack is essentially a punk rock sampler of
nearly the entire Go-Kart roster,
such as Down By Law, The
Lunachicks, and Anti-Flag,
with some bigger bands like
NOFX, Rocket From the Crypt,
All, and The Melvins tacked on
for added selling power.
Sounds good? Well, not really.
Somehow this thing features
many Go-Karters—who usually rock pretty hard—sounding
like garbage, and most of the
big names are at their smelly
worst. If someone were interested in a true sampler of this
label's catalogue, I'd suggest
Go-Kart Vs. the Corporate Giant 2,
which is much, much better,
easier on the wallet, and actually includes The Buzzcocks and
Boris the Sprinkler! And for
God's sake, if you want to hear
the Bouncing Souls play
"Argyle," please get the punk
/ Laughter. Leave
give the gift of
M mi
Wholesale Inquires call 250-537-0058
shampoo • rasta iiats
24 DiAcbrder CiTR
101.9 fM
Doretta Lau
10,000 Voices
Tuesdays, 5-6PM
Record played most often on your show:
The Intima, No Lullaby For Sleep
Book you would save in a fire or flood or earthquake or tornado:
Would it be sad to say my agenda?
Book you would like to use as toilet paper:
Jewel's best selling poetry book A Night Without
First book your mom read to you:
Go Dog Go
Last book you read:
Jan Wong's China
Favourite guest that you've had on y
Toss up between Jen Lam, Stephanie B
Zsuzsi Gartner.
Musician/Writer you would most like
Eric San, aka Kid Koala
Favourite show on CiTR:
Rltymes and Reasons
Strangest phone call received while o;
I once had a guy call and tell me my show was
being broadcast on "Bob TV", which, according
to him, is a station restricted to the elite (politicians and celebrities). He told me that Bill Clinton,
John Travolta and Meg Ryan were possible audience members. Another time, a guy told me to
stop playing my sucky girlie music because I
switched from a set of hip hop to girls with guitars. He called four times. The forth time he asked
for advio
what CDs he should buy •
Reggae Linkup
Saturdays, 4:30-9:00am
Record played most
often on your show:
Capleton, "Run the
Record you would
Cutty Ranks,
Record that should burn in hell:
Frisco Kid, "Gal A Malfunction"
Worst band you like:
Last record you bought:
Lady Saw, "Son of a Bitch"
First record you bought:
Dennis Brown, "Revolution"
Musician you would most like to marry:
Already married.
Favourite show on CiTR:
Earwax with Guy Smiley.
Strangest phone call received while on-air:
The man who asked me to put on the BBC
Miko Hoffman
And Sometimes Why
First Wednesday of each month 7:30-
Record played most often
I'm dating myself here, but wf
ed doing radio in 1993, it was
grrrl power, slacker-boy
rock, and a few "weird"
things that would irritate
my father. (I probably
haven't changed much,
actually.) Over the years,
I'd say the most-played
album would be Yo La
Tengo's Painful. The
First record you bought:
I honestly don't know. I di
started paying for m
dad has bought me mi
my dad would drag
Sound on Saturday moi
latest Go-
think it
member, my
:. In the '80s,
e into A&B
:ngs to get the
ami a
i bribe,
1 buy r
of   i
up   I
include Liz Phair's Exile
in Guyville, Bikini Kill's
s/t, Tiger Trap's s/t, and
anything that is Bedhead, Seam, Versus,
Record you would save in a fire:
All of the above, plus Gavin Bryars' The
Sinking of the Titanic, Helium's The Dirt
of Luck, The Velvet  Underground's
White Light / White Heat, and Silkworm's
Last record you bought:
The New Year, Neivness Ends
Musical Youth, Michael
Jackson, and Cyndi Lauper
would be high up there.
Musician you would most
like to marry:
I have no desire to get married, but I do have rock
Brownstein (Sleater-
Kinney), Richard Baluyut
(Versus),    Mary    Timony
(Helium), Chan Marshall (Cat Power),
i Ida.
Favourite show on CiTR:
Replica Reject, Contemporary, and Are You
Serious? Music
Strangest phone call received while
Sfez'c and Mike
Thursday 1-2PM
Record played most often on
your show:
Anything by Sick of It All.
Record you would save in a
My Billie Holiday double CD.
Record that should burn in
I refuse to answer this question on the grounds that
it would hurt someone's feelings.
Worst band you like:
Chris Isaak rocks my world.
Last record you bought:
I don't buy records, but I do buy merchandise, so
my Ignite jacket.
First record you bought:
Some David Bowie album, can't remember the
Musician you would most like to marry:
Pretty much every tattooed love boy I see in a
hardcore band!
Favourite show oi
Too many great oi
Flex Your Head comes to mind.
Strangest phone call received while on-air:
I've been asked out a couple of times—which is
strange, 'cause no one knows what I look like, well,
20th 2001
Fat Wreck Chords P.O. Box 193690 San Francisco, CA 94119 USA www.fatwreck.c
burn   yourself with   hot wax,
cut yourself with
x-acto   knives,   receive   fatal
paper  cuts,   help   us   make  the
yourself  in   the   process.
Room   233  of the  SUB  at  UBC
604.822.301 7  ext.   3
2001 March 25 NEW      GROOVE.   01
+ Vernon Reid & Masque
+ ' Hetatwoocf
+ Dirty Dozen
Brass Band
+ Urban Visuals
• The Herbaliser DJs:
Ollie Teeba/Jake Wh
+ Bullfrog featuring
Kid Koala & BluRum 13
+ The Herbaliser DJs:
Ollie Teeba/Jake Wherry
+ Doris the Funkasaurus
-i- Urban Visuals
Modern Groove Presents
Dickey Doo
Luke McKeehan
Todd Omotani
Wilson Hart
Leisa Loud
+ Jono Howard
Ticketmaster  280.4444
Jazz  Hotline  872.5200
www.jazzvancouver.com   I   Black  Swan  Records  &  Highlife   Records
S du Maurier Nightlife charts
what's being played at citr
March Long Vinyl
March Short Vinyl
March Indie Home Jobs
1 blowup
dead stars, seven sixes
1   nicely nicely                                             it's me, not yours
1 oh susanna
sleepy little sailor
square dog
2 new town animals      lose that girl
2 triple word score                                             too far gone
2 low
things we lost in the fire
3 electric frankenstein the perfect crime
sub pop
3 victory gin                                                                     tired
3 takako minekawa
maxi on ep              emperor norton
4 exploders
electric power
rip off
4 gray's anatomy                               no chocolate for fyson
4 tortoise
thrill jockey
5 zen guerrila
the seeker
sub pop
5 tennessee twin                                                 oh darkness
5 propagandhi
today's empires...
6 briefs
poor and weird
cut and run
6 panty boy                                                                sea hag
6 corn sisters
the other women
7 rainer maria
hell and high water
7 fanfare                                       the heathens are happier
7 causey way
causey vs. everything
alt. tentacles
8 salteens
8 uneven steps              postcard from the depths of shame
8 trail vs. russia
9 jello biafra
the green wedge
alt. tentacles
9 bad apple                                                         life is rough
9 ladytron
604                         emperor norton
10 riff randells
who says girls can't roc
c                   mint
10 joel                                                       heart X 50'woman
10 twilight circus...
dub plates vol. 2
11 cex
get your badass on
11   lollies                               found myself at the supermarket
11 japancakes
the sleepy strange
12 big john bates
vibro psychotic
nearly nude
12 seana and splatter bends                     travelogue 10.97
12 gossip
that's not what i heard kill rock stars
13 abbe
elevator baby
13 squares elite                                          around the capital
13 nasty on
lester bangs ep
14 tristeza
are we people
tiger style
14 magnus                                                            dragon style
14 new pornographer
mass romantic
15 bs2000
grand royal
15 bel riose                                                               the notion
15 no luck club
newfangled moments
16 team dresch/automaticans    split
mental monkey
16 spinoffs                                                   don't stalk my sister
16 lesser
17 machine gun tv
17 jumpstart                                                            worthwhile
17 tosca
suzuki in dub
18 banana erectors    you got that uh uh
18 amarillo stars                                                           el paso
18 shipping news
very soon...
19 aislers set
clouds will clear
suicide squeeze
19 panacea                                                                      lesson
19 donnas
turn 21
20 bum/pingu
magic teeth presents
magic teeth
20 sleepy Junes                                                          everyday
20 moka only
road life
21 rainer maria
a better version of me
22 johnny cash
23 stars
24 tram
american III: solitary man
nigntsongs          ie grana magisrery
frequently asked questions      jetset
25 pizzicato five
the fifth release
26 Stephen malkmus
27 oranger
the quiet vibration... arr
azing grease
The monthly charts are compiled based on the number of times a CD/LP
28 action time
versus the world
("long vinyl"), 7" ("short vinyl"), or
demo tape ("indie home jobs") on CiTR's
29 new year
newness ends
ouch and go
playlist was played by our djs during the previous month (ie, "March" charts
30 Vancouver nights
reflect airplay over February). Weekly charts can be received via e-mail.
31 hawksley workman
for him and the girls
ba da bing!
Send mail to "majordomo@unixa.ubc.ca" with the command: "subscribe
32 pj harvey
stories from the city
33 sigur ros
agaetis byrjun
fat cat
34 ekova
space lullabies...
six degrees
35 frank black
dog in the sand
sonic unyon
(TUESDAYS, 6-8pm)
6 KEOKI JEALOUSY (just kid
2001 MarcU 27 SUNDAYS
9:00AM-12:00PM   All of
time is measured by its art.
This show presents the most
the world. Ears open.
Mar. 4: Featuring Vancouver Pro
Musica and the Sonic Boom
Mar. 1 1 : Post-Women's Day pro-
7i of all women composer
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your
jet set holiday now!
QUEER FM 6:00-8:00PM
Dedicated to the gay, If
bisexual, and transsexu.
munities of Vancouver <
tened to by every<
Mar. 18:   On-i
imposer Jordan Nobles.
3:00PM      Reggae   inna   all
styles and fashion.
3:00-5:00PM Real-cowshit-
S   WITH   E\
SAINT   TROPEZ   alt.   5:00-
>und c
c fro
n the 1 & 2's.
and J Sv,
i, backus and
HELLO INDIA   8:00-9:00PM
GEETANJALI 9:00- 10:00PM
Geetanjali features a wide
range of music from India,
including classical music, both
and Carnatic, pop-
12:00-2:00AM Time to wind
down? Lay back in the chill-out
room. Trance, house, and special guest DJs with hosts Decter
and Nasty.
FILL-IN 2:00-6:00AM
8:00AM Spanish re
techno, and alternativ<
,   Bhajans,  and also
Quawwalis, etc.
THE     SHOW 10:00PM-
1 2:00AM  Strictly Hip-Hop -
Strictly Underground - Strictly
delights!  Tune in  and enjoy
each weekly brown plate spe-
loudTfast,0 ancTaging
RAPIDLY      alt.      11:00-
GIRLFOOD alt. 11:00-
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt is in training for
Olympic party athletics —soon
to be a gold medalist in drinking, drug taking, and reckless
DJ Nat X sez: "Fuck You, My
5:00PM Who will triumph?
Hardcore/punk from beyond
the grave.
6:00PM Join the sports dept
for their coverage of the T-Birds
and some other goofiness,
aways, and gab.
SOUPE DU JOUR alt. 6:00
7:30PM Feeling a little
French-impaired? Franc-ophone
music from around the globe,
sans Celine Dion.
REEL TO REEL alt. 6-6:30PM
Movie reviews and criticism.
alt. 6:30-7:30PM
BY THE WAY 7:30-9:00PM I
don't know what I'm up to any
play   lots    of   odd
ind a der
ind ther
Go figure.
12:00AM Vancouver's
longest running prime time jazz
program. Hosted by the ever-
suave Gavin Walker. Features
at 11.
Mar. 5: A delayed feature from
January-"The Stylings Of
Silver" by pianist/composer
Horace Silver with trumpeter Art
Farmer and tenor Heavy Hank
Mar. 12: On the 46th anniversary of his death, the music of
Charlie     "Bird"     Parke
ight's fee
ety of greats.
Mar. 19: Handsome, talented,
charismatic, and drug-addicted,
trumpeter Tony Fruscella was
called  the  "East Coast Chet
We'll hec
Mar. 26: "Afrit
Coltrane's masterpiece with his
classic quartet augmented by a
brass and reed orchestra...a
powerful statement by one of
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from
the charts but not from our
hearts—thank fucking Christ.
8:00AM Bluegrass, old-time
music and its derivatives with
Arthur and "The Lovely
Andrea" Berman.
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Put vour
hands together for the rock V
roll riot! Put your hands together
for the rock W roll riot! Let's go!
BLUE MONDAY alt. 11:30AM-
1:00PM  Vancouver's     only
industrial-electron ic-retro-goth
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30 AM-1:00PM
2:00PM Music and poetry for
I 12™
I RjJ   STAND ANDf^Tl   1
L__j    BE CUNTED M   I
FAST,       ,
PARTS     11
SKA-T'S       L
10,000 VOICES (Tk)
ON AIR        E]
| 12*"
28 Dl
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
» Hk= Hans Kloss • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots
• Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world C.P.R. 2:00-3:30PM
PROM QUEEN 3:30-4:30PM
4:30 (last Tuesday of each
10,000    VOICES        5:00-
6:00PM Poetry, spoken word,
preformances, etc.
FLEX   YOUR   HEAD   6:00-
8:00PM Hardcore and punk
rock since 1989.
9:00PM Greek radio.
alt.    10:00PM-12:00AM
alt. 10:00PM-12:00AM
Phat platter, slim chatter.
6:00AM   Ambient,   ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
HOUR 6:O0-7:00AM
7:00-9:00AM Bringing you
an entertaining and eclectic
mix of new and old music live
from The Junale Room with
your irreverent hosts Jack Velvet
and  Nick The Greek.   R&B,
and gossip. A real gem! subur-
FOOL'S    PARADISE    9:00-
10:00AM  Japanese   music
and talk.
10:00AM-12:00PM Spike
panied by spotlights
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM The
Me da I'agita.
3:00PM Zines are dead! Long
live the zine show! Bleek presents the underground press
with articles from zines from
around the world.
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
6:30PM Socio-political, envi-
ronmentally-activist news and
spoken word with some music
too. rachelssong@lycos.com
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things. (First
Wednesday of every month.)
9:00PM Indie, new wave,
punk, noise, and other.
FOLK OASIS 9:00-10:30PM
The rootsy-worldbeat-bluegrass-
polka-alt.country-cajun-con junto show that dares call itself
folk.  And  singer-songwriters
HAR   10:30PM-12:00AM
Let DJs Jindwa and Bindwa
Bhungra! "Chakkh de phutay."
HOUR       12:00-3:00AM
Mix of most depressing,
-<--->     --'       nlistenabte
s and v
SHOW 10:00-11:30AM
Two hours of non-stop children's entertainment including
songs, stories, poems, inte-
views, and special guests with
your host Christina.
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
midday snackl
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
SHOW 2:00-3:00PM
Comix comix comix. Oh yeah,
and some music with Robin.
LEGALLY HIP alt. 5:00-
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have tun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM The
best in roots rock V roll and
rhythm and blues from 1942-
1962 with your snappily-attired
host Gary Olsen. <ripit-
RADIO     HELL 9:00-
11:00PM   Local muzak from
9. Live bandz from 10-11.
11:00PM- 1:00 AM
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
10:00 AM-12:00PM
Email     requests     to
12:00-2:00PM DJ Splice,
A.V. Shack, and Promo bring
you a flipped up, freaked out,
full-on, funktifiea, sample heavy
beat-lain trip, focusing on anything with breakbeats.
3:30-5:00PM Please keep
on rawkin in the free world and
have a good breakfast. Roc on,
Nardwuar and Cleopatra Von
6:00-9:OOPM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa, and African
music from around the world.
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
HEAD 12:00-2:00AM
SHOW 2:00-6:00AM
6:00-8:00 AM
8:00AM- 12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
3:00PM     Vancouver's only
tapes, imports and other rarities. Gerald Rattlehead, Dwain,
and Metal Ron do the damage.
CODE BLUE 3:00-5:00PM
From backwoods delta low-
down slide to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy and
8:00PM Extraordinary politi-
make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to hip
hop, from the electric to the
eclectic, host Michael Ingram
goes beyond the call of gospel
and takes soul music to the nth
K»ck around
1:00 AM
THE RED EYE alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I free
da jazz..." Out.—Guy Smiley
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted by
listen online!
2001 Marclt 29 FRI MAR 2
the crucible@char\ centre; vendetta red, the building
press, trail vs. russia@gibsons (seattle); northern
pikes@starfish; crossfade feat. j-boogie@sonar; x, y: the
soldier's ta/e@western front
djb, adept@clove cafe; the cruc/'b/e@chan centre; lydia
lunch, the need, inga muscio@i-spy (seattle); right on!,
the goddamn gentlemen, the harpys@gibsons (seattle);
x, y: the soldier's fa/e@western front; the big band
trio@the auditorium; Vancouver world music collective
concert feat, khac chi ensemble, mad pudding, silk
road, celso machado@vancouver community college
(king edward); wildwood benefit feat, beluga, thunder-
bar, gray's anatomy, and more@ubc sub party room
less than Jake, anti-flag, a new found glory, teen
idols@dv8 (seattle, all-ages); the crucible@char\ centre;
x, y: the soldier's ta/e@western front; ann's birthday
roni size and reprazent@commodore; hard rock min-
X@LOTUS; max serpentini, mark crozer@railway club;
hevybevan@cobalt; steve earle, stacey earle@com-
modore; barenaked ladies@gm place; dave gowans,
ryan beattie, david chenery@sugar refinery; neil kruck-
international women's day rally@grandview park
(1 lam); Stephen malkmus and the jicks@richard's;
brodie, august spies, johnnynogood@gibsons (seattle);
coal@sugar refinery; karen single band, amalia, son-
icjoy, linda maze, 4 play@purple onion club; suzan
musleh, katrina bishop, allison crowe, carmelina cupo,
sandi melody@purple onion lounge
Stephen malkmus and the jicks, swords project@grace-
land (seattle); the vaccines, the fakes, throat moftle@gib-
sons (seattle); idlewild, brassy@starfish room; crossfade
feat. shortkut@sonar; houseman@sit & spin (seattle)
SAT 10
FUNERAL@JAVA JOINT; Vancouver welsh men's
choir, Vancouver orpheus male voice choir@point grey
school auditorium; the living end@graceland (seattle,
MON 12
3 phelps@WISE club; mad professor@soi
danilo perez and the motherland project@christ church
sick of it all, death by stereo, himsa@graceland (seattle);
dieselboy@pound; ron hawkins and rusty nails@starfisn;
big bottom (live hip hop/drum and bass)@dv8; the
upstrokes, the spectacles@marine club
mark knopfler@queen elizabeth theatre; jim basnight,
once for kicks, satellite heroes@gibsons (seattle); silent
treatment, go dog go, star collector@starfish room; bruce
freedman quartet@the cellar
FRI 16
the dirtybirds, boss martians, reckless bastards@gibsons
(seattle); alpha yaya diallo@starfish room; crossfade feat.
mastermind@sonar; string cheese incident@qe theatre
SAT 17
djb, adepr@clove cafe; the seamstress union, the malnks,
white tiger uk@gibsons (seattle); the smugglers, the lottie
collins, the spectacles, the instrumen@seylynn hall; string
cheese inciaent@whistler conference centre
SUN 18
west coast chamber music's warm winds feat, alan thor-
pe, dawn haylett, karen noel bentley, melissa duchak,
holly duff, and alan crane@unitarian church of Vancouver; string cheese incident@whistler conference centre
WED 21
bluebird north@vancouver rowing club; francois bouras-
sa trio, andre leroux@western front; the upstrokes, the
spectacles@marine club; nomeansno@commodore
the reactors, medulla pinata@gibsons (seattle); dirty
dozen brass band@crocodile cafe (seattle)
FRI 23
the real pills, the enablers, every day sinners@gibsons
(seattle); metal fest!@anza club; crossfade feat, ollie
teeba, Jake wherry@sonar; vernon reid and masque,
metalwood, dirty dozen brass band@commodore ballroom; uprooted (ubc student literary magazine) read-
ing@black sheep books; carson downey band@yale
SAT 24
adept@clove cafe; shooting digital for a film finish work-
shop@pacific cinematheque; the primate 5, the rock V
roll adventure kids, the bad girls, the nearly deads@gib-
sons (seattle); bullfrog feat, kid koala and blurum
1 3@commodore; coal, sinforosa@silvertone tavern (seat-
tie); dickey doo,luke mckeehan, todd omotani, dana d,
etc ,~
WED 28
kid koala, fcs north@i-spy (seattle); the upstrokes, th$
spectacles@marine club
nick cave@paramount (seattle, all ages!); the resi-
dents(&commodore; riff randells, operation make-
ouf@ms. t's cabaret
FRI 30
sarah harmer, royal city@richard's; the deadcats, the
riff randells@railway club; crossfade feat, tony vegas,
larly show!); idlewild, brassy@qraceland (seattle); djb,
adept@clove cafe; scared orchaka, the spits, the
drove@gibsons (seattle)
SUN 11
green eggs and cam@vancouver east cultural centre;
international sejong soloists@chan centre
SUN 25
raffi@centennial theatre (afternoon)
MON 26
the zombie 4, the rock 'n' roll adventure kids, the appli-
cators@gibsons (seattle)
Special Events
fireball productions and the ton up
club present locals big John bates on
Saturday, march 3rd at the piccadilly
pub (630 w. pender) with the spectr*
the voodoo dollz, and the evil norton
neils band, this show kicks off bi<v
John bates' us tour, check out
www, bigjohnbates.com.    r
at sonar (66 water street), march 8th:    f
a benefit for the downtown eastside    :
women's shelter, featuring ndidi    [
cascade, kia kadiri, qb the matriarch,    j
zenobia, soulsistah and many, many
more, advance tickets are $10 at    j
fwuh, bassix, boomtown, zulu, and
otis records; $12 at the door.
be there!
when i joined citr in   1994 i was really
young and scared of all the university
students, so i'd come in on the weekends and listen to records by myself.
that's when i heard fingerprince by the
residents, and it scared the living daylights out of me. march 29th at the
commodore, for real.
the smugglers, the lottie collins, the
instrumen and the spectacles rock
seylynn hall in north Vancouver (605
mountain highway) all-ages style on
march  1 7th. tickets will be
$7 at the door.
feminism is fun and it will save your
life, there will be a struggle and   celebration rally and march on Saturday
march 7, so meet at grandview park
(commercial dr. ana charles st.) at
1 lam. info: 604.708.0447
30 D'tAcorder Kai Eckhart. Bass        GJotxti McLaughlin, Trik*. Gurlu)
Alan Hertz, Drums (KVHW)
rareed Haque, Guitars (loo many to list)
Eric Levy, HamiuraKi B3 (Commodore's)
Sat. March. 31 st »» April 1st
The G.L.C. in Whistler Vancouver (TEA)
Upstream EnterMnment wimHoB Concerts present
I /KarlBenson's
I / Tiny Universe
Fri.April 13th If.
'J/JsA'/iis fJrJj'V-Jr/Jrjj ] rJ-#'(J
Sun. April 15 th
Richards on Richards
Mem. April 16th
The GJL.G in Whistler I
Tix ® Black Swan, Hightife, Zulu and all
Tfcketmasier ouifcis/ charge by phone (604) 280 4444
or call the Streamline 9 (604) 904 4207
^Ab^ooAia ot Zulu: Music with Spine
The Violent
Years CD
It is said in the Bi
• that
I saliva is a symbol of ere
ation. Punk rock took this symbol and subverted it by
encouraging that rock stars are to be spat on. Hmm.
Semiotic reconfiguring? Our own BLACK HALOS know a
thing or two about subverting rock n roll — 'their debut
brought the machine down like a flaming chariot drunk
on hedonistic fruits' — they have all the symbols they
need to put a stick in your spokes and leave you like a
twisted ball ol trashed-up loose definition damage'.
CD 16.9B'
Ref reaked CD
Study up on some sonic-
geography! Continuing
our investigations into emerging international electronics, we are pleased to unearth
the latest remixes of these two BPM scholars, who run
in the same circles as Knider and Dorimeister! From
Vienna, these D&K remixed sessions cover the map'
dub, Latin vibes, infectious late-'70s R&B. as well as
some finely crafted electro-thump. Remixers include
Matthew Herbert Butterwerks Menu B. Mum, Eddy &
Dus. Fauna Flash. At Jazz. Ufo and more.
Recommended AVAILABLE MARCH 13™
CD 16.98
What's Next to
the Moon CD
Singer-songwriter Mark
Kozelek is engaged in ;
prolonged game of self-referential deconstruction.
Luckily, we get to hear all about it in rich, poetic detail.
He s ot that special type of songwriter who can make
anything seem beautifully and addictively depressing.
Just take a look at some of the material he's covered,
and revealed within it a sad inner core: The Star
Spangled Banner, Shock Me. and even Silly Love
Songs. Come and share this most lovely and miserable
gift. So. what's getting you down lately, Mark?
CD 18.98
Group Sounds
Activated off the major label
reserve list, John Reis and the j
ROCKET boys return with another j
riff-rock shakeout. Thirteen tracks  \
that follow up the now out-of-print j
split release with The Get Up Kids
— this shit has swagger, spirit and   '
spunk! Still from San Diego, still the
horniest (trumpet and sax) band to
blow rock-club speakers, and still juicier than a shark-meat burrito, RFTC are
back! Rumoured to be on tour and coming
with (International) Noise Conspiracy!!
CD 16.98    LP 14.98
Amy's Rocks. Marx Rolls Cass \,
A cassette tape in 2001? Yes indeed. And somehow this is almost the most appropriate format
for this charming live recording (recorded at the
mighty fine Sugar Factory, by the way). One side by
AMY from Clover Honey, one side by MARK from
Capozzi Park, two sides of smart indie pop. Are they
some kind of Donny and Marie for the new millennium? Well, no. Are they great songwriters and entertainers just the same? Yes, absolutely. Support
local music. We do.
Cass 3.98
unfamiliar with Vancouver-based
then you should get famil-
; technique is simply phenomenal. And the range of his playing is i
equally extraordinary: from formal new      j
music, proper swinging jazz, totally out    ./
free improvisation, contemporary
electro-acoustic cum electronica, to
any eclectic hybrid in-between. For
this recording, Houle begins with    .
improvisation, easing gently into    i
composed elements, offered in    /
an overall "chamber format."     f~>-
How can someone so established and, well, so great, be
still little known? Good
Musipal CD/2LP
After a few pioneering
"Vecords in the early 90s on Rising
High Records, WAGON CHRIST returns
Wagon who? WAGON CHRIST, aka. PLUG
Drum and Bass for Papa,  a k a Luke
Vibert — sublime collaborator with BJ Cole. aka. founder of UK s hip
hop/beats imprint label Big Dada. aka. the best bet to crack the top
three: Aphex Twin. U-Ziq. Squarepusher1 Credentials and then some,
eh? Ninja Tune knows how to pick them. So should you!
CD 16.98     2LP 22.98
Ten years ago
up. A chain reactic
of events was sei
off: fans formed
bands to fill the gap. Their motto was play
slowly, put lots of reverb on the vocals, sing
songs about getting drunk and about looking
at the Empire State building'. The world was
way out of whack and in a funk. Then, the new
hope: Dean Wareham's solo live debut was
with a band he called Pulsar, which featured
his buddies from Mercury Rev. Sad-eyes no
more. Then came his debut as LUNA, and this
made us feel better — life under a new
enchanted Anesthesia! Fast forward to the
future: LUNA's sixth full-length release, Live,
featuring 14 tracks from a few shows at the
9:30 Club in DC and NYC's Knitting Factory.
CD 16.98    2LP 36.98
Accepted Eclectic cd/lp
The foundation of the Freestyle Fellowship
architecture. ACEYALONE s unparalleled lyrical
prowess is the pilaster supporting a multilevel network ot underground hip-hop practitioners! You
have come across his master workmanship on the
improbably funky Haiku D'etat and much-revered
Project Blowed structures. You may have witnessed his
collaboration with Zulu favorites Anti-Pop Consortium.
Or you may be about to hear Accepted Eclectic
and discover the man who keeps rap's underground
byways structurally sound.
CD 18.98    LP 18.98
CD 19.98
Other New Releases:
Various- LIVE FAT DIE YOUNG CD/LP   Punk rock on a tight budget
O.S.T- THE GIFT CD - Billy Bob Thorton likes Neko Case!
GEOFF FARINA- Reverse Eclipse CD - Solo stuff from this Karate guy!
MOUSE ON MARS- Actionist Respoke CDEP/12"   New house-deconstructions
Various- NO MATCHES NO STAMPS CD - Fat Cat's comp of demos BEANS!
Vert- MOREMOOSEICFORME 12" - New electro-expenmentalism on Thrill Jockey.
BRAVE CAPTAIN- Nothing Lasts.. CD - New stuff from a Boo Radley!
KRISTEN HERSH- Sunny Border Blue CD A nice follow up to Sky Motel
PIXIES- Complete B-Sides CD - Dance the Manta Ray with Black Francis!
Various- FUZZ FLAYKES & SHAKES VOL. 4 CD   60s Garage with supermuffs!
MICE PARADE- Mokoondi CD/LP - Amazon-esque, some vines and selva!
BADLY DRAWN BOY- Once Around the Block cdep  5 mixes of this folk pop ge
STYROFOAM- A Short Album About Murder CD/LP - On Morr = I have a crush on German electro rock!
t $69   *We&t   4t& /tvettttC   (ali» it*, ^ilu -Reeon-d* SatelUU Stare)
The Red Thread
Somebody broke Aiden s
heart again. We're only
working with one half of the
story, but it's certainly a grim
picture that's been painted. In a fine return to the dirty,
distressed, and disconnected stories of Philophobia, The
Red Thread spins out ten tales of confusion, woe, and
extreme suffering. One can't help but feel sorry for Aiden
and his troubled love affairs, making everything about
our ordinary lives pale in comparison. If you don't go in
for heart-rending fuck-up love stories, you'll still fall flat
for the epic soundscapes of this album. It might just be
the biggest album you've ever heard, but you've no
idea... until you let yourself get wrapped-up in the intricate confessions of a man you've never met.
CD 18.98    LP 24.98
Fixed Context CD
Well, they haven't gone
death metal. While most I]
rock bands who pitch their
tents in the left field would like;|
to kid us that they're in
middle of some great quest for progress, L
are unashamedly idling their time away. The scenery's
nice. At night you can build a campfire and watch the
stars — perfect conditions for listening to the Virginia
trio's fifth (?) full-length, which is full of their trademark
limpid keyboards and wistful guitars. The fact that it has
fundamentally the same title as their second album (A
Stable Reference) is indicative that languid stillness has
always been their raison d'etre.
CD 18.98
Uh-Oh CD/2LP
"j\ fly vinyl weighs a ton."
IVIsuch is the motto of
Dave Gardner and Tim
Digullia, the diabolical duo
who, under the TIPSY
moniker, act as curators of some incredibly strange
music. Armed with a sampler and source materials from
all over the place, TIPSY are an incomparable elixir, combining the worlds of lounge, electronic. Lynch-like soundtrack-rock, '60s pop, and "file-under-oddball" kitsch.
Steamy sounds for steamy people! AVAILABLE MARCH 6™
CD 16.98     2LP 19.98
<ztt-vK4%le ant exfc&it


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