Discorder CITR-FM (Radio station : Vancouver, B.C.) 1999-08-01

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The off
The off
Red Monkey
& Ember Swift
The Musings off
...and MORE! house
INFO: 729-1284
TOLL-FREE 1-877-9220622
Kelly wsnis Oh Susanna
Hj*iij'l:|j:ll*l -
v| UliCSraTREMY)
preacnerszERO Features
Red Monkey
The Silent Majority
Patrick Fillion
Ember Swift
Out On Screen
CiTR would like to
extend super big thanks to
Shane Lunny
Tony Dean
tor their gracious donation of a
Soundcraft mixing board and power
barbara andersen
art director:
robert horsman
ad rep:
maren hancock
production manager:
tristan winch
graphic design/layout:
rob h, tristan
airton, joe c, julie c, andrea
g, ann g, mike g, hancunt,
christa m, anthony s, tim s,
todd s, kirsten w
photography &
chocolate baby, jason da
silva, patrick fillion, rachel k.
rocket,tobias van veen
tania a, brady c, julie c, mike
c, val c, bryce d, anna f,
robin f, wendy f, steve g, John
h, hancunt, blaine k, daryl k,
John k, jamie m, janis mck,
christa m, nardwuar, jason n,
gabby r, evan s, erin s, tim s,
spike, tobias v v, coreen w,
kirsten w, quentin w, tristan w,
nat x
programme guide:
anna friz
Julie colero
matt steffich
us distribution:
discorder on-line:
aaron nakama
dude, last month tobias van
veen took some wicked pictures of neotropic@sonar and
we forgot to credit him in the
"centre" spread, we sure feel
stupid now.
Vancouver Special
Interview Hell
Kill Your Boyfriend
Grumpy Old Dog
Printed Matters
Louder Than A Bomb
Under Review
Real Live Action
On the Dial
Good Tasty (transcontinental) 2 7
The art of Patrick Fillion,
bowdlerized and stuck together by
© "DiSCORDER" 1999 by the Student Radio Society of
the University of British Columbia. All rights reserved.
Circulation 12 000.
Subscriptions, payable in advance, to Canadian residents
are $ 15 for one year, to residents of the USA are $ 1 5 US;
$24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders
payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the September issue is August 1 8th. Ad space is available until August 25th and can
be booked by calling Maren at 604.822.3017 ext. 3. Our
rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can
be heard at 101.9 fM as well as through all major cable
systems in the Lower Mainland, except Shaw in White Rock.
Call the CiTR DJ line at 822.2487, our office at 822.3017 ext. 0,
or our news and sports lines at 822.3017 ext. 2. Fax us at
822.9364, e-mail us at: citrradio@mail.ams.ubc.ca, visit our
web site at http://www.ams.ubc.ca/media/citr or just pick up a
goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC,
Printed In Canada Vancouver
Dominic Radio
In this age of Internet/TV convergence and all that, there's something about rodio that sounds almost charmingly old-fashioned,
or at least retro Well, maybe not,
but this double-CD compilation,
with all its "broadcast announcements" and static interludes, got
me feeling misty-eyed about the
evenings I spent as a preteen
twirling knobs on my dresser-
sized garage-sale short-wave radio, listening to the spooky
outerspace noises, that eerily relentless Co-ordinated Universal
Time frequency, and people
speaking urgently in foreign Ian-
sorts provide Dominic Radio's 55
tracks, which range from 10-sec-
ond sound bursts (C+) to lengthy
Syd Barrett -y trippiness
(Citroen and the Beans) to
aggressive, whiplashy post-industrial whirling (Zero Squared)
There's even a falling-down-drunk
sounding cover of Fleetwood
Mac's "Tusk" (July 4thToilet,
taking just the right approach), a
pretty instrumental where piano
arpeggios are accompanied by
something akin to the buzzing of
bees (Jill Navy), and a lovely
sweet/plaintive piece whose title
is the perfect description: "Slovak
Ice Cream Truck" (Godwin
Peak) As if this weren't enough,
there are moments with the jolly
quality of '70s TV dating show
music (mitch), as well as that Coordinated Universal Time thing
(Slave 1 ) already mentioned In
fact, there's surprisingly little here
that's annoying, and an awful lot
that's really good — quite an accomplishment for almost 2 1/2
hours of material (PO Box 144-
1472 Commercial Drive, Vancouver BC V5L 3X9 <transsiberian@
The basement suites: opus I
(BasementSuiteJesus / Laconic Pop)
From the way Christians are always trying to convert me, you'd
think I had a "heathen" sign
around my neck. This might ex
plain why I approached this 24-
song CD with some trepidation.
Sure enough, the masterminds
behind this compilation have
aimed the first few songs directly
at me: a sweet lo-fi indie pop
song by Motorcycle, Freep's
"Eucalyptus," where two truly
lovely female voices harmonize
in honour of a tree (and Jesus);
and a pure, spare, hillbilly-tinged
gospel entry from Mandy*
Troxell, recorded in a California church There's noisier stuff
here too, and even some gleefully
snotty (and off-key) singing, as
well as three "bonus 'archival'
punk rawk" tracks (one of these
performed by a band named after a Seinfeld character), as well
as many triumphs of low-budget
but high-quality recording. Opus
I has its good and bad moments,
and although part of this depends
on the listener's feelings about religious content (and the sort of
music, accompanied by electric
guitar, you might hear in a church
with a "forward-thinking" minister), I can't help thinking that this
would have made a very good 8
to 10-song collection. While you
have to admire the producers'
attempts to be inclusive, it's a sad
fact of life that there are some
one-offs and side projects that are
more fun for the participants than
for the listener, and yes, there are
a couple of those here (<e-mail:
davenport@islandnet.com, or
www islandnet com/~dvnport/
local demos!
I'm trying to listen to every tope
in the size 15 shoe box, so forgive me if some of these bands
are no longer together, or if the
demo that I have is from 1987.
has been around for a while I
remember seeing this band play
Shindig. I wouldn't say they were
particularly swank, but their songs
are nice and cause head bobbin',
especially "No One Has a Clue
but You " (<ohara_scarlett@
me their new single "Bomb at the
Party." It sounds like it belongs
on a Teenage Shutdown compilation. The hit potential would be
higher if only the singing sounded
as good as the guitar melody, (ad-
THE PROBES is the closest
to punk that you'll get this month
A guitar solo, a lot of "Yeah's
and a loud snare. These are not
necessarily bad things, well not
in this band anyway. No stupid
lyrics either, (no address)
I know for a fact that this
band is now defunct because
that's what it said on the tape.
an Emo outlet that contained
members of Radio Berlin and
Forcasts Farewell . Even
though they're no longer to
gether, I had to include them
here because all the other bands
are too happy. You can probably
get a copy of the tape if you
want  (address unknown)
My personal favourite of the
month is CANADIAN and their
tape The Music of Canada. I
think they're actually from Germany or the Netherlands. They
(it might even be one person)
play Grade 3 Royal Conservatory type melodies on a big
happy stringed instrument, (address unknown)*
ska bond from Nanaimo. It could
just be the recording, but the
horns should be three times
louder. Danceable songs none
the less. (<kiltlifters@
(QJri/e lo
£)iscoroer /
we have the solution to
any problem.*
#233-6138 SUB Blvd.
Vancouver, BC,
V6T 1Z1
• net a guarantee.
WE'VE MOVED!!!   ^____f§
Friday August 13 to Sunday August 15
\Distracted Snowflake
\Vol.2   CD
723 Richards Street
Murder City Devils
Empty Bottles,
Broken Hearts    LP/CD
I Coming Soon!
Lonnie James - DEE-0 CD
Jungle - Long Time, No See CD
available at fine stores everywhere ^__^/'-(-S W2:i
AUTO                        I
In all stores
1 indiepool.com/automaticsliml
■'QlEjy           ■ j
7 mortalized epics that
modulate with authenticity
captivate with assertion, and
emulate no one.
Experience Rage Against the Machine, Limp Bizkit1
and Smashing Pumpkins put through the blender
and poured down your throat. check out...
Produced by Andy Wallace (Nirvana, Jeff Buckley)
Sonic Warfare fed through speakers. Absolutely Rivoting. - Q Magazine
Skunk Anansie kicks your head in, then soothes you down. - Guitarist
Sharp insigts, stadium sized choruses - Its the album of their career. - Heat
Wjl^      Featuring On My Hotel TV, Secretly, and the I
m<L      electrifying first single CHARLIE BIG POTATO. |
www.samsCD.com /Seymour"
• 568 Seymour Street, Vancouver
• Victoria Eatons' Centre, Victoria
• Surry Centre, Surry TAKE ACTION!
CHAKA     M**NTSK*      I]
tJPBd Of VOU Ip/Cd/CS      SPLIT 10W/MCD
' ^ir^V
mm? m
what if?
CD OUT N^^i^ ^^IO^ vinyl OUT MOW!
— ww.        y^ CDC?
^^(swm? io" eo-$6        hnp://www.fearlessrecords.com
13772 Goidenwesi St. #545, Westminster, CA 92683
coming soon...
Who are you? _1:
Brian Minato, 36, bass a
Sean Ashby, 32 go^ond     ^   R<jper for
Why not I****'
that motter?l?l de
^ with 'Chrissy Sno- ^ *,
,n whot ways do Jhy    ^n<J Front,ine
G,n9er'u?a/°808  ^urn-machine factor
Assembly*  808  dr Tr,pper,
into the equation   ho.      ^^ ^     d
Sean  I pl°Yed 9«"ar        , satelr,te member or
taured with them as a sort^ot ^ ^
CDs ond I tour w.th bar ^ Grapes 0r
Bri0n' VZ "e7oS°nd recorded with Sarah
Ginger. I have to ^ ^     about p,ay,ng
McLachlan since   99  . ^ bnng ..    the
in Sarah's band that I ve _ha( _nd an
ack Tripper style is the -e ° spa ^
appreciation a^ P^'^Ldal. than the
Y^feHowshovejnorep ^    ^
Tour    dC_o   Tder's oU about them- Do
DiSCORDER readers j■ ^ _        t
any other local^^ at their
goL Tm sometimes Payme ,pedal:
Brian*. 1 wen, on the Int.maMJ ^ Uom
Actually, !■«• ^9j 3 store in Fernie, BC
small mom and pop used ^.^   and
these songs? ing „ different
Sean*. Well,   m a guy  o    Y p(us we pu,
than johnette Irom Concrete ^      k
^^'"d^ng 'out and changed the
We just drugged n "_
arrangement Concrete Blonde song
Brian*. I hadn't heard the C        ^ ^ ..
before Sean brought Hi Everyone
preconceived nofons on ^ P ^
wHh echo repeats  type o  9 ^ up
established the 9'°^^ the chorus section
w,*h a different vocal Une        There ^ _ ,., o(
and we were off ond nmnmg ^ ^ Qnd
stamp pedals bemg "^ Another f.nely
Shane*. I m a 27 yea ^ ^ beQch.
outdoor sports and long w ^ pQr, of
have been drummmg  or Jock
my parole since last ta«. ^ many
,      a merging of  styles ^ p__ts
styles. Who -e-s *he jo     k ^ ^
•in jack «PP-^J/!; from psychedelic
folks that you could g^ ._     one
to     country      n
Uft.igM *»"■'"
i Shane     -
!   nly    have
ntWO pedals,
.      both 1990s
IP but hope to
;cj     more.
:;      Sean*. I love
to      p,ay
i straight into
'the amp and
often do when
1 Live, it's the ore
'sounds at my
the better.
, ,„ a huge Ian
of the 'electro-
pedal, the 'big
muK pie' 11 don't
know if if* ,he
Jack   Tripper    [Tonic   Record,
Who are you?  (names, ages,
instruments played)
We are Satina Saturnina — a
hologram in a smoke-filled room...
pulsating. The figure that is Satina
strokes her Malibu Barbie and smiles.
Two figures Hank her, stroking guitars.
Who are these masked men? They
are Satina droids.
Where does Satina Saturnina
originally hail from, and how
did you end up in our little
messed-up world? ^^^^^^^^
We dwelt in the realms of punk performance
art on the shores of New Zealand. We were
1        hailed as 'the art-rock wonder kids' and
'marvelous cabaret for the hallucinogenicaliy
inclined.' We performed in alternative bars,
theatres and art galleries. One day, Satina
Saturnina heard a voice calling from the
bathroom. It was a kewpie doll. The doll had
a  message.  She said*.  'Take flight on a
mechanical   bird   ...   take   flight,   Satina
Saturninal' Satina left New Zealand and took
the show on the road. Satina droid #1, Derek
Champion,   came  too  and   they  landed
together in Canada. Satina's first show in
Canada was as a duo in Music Waste 1998.
They were quickly joined by Montreal guitar
guru Scott Morgan, who became the band's
first foreign Satina droid.   Satina Saturnina
now seeks* another droid with keyboard
playing alignment.
Given an unlimited budget, what
props and/or paraphernalia would
you incorporate into your live
performance? Describe Satina's stage
A giant powder puff cushion for Satina to
write on as she presents a transmission live
from the fifth ring of Saturn. The powder puff
would be big, fluffy and soft. I like it ... it's
ssnice. We would also like a huge see-
through tub filled with glitter and a giant
lollipop that we could stretch out into the
audience so everyone could take a lick.
Having a budget that allows for a multimedia performance is very nice. We love
working     with     video.     Strong     visual
presentation has always been part of Satina
Saturnina shows. Performance art is often
thought of as a 'difficult' genre because
people always rave about our costumes and
toys after our shows. Mmm ... an unlimited
budget would be ssnice.
Who    had    the    best    Barbies    at
Girlfeast? Are you friends with the
Super Sluts from Space?
Girlfeast was fun. This guy jumped up on
stage during 'Steak Barbie' and put his arm
around Satina's neck, chanting   'Barbie ...
Barbie ...' Satina's hands were full*, she had
Malibu in one hand tied to a stake, Salem
style; a piece of synthetic meat — a latex
steak — in the other. This guy (although a
new    and    soon-to-be-devoted    fan]    was
cramping her style, so she took the Barbie
tied to the stake and gave him a jab right in
the middle of his denim buns. He lurched
forward in to the audience. Clap hands for
Barbie, clap hands.
We here at Thunderbird Radio Hell
are .<_.—
totally    fascinated    with    the
massive beehive hair and big-ass
nose-ring so prominently displayed
on your CD sleeve, not to mention the
other pictures. Okay. Where did you
get those pictures? Please explain to
our  readers the intricacies  of the
Satina Saturnina presentation.
Satina doesn't have a pierced nose anymore.
She let it heal over.  It became horribly
infected and the pain was excruciating. Later
she learned it was because she had pierced it
Which bit of the Angel gets turned on
the most by rejection?
People love rejection ... easy meat ... easy
meet ... quick retreat ... fools rush in where
angels fear to tread. The brain is the sexiest
part of the body ... rejection is a state of mind
... angel brain ... angel food cake ... brain
food ...I like it... it's ssnice.
Ask   yourself   two   questions   and
answer them.
Do you have new material coming
We recently got an 8-track recording studio.
We like working at home. So we've been
jamming, playing with our toys and new
ideas. We are thinking or releasing 'Steak
Barbie' with the reprise 'Fuck Barbie' as a 7"
single. 'Steak Barbie' seems to be the hit pick
with our audiences so we'll let them take her
When are your next shows?
We have a show coming up in fall as part of
a performance art festival called 'Live at the
end of the century.' This is being organised
by the Grunt Gallery. The venue hasn't been
confirmed. We are creating a 45 minute
performance piece specifically for this event.
So are you still offering us an unlimited
budget? Dreams are free! I like it... it's ssnice.
1997 - 7" single 'Annabellee'   b/w 'Doll
1998 - CD Clitoris Goddess (produced with
an arts grant from the New Zealand Art
Victoria Singh
2123 E. Broadway
Vancouver, BC
V5N 1W8
July 31, 1999, catch Satina Saturnina live
on CiTR 101.9 fM as a part of our Loud
and Queer radio sextravaganza!
f m^auisffi After waiting for days for
the fogginess in my brain
to subside, I've come to
the realization that it's just not
going to happen. This is summer
burnout, and all hopes of creating an interesting (or at least coherent) column are quite out of
the question These days, I'm
much more concerned with remembering which job I'm supposed to be at on whal day, and
whether I've got any clean socks
left. Skipping out on work to recuperate from unidentifiable ill-
as any to get busy with the mad
record action here at Top-Rock
Central Station. Bring it on, baby
I wish that my record player were
a whole lot closer to my computer, because this new TENTACLES record is really much too
short to sit put through A song
per side is the way this ultra-star
band has done it, and I wish there
gots your Lois, your gal from
Sleater-Kinney (Carrie,
maybe?), your Scott Evaporator, and some other rock guy
whose name escapes me (why no
liner notes, buddies?) — instant
good-news street cred Do we
love it? Sure, why not. "The
Touch" is a rockin' girl-fronted
song which reminds me a whole
lot of Luscious Jackson circa
In Search of Manny— definitely
not a bad thing There're these
really cute little howls going on,
and you can just tell this was fun
to record. The b-side, "Louie Louie
Got Married," gives the mic to
the misters and is an upbeat
charmer Now, before you get
all excited, the bad news: this
band is rumoured to already be
bles. So sad. Enjoy it while you
can, kids (K, POBox 7154 Olympia, WA 98507)
New to me is the PETTY
CRIME self-titled 7" out on
Slampt Dude, this rocks Layla
(ex-Skinned Teen) leads this
three-piece on a wild punk-rock
lo-fi ride to your heart. There's
chunky bass galore, plus fuzzed-
out guitar to make your body
swing to and fro. These kids've
got the DIY ethic like there's no
stopping, and it shows. There's
a sense of haste and urgency to
this release that'll make you want
to program these five songs into
your jukebox brain. If this is making less than any sense, I'll do
you "all a favour and compare
them — just the tiniest bit, thanks
to a stolen riff — to Slant 6 .
There you go. Oh, and if you
haven't heard Skinned Teen, get
on it (Slampt, PO box 54
Heaton, Newcastle Upon Tyne,
NE6 5YW, UK)
What the ... ? Raging girl
hardcore from just south of the
border It's THE HAGGARD
a new queercore group featuring
sts from Cadallaca , and they
are loud! Three songs of educated thrash are to be found on
this here slab o' vinyl, songs sporting lines as cool as "America, if
you were my girlfriend, I'd dump
you on your ass " Mad props are
going out to this brand new label, Heartcore, for budding up
as something new on the
queercore scene — this may be
its first release, but there's more
in the works. "Reclaim the Political Redefine Queer. Redefine
Punk. Reclaim the Heart."
How can you go wrong
with a slogan like that?
(Heartcore, Columbia
University Station, PO
Box 250636 New York,
NY, 10025)
For any of you who
like your easy listening
done pop-punk, check out
Your Barcalounger" 7" I
certainly didn't need to
hear James Taylor's
"Fire and Rain" and
"You've Got A Friend"
done up in that pukey-punky style,
but maybe you do ... (Alternative Tentacles, PO Box 419092,
San Francisco, CA 94141-9092)
If you're not getting enough
cutesy pop in your musical diet
these days, I would highly recommend a helping of THE
POCONOS . This band is so
cute it hurts to listen to the record
twice. Equal parts silliness and
sadness make up this six-song
release, and I feel like I'm listening to an amalgamation of all
things K Nothing original, that's
for certain, but not bad on the
whole. I like it when they do their
Crabs y duets. (Jigsaw, PO Box
1440 Santa Cruz, CA 95061)
I want more MATES OF
STATE! On their split 7" shared
wifh FIGHTER D , they sound like
Rainer Maria would if they
could sing in tune. This girl and
guy are doing some serious vocal battling, kicking the crap out
of all the others trying to get this
sound down. This is super-cool
pop with great harmonies and
keyboards. It's like Joan of Arc
with more girls and less abstraction. I like it a whole bunch. The
Fighter D song is not nearly as
memorable or interesting, but it's
not exactly bad, either. La la, girl-
fronted fuzz-pop, to the moon!
(Omnibus, PO Box 4522 Davis,
CA 95617)
Anyone ever heard any
Atom and his Package ?
Yes? Good, then you'll be down
with MATHLETE . No clue what
I'm talking about? Right. Keyboards, programming, silliness,
awkward vocals about nonsensical stuff. that's the ticket. This is
music any nerd could make in his
or her bedroom while giving the
Casio some flavourful lovin'.
(Ojet, 2055 Westheimer, # 1 65
Houston, TX 77098)
If I wasn't something of a
sickster right now, I would so be
dancing around the living room
to the new HUEVOS
RANCHEROS "Wild Turkey
Surprise!" 7". This gem of a single is courtesy of the good people at Mint Records, who like to
ensure that stellar tuneage from
all across this fine country is
made available to us ordinary
citizens How else could we rock
this hard? Huevos Rancheros
sound just as cool as they always
do, and are here to prove to us
all that they're about more than
just bad beer commercials. Well
done, boys! (Mint, PO Box 3613,
Vancouver BC, V6B 3Y6)
The prettiest (maybe a bad
choice of words in this context)
piece of wax to make it to me
recently is the new release from
local boys THE SUBWAY
THUGS. I haven't enjoyed a picture disc this much since my dad
bought me Disney's The Fox and
the Hound back in the early '80s
Not that the two sound anything
alike, though ... The Subway
Thugs rip it up. The gravel-voiced
singer gives us an anthem for lost
friends, and a couple of other
high-energy songs. I like these
guys because they're not unnecessarily crass. They spread the
Oi! Street Punk message in what
seems to me to be a very positive manner. (Oink! PO Box
27813 Washington, DC 20038-
And back to bed go I. •
staff picks
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Call to volunteer 252-5184 Festival office 683-7123 WWW.ta0.Ca/~V0lcan0	
I Au<jus-f ft December    1996
Mission: find something,
anything    to    help    and
\fort myself through the
insecurities,    ignorance,    and
isolation of grade 10.
Solution: Forever Again by Eric's Trip.
Simple songs of love and loneliness holding
my hand and pulling me into the world of
indie rock. Production, lyrics, music, silence —
every aspect of the album, from start to finish —
June 1999
Mission: Meet the man behind Forever Again, Mr. Rick
White. Now he's in his new band, his side-project cum
main focus, the newly renamed Elevator (formerly Elevator
to Hell,   Elevator Through, or variations thereof).
Solution: Elevator's tour van, a drizzly Friday afternoon on skid
row, outside the Brickyard. While Mrs. White sits and smokes in
the shotgun seat, I nervously confront Rick, armed with no more
than a cheap microphone, a portable recorder, and years of
listening experience ...
DiSCORDER: So you don't mind everybody talking
about the old band?
No. It was rough at* first, because we just wanted to try to get
started. But yet it's probably what helped get people [to start
listening]. When you change your name, it seems like people don't
know who you are anymore. [We did it] almost to show that it's just
more of a title. It doesn't have to be this thing you can sell to
corporations, with big logos everywhere. It's just a name. It has to
evolve with the band. A lot of my favourite bands were kind of
mysterious. They never got popular enough to have good
documentaries and stuff. I think it's kind of neat when you can just
imagine what a band's like, and not really know too much about
them. Kind of like the Residents, you know? They're just this 'made'
But your  songwriting  has  really  changed,   really
evolved. You can see it in the lyrics.
Especially from Eric's Trip. It just almost has to go with different
relationships, whether it's friends or whatever, it's always a bit
different from the last one. I find I'm less focused on my relations
with another person, which [is something] Eric's Trip dealt a lot
with ... for the first couple of albums anyway. Now we're
focusing more on our journey through thought and our relation
to the way the world's working. But it's done more in little
stories. I try to write little stories that kind'of cryptically
explain it, without being too jumbled.
It's a  lot more straightforward, and blunt
almost, in Eric's Trip.
Yeah, and focused on more petty things, but that just
has to do with age, I guess. You always go through
different things that you're thinking about, [things]
you're obsessed with. And in a few years, you're
always looking back and you're not thinking
those things anymore, you're on to some
new thoughts.
It's kind of surprising, now that
you're married to Tara [bassist
for Elevator], you write more
subtly        about        [the
Yeah, there is relation in
>ut it's beyond,
I'm sad. About
Because that seems more — even though I was older than in my teens
— it seems more a young thing when you're focused mostly on the
love aspect. But you get to a point where you realize [that] if you can
find love you should keep it and not really worry about it [or] analyze
it to death. There are other things to analyze that are more important.
If you can just stay happy with someone, that's a comfortable way to
be. So I really try not to dwell on bad vibes in songs anymore. I try
to make some sort of solution, or a picture of it in my head so I can
see it better.
Were you going out with Julie [Doiron] before the band
Yeah, I guess since just before Eric's Trip started. We were always
hanging around. She was one of the first persons I'd met that I could
jam with, or write songs with. So it was inspiring just to make a band
that I could do that with. It was kind of exciting to just make songs.
But as the years went on, it just gets kind of crazy and you need to
switch directions somehow. We all started losing sight of the same
plan. Me and Mark [Gaudet], we had a plan; Julie and Chris
[Thompson] were on their own kind of vibes, and we never practiced
as much. So since me and Mark were the two, we still had a couple,
instead of just one and one and two. We just kept going.
Were they more interested in the solo aspect?
I'm really surprised they didn't try to do something more Eric's Triplike, or more full volume. It seems like we were the only ones, once
Tara joined, that were still doing a band, a full band, in the style of
a heavy, almost psychedelic journey that Eric's Trip was leading to.
I always felt the songs that would have been on the next Eric's Trip
record anyway were on Eerieconstellation, maybe with different
words. Same type of idea. But I think I could just focus on it a bit
better, the three of us being so close. Julie and Chris were living in
different cities. It wasn't like creating with them anymore, it was just
showing them: 'Here. Here's our new songs.' It would get kind of
But, it seems like you guys are all still friends, almost
like a big family.
Yeah, we don't see them very often, but we're all still on good vibes.
The last time Julie was here, she was mentioning that
you and Chris played a show with her.
We thought we might as well, finally. We hadn't talked to each other
for so long that I felt like doing it. I just wanted to play a few shows.
And without Mark it was better, almost, just so it didn't become this
Eric's Trip thing. We did a set of all her songs, with us just being her
back-up songs. Just a few Eric's Trip songs ... 'Girlfriend' and 'Lightly
Feeling,' that's about it.
On Vague Premonition, there is a definite softer side,
[softer] than Eerieconstellation
Well, with Eerieconstellation, we were more freaked out. It's kind of
like that song, "Bad Thoughts Coming Down". It's really dark stuff
d,   that   v
thought     we     were
being   pulled   into.   We
created, or, I felt I created,
this hole or something. We put a
wrench in our spokes, as they say,
when we broke off Eric's Trip. A lot of
stuff got fucked up: booking
agents, stuff I v
But I think we needed that as
push. Because Eric's Trip broke up when we
were starting to gel money, and starting to sell
out clubs, it was getting stale.
So what were you feeling, recording this
new album?
It was probably the most comfortable we ever felt. We
know now. It was just totally the way we wanted it to be.
We wanted almost to free ourselves from the hell that we
thought we had created on Eerieconstellation. Even the
last song is trying to make it to that door, to this new land.
Is that what you're always thinking with the
name, Elevator?
Yeah. Well, it was all fate, too. We're really superstitious in
everything we do. Everything we do is just fate, [even] when
we write these songs or pick these names. You can analyze
them and almost read the direction you're heading, without
planning it. We just realized that having an Elevator to Hell,
which wasn't supposed to be a band when I released that first
album, we were just leading ourselves to [the elevator to hell].
On The Such we changed it to Elevator Through because we felt
like we had gone through the door. And now we're just in this
nature, we're in the woods. And I don't know where we'll go from
here but it feels a lot more peaceful, just a positive way of
recording. There isn't as much [of a] curse feeling on my back. We
recorded together in Toronto, and we knew what we wanted, it
For the future, do you know what you're going to be
trying to do, or are you just still exploring?
Still exploring. This tour will have a lot to do with what might
happen this summer. I've got a tape with about 20, 25 demos,
some of my more favourite ones. Almost through that tape [I] can
get an idea [of] which direction [I] want to start writing in. Mark
and Tara and I are talking about structures of albums. It's a neat
process, but I never know what it's going to be like until it's
How are you looking at life nowadays? Before, it
seemed a lot about sadness, and girls.
It went from weird thoughts about relationships, to weird
thoughts about myself and my impression of the world. I
feel it goes with age. I went through all these stages of
being freaked out by stuff, and now I'm on my life long
mission to try to be at peace and be happy. Die a
happy, contented man.
What's the best way to find peace and
I don't know. For the most part, I end up using,
not really apathy, but I try to close myself off
from the stuff that's happening in the real
world and live within my little four walls. I
try to enjoy nature as much as I can, but
mainly [1] just keep to my own
and try to work stuff out, and n
upset about stuff. 1 find there's
way you can really stop most
of it anyways, so if you can
just   live   your   life   at
peace     somehow,
that's   a   good Kill Your
Old Dog
Kill Your Boyfriend
First off, a shameless plug If you
like alternative comics and this
column interests you, listen to my
show, Onomatopoeia, Thursdays
from 2-3 pm on CiTR 101 9 fM.
One of the things I want to
do with this column is bring; attention to long forgotten comics
that are, nonetheless, good The
title Kill Your Boyfriend isn't a.plea
for you to find girl power but,
rather, is taken from an offbeat
one-shot romance comic written
by Grant Morrison and
drawn by Phillip Bond With
his penchant for siphoning excite-
Morrison has taken a cute Catholic school girl from her repressed
and boring life ond exposes her
for the brains and the femme fa-
tale she really is. With some killing, stealing, kidnapping, bombing and all kinds of sex, he makes
you root for a couple that is
fun than Mickey and Mallory
Knox And then there's the art of
Phillip Bond, who takes this love/
crime spree and makes it so
damn adorable Combine all that
with a sneaky ending what can
I say? I spent a year trying to find
this comic before they reprinted
it, finally finding it in San Jose. If
that's not a testament to a good
story I don't know what is
Another great girl comic is
Girl, a three issue mini series written by Peter Milligan and
drawn by Duncan Fegredo .
Each artist has an extensive history in comics and together they
create a different and grittier story
.of a Catholic school girl who
hates her life, her family, and the
lame-ass town she lives in When
her father accidentally dies, she
goes through a mental struggle.
Did she kill him? Who is this girl
who keeps showing up that looks
exactly like her? As usual,
Milligan dishes out imaginative
and surreal plot twist after plot
twist. The comic also has the dark
humour that is perennially linked
with Milligan's writing, which
makes the main character's helplessness all too familiar Fegredo
is true to form with his dense, thick
and jagged lines that just add to
the chaos. The dark colours help
in capturing the feel of every no-
found all over England The fluidity of his line also "manages to
portray the mental and emotional
turmoil of the protagonist, making her situation all the more real.
Having said all that: yes, there is
a happy ending, a completely out
of ploce but strangely happy ending
I promise each subsequent
column will not be entirely devoted to girl comics. I just felt a
semi-explanation of my title was
in order. Oh yeah, I forgot the
indie rock reference: bis wrote
a song about Kill Your Boyfriend
called, naturally, "Kill Your Boyfriend " •
Robin's Top 5 Gay Comix
1. Potential by Ariel Schrag
2. Vellevision by Maurice
3. Stuck Rubber Baby by
Howard Cruse
4. Gay Comix Anthology
5 Anything by David Kelly
After taking a little holiday
this June, leaving us with
nothing but damp, the
sun came out in July Summer
finally arrived. It didn't take me
long to regret the appearance of
those golden rays
I was sitting at my
favourite patio,
basking,     when     il
happened — the only
thing about summer that
makes me cringe, twist
in my seat, and pray for
rain. Sitting in a family-
mobile at fhe stoplight
was a bearded man (I'd guess
he was about 40). Reverberating
from   within   his   panty-blue
Aerostar was the excruciating
sqwaak of speed metal.
The revival of metal — riffs
built on speed wifh no sense of
music, twitching, fumbling drums,
and uninspired bass that impacts
only your back teeth and never
your soul — is bad enough. Metal
is to be played in basements,
warehouses, and sports arenas.
It is something one should keep to
oneself To subject the rest of us to
the juvenile wankings that pass for
the metal genre demonstrates a
complete lack of respect. Metal
hos no place in civil society.
Until that point my afternoon
had been quiet, punctuated only
by the subtle background sounds
of traffic, the odd blurb of horn
boys, cruising in their shiny cars,
who obviously have nothing
better to do with themselves
Maybe their need to broadcast
their favourite song to the world
is a demonstration of power and
influence. I guess I'm just
not cool enough to get it.
Maybe their need to broadcast
their favourite song to the world    became     despondent
is a demonstration of power and   when' realized that, in the
influence. I guess I'm just not cool   middle °f ,he£ £" ,ru\
■   . ... summer day or the year,
enough to get it. was wishinyg for _£ 'At
least when the sky has
opened vehicle windows
are more likely to be rolled up. I
don't mind watching the windows
swell in and oul to the over-
volumed tunes. As long as I don't
have to suffer.
Behind the bearded family-
mobile guy were two other
vehicles, each trying lo outperform
the other. The stereo from the fancy
red sports car was flinging the
dulcet tones of Roger Whittaker
off the buildings around us. The
jeep, if you can believe it, was
pounding the theme to Star Wars
John Williams at his finest.
I guess there's no accounting
for taste. •
or siren. I just didn't need to hear
that. The guy in that van ruined
any atmosphere those of us on
the patio were enjoying. Even
after the van had peeled away
my ears were ringing. The only
thing that salvaged the moment
juxtaposition of lhat particular
type of vehicle and that particular
type of music. Something just
didn't add up.
To be fair, metal-lovers are not
the only vandals of the public air
space. We are frequently
subjected to the musical
preferences of others. Those silly
LAKi. KAMIO^S. PfiWCt GHJfi&f. Af© fKJMf« M r
mm boy mmma. salt spring island. o_ stop
io August _•£ Where were all of you scxalled punk rockers when Red Monkey
showed up on our doorstep? This amazingly funky punk band
from Newcastle came to rock out with Submission Hold and was kind
enough to take a minute (or 60) away from skateboarding to chat
with over-excited me. Obsessive-fan ogling put behind me, I actually
managed to have an excellent conversation with the band. New light
was shed on many a topic, but one question still remains: Who is Kid
DiSCORDER: What is Red Monkey about, as opposed to
the other bands you have been and are involved in?
Pete: One thing about bands that me and Rachel have been in
together [is that] all those bands are pretty much finished now. We did
Avocado Baby around '92-93, then Pussycat Trash, then another band
which .didn't do any records, and then we did Red Monkey. I'm still
playing in a band called Milky Wimpshake at the moment, bul [the
two bands] are very different. I spend most of my time doing Red
Monkey just because everyone in the band is really committed to
doing Red Monkey. It's something that we're very serious about.
We've toured quite a lot for a band that's only been around two and
a half years.
Rachel: I was in Pussycat Trash and it was my first band that played
many gigs, and it, for me, was a lot about getting up there and doing
it, getting over all the fear and paranoia and insecurity that comes
with [performance], whereas now I can build on that and actually get
'round to structuring arguments about what I want to say musically,
and I'm really relaxed on stage generally. I'm much more interested in
my musicianship. With Pussycat Trash, it was a really bratty, out of
control kind of thing.
In Not For Rent [an amazing book authored by Stacy Wakefield
and Grrrt, published by Evil Twin and distributed by Active Distribution
— ed.], the heading for the Slampt piece quotes Rachel as
saying 'being a girl is always a direct action.' Is it as
simple as just being a part of the community, or there
more to it?
Rachel: I think it works on many, many different levels, and every
individual woman has to do what they feel they can do. My
experience with punk is that it is generally a male community. The
women that are in the community are very exceptional people, in that
they've decided that they want to be a part of this. They've decided
that they want to be a part of a male domain, so they've had to
toughen themselves up in a lot of ways. I think, personally, I would like
to see a lot of women making culture. People say to me, "you really
move around on stage a lot, that's amazing." A lot of women on stage
don't move around much. Then you think about it, and how many
women have you really seen on stage, what do they tend to do?
Women are just not comfortable up on stage, and part of the reason
is that they don't see other women on that stage. The other thing is that
I really want to hear women's voices, a variety of women's voices. I
think Jen from Submission Hold is really amazing, because for her it's
not just about women's politics, it's about other politics as well.
Marc: If you're involved in the punk scene, there's the whole idea of
women as the object of the gaze, of them putting on a performance.
It's a very reactionary, conventional idea. It seems to me that it must be
very difficult for a woman involved in any kind of alternative or
subversive culture. How do you express yourself on stage? It seems like
how you choose to express your enjoyment of the music or how you
move around is much more problematic.
Rachel: It is. It's much more difficult to rock out and not be thinking,
"Is what I'm doing being perceived as trying to be sexy?" [Being sexy]
is not a concern of mine, but I'm used to people thinking of me like
that. It's difficult. There's this whole guilt thing involved with sexuality
and women — I don't want to be perceived as trying to be sexual, I
want my sexuality to be part of the whole thing that I am.
I've been very impressed with some of the things you've
written and sung in regards to being a woman, and your
relationships with other women. In 'Missy,' you have the
line, 'every girl I've ever hated, just a monster I created."
That's hard for anyone to admit because as a female,
you're brought up to do that.
Rachel: Totally, and it does extend to yourself as well. When I started
in bands, I just wanted to present my relationships with women as
positive things, but then, as I got more into it, I realized that if I didn't
deal with the more negative shit, then it would not get dealt with [but
instead] get swept under the carpet. I think it's really important for me
to explore my own relationship with myself and with other women, to
try and work out what it's all about.
I've read quotes from you all expressing your dislikes of
punk and its stereotypes, and it seems that for a while
there, 'punk' didn't want to let Slampt, your record label,
in ...
Pete: Definitely, in Britain there have been parts of the punk scene
that haven't wanted to let Slampt in, but I think that's because of a
misconception about what Slampt is. People who are involved in punk
or any kind of alternative music, any kind that's not trying to be or
doesn't care to be commercial, tend to be very suspicious of people
[on the commercial side of things]. A lot of people in the punk scene,
for a time, assumed that we were trying to do something commercial
and populist. There's nothing that we've ever done that should
indicate that, but we also don't put out records that sound like
traditional, stereotypical punk.
As regards to punk rock and our relationship to it, I've never
regarded myself as anything other than a punk. I've always been
disappointed by how narrow-minded, taste-wise, people are about
punk. I've always thought of it as an attitude and not a musical style.
Rachel: I think that the best setting for radical ideas is something
that is challenging aesthetically as well. Punk shouldn't be a limited
genre where you've got your three chords and you bash the hell out
of them. Part of the problem of what punk has become is that it is an
institution, and nobody wants to challenge that aesthetically or on an
ideas-front. It's a safe ghetto for people who feel that they're a bit
different from mainstream society. I feel it could be so much more.
Pete: If you start tampering with the way punk rock sounds, people
get paranoid that you're maybe trying to break out of the punk rock
circuit as it exists in an economic or practical sense. I think the
sectarian aspect of punk is very pragmatic, and in a lot of ways
necessary. If there wasn't a concept of 'punk' as a sub-genre, we
wouldn't be able to be here in the first place. I can't complain about
the sectarian aspect entirely.
There seems to be an emphasis on urgency, and getting
the message out. [Slampt] did cassette releases, and you
champion that aspect of the scene. Can you explain the
no-fi/lo-fi/DlY scene that your bands were working in
and with?
Rachel: When Slampt started, we were really like, 'Why haven't we
done this before?' Me and Pete had a four-track in our house, and
that's why we started doing Avocado Baby. I was just learning how to
play guitar, just thinking 'Oh, I want to get it all down really quickly.'
Since I was 17, I've been doing fanzines, which are all about putting
pen to paper and getting the ideas out to be shared with other people.
Starting to do tapes was just a natural step on from that. It's so much
about not having to have anybody's permission, you just do it. It's
particularly real if you've recorded it, or photocopied it.
Pete: Avocado Baby was the aural equivalent of a fanzine, in terms
of the cut-and-paste aspect. The whole thing was very random and
impromptu, very hastily put together.
Marc: [Avocado Baby's] album even looks like a fanzine.
Rachel: I hand-wrote and spray-painted on the fronts of all the
Are you content with what your label is doing right now?
Rachel: We've just put out Fast Connection #5 [Slampt's 'zine], but
we're slowing down quite a lot as a label. We're trying to decide
what we really want to do with it. All the records we've put out, we've
really wanted to put out, but at the moment there's just not anything we
want to put out.
Rachel: There's also other stuff that we want to do. I want to publish
books, so maybe things might not have such a musical bias.
Pete: It was never supposed to have been a record label, really. It
was more the idea of an umbrella for creative things.
Will there be more art by Rachel?
Pete: Slampt 58 will be a set of postcards, drawings by Rachel.
Rachel: Because I did a degree in art, I feel quite ambivalent about
it. It's like I gorged on it, and also was so disillusioned with the whole
art world. It's taking me a really long time to get over that. I don't
know if I want to do comic strips, because it's a weird way to work.
I like writing, and I like drawing, but I don't want to push the two
This is a bike punk show. What does Red Monkey have to
do with 'bike punkery'?
Rachel: There's this thing called Critical Mass, where a bunch of
people on bicycles do something like go round a roundabout so that
there's so many bikes on the roundabout that no cars can get on it. It's
basically an anti-car, anti-consumer action. Just before we went away,
we took part in a small action in Newcastle where we [occupied] a
street and danced around to bongos and blew on whistles for three or
four hours before the police stopped us.
Pete: The point of the bike punk thing is really just saying that it's
better to use the power and energy that you have in your own legs
than to sit in a car all the time. It's highly relevant. It's better for the
environment to use your own energy. It's cheap, and it doesn't pollute.
Good exercise keeps you healthy. And, getting back to this 'what is
punk?' thing, I can't think of anything more punk than riding a bike.
[This is] another thing we've got in common with Submission Hold, it's
something that they're heavily into. •
ii  ®^§S2S__H is generated a broadly felt
impulse in music making. The
might be seen as a continuation of this
'•enerally speaking,  modern electronic
ns perfectly suited for dub. Indeed, one might
without electricity there could be no dub. Yet dub
jst a matter of technique and technology, but of
Mentation. In dub, music becomes as much a matter of layers
3 sequence of events. Psychedelic effects and mixing do
we than embellish, they translate. Significantly, dub also helped
Mpush the limits of acceptable sound in music, from the distinctive
I distortions  of the  Space  Echo  to  Lee  Perry's  often  hilarious
onomatopoeia. In this way, dub makes space between the sonically
easy ond the sonically obscure. As Pole, Stefan Belke's music occupies
this in-between zone. In Belke's case, the dub sentiment met invention in
ihe form of broken technology, specifically a Waldorf 4 Pole-Filler. A gift
from Sun Electric's Max Loderbauer and Tom Thiel, the erratic but rhythmical
crackles spontaneously produced by this malfunctioning device have since
become a distinctive sound in Belke's work. In addition to recording and
touring as Pole, sound occupies mosl of Belke's time. Betke is also an engineer
at Berlin's famous Dubplates ond Mastering, and is presently organizing a new
•"■/ub-cenfered label called - Scrape. - Scrape's first release, a 12" by San
Francisco's Kit Clayton, should be out soon. As I discovered, all this focused
activity suits Betke's clear, good natured and fastidious personality perfectly.
Equally careful with his words as outgoing, Betke not only spent a little
thoughtful time with me in the basement of Sonar for this interview, but also
later in the evening bought me a beer — a German import, no less. Cheers,
DiSCORDER: Would you say that for you, the music itself is
more of a focus, or do you have a conceptual framework
around which you work, and then the music comes out of
No, the music is the main part, I think. Yeah, definitely. Since I was a
child music has been the main concept-thing. Music can be a concept
Oh, of course. But I thought that because your sound is
very particular, that you had some ideas or questions
that you were working with?
I mean, I think that everyone who is trying to make serious music has
some questions in their mind, things about theoretical questions, or
so. I do too. It's not that I ask a question and then in the end I have
a message — then I would do vocal music [laughter].
Do you identify with a tradition of music-makers that
use non-musical sounds in their work, for example,
with musique concrete composers, or Futurists like
Russolo, or any more modern people like Oval?
I think that I have nearly the same background. I know that
Marcus Popp, for example, grew up with jazz music, and so,
and experimental stuff. I grew up with experimental music and
jazz too, like John Zorn, Arto Lindsay, Fred Frith, Brian Eno —
his early work was really important to me — Steve Reich, John
Cage, these people. So, I'm definitely inspired by this kind of
music. It's my tradition, and I want to continue with this. But,
the way I do music is more basic; it's not that intellectual. I can
think about my music in an intellectual way, but when I make
music, I try to keep it as simple as possible and bring it down
to the floor, to the ground. That's the reason for these deep
basslines, for example, this very heavy bass to bring it
down. But you are right, there is a concept behind all this:
using crackles instead of drum loops is not only by
What lead you to use textured sound instead of
Just because I wanted to find a different way. Every day,
when I listen to the radio or records, or something, I am
definitely bored by traditional sounds and melodies. I've
heard them a thousand times. They sound the same. It's
mono-cultural — I don't like that.
It also opens your music up and emphasizes
its spatial quality. That's what really attracted
me to it. And I find that, when listening, you
don't fully recognize that drums aren't there,
it's so very implied. It's as though you're
taking advantage of that 'mono-cultural'
background, of peoples' expectations. In the
past you've said that 'instruments aren't
important, it's the ideas and the way you use
them.' But wouldn't
that your music is completely
committed  to  technology,  broj
otherwise?   In   this   sense,   your
couldn't exist without the technology yfl
chosen to use?
Let's say that Pole cannot exist without technology. TH
right. But I would not say that an electronic instrumenj
really the only thing with which I could do good or interestiil
or different music — you can do it with nearly everything. ThB
ly thing is, you must know what you do, and you must get theT
idea first. My idea is using this electronic stuff; it's most flexible I
without the need of other musicians. I can do it by myself, and that   j
is what I really like.
Do    you    have    training    or    experience    with    other
I studied jazz piano, so I can play an instrument [laughter].
I believe that what you have is an instrument as well. I mean,
I think that definitely the time has come where the studio itself,
in  mixing  and  production,  should  be  fully  considered  an
instrument; it's so involved in defining sound and characterizing
It is an instrument. It's true.
Tied to that, do you think that, in terms of popular culture,
the time is right for music made with non-musical sounds?
I hope so. That is what we are working for — for years now. And when
I see that the people are getting more and more into this kind of music
and buying more and more records like this, and that the music I do
can get so popular — I mean, what means popular: I'm not playing in
front of a thousand people. But it brings me to the point where I can
play lots of gigs in lots of different cities all over the world and people
come to see the shows. It's good. I think that the time has come for this
kind of music.
What do you think helped inform that? Is it because of
advances in digital technology? Is computer music
becoming more commonplace? Are more people just
getting into it and fucking around?
More and more people are doing it, and more and more are
coming out with good music. For example, when Matador, well
known as an indie rock label, starts signing projects like me:
this is definitely a sign that people think differently now.
Specifically in terms of music that uses noise, do you
think that the same attributes that make electronic
music so flexible help make a germane situation
for the musical direction that you would follow:
you use these 'other' sounds, these 'unwanted'
I would say yes.
Since you spend so much time mastering other
peoples' work, cleaning it up and taking away
all these unwanted sounds, these sounds that
you might use, have you ever taken from these
sounds,  this garbage, and decided to do a
project with it?
No, I would never do this because when someone comes
to hire me as a mastering engineer, I am working as a
mastering engineer, and I must switch off what I think
about music. Otherwise, I would do it in a completely
different way than the artist wanted to do it. It's a good
idea, but it's not a good idea for me [laughter].
There is a sense in which your music could be
thought of in terms of using acoustic refuse,
these things that people don't want in their
records   normally.   Is   it   that   you   have   a
predilection for these sounds, or do you see,
more specifically, your work almost forming a
challenge to more conventional music and
production techniques?
Umm, that's a good question. I've never thought about
this. Umm, It's difficult. Let's skip this question before I
say something completely wrong  [laughter].  But, I
definitely enjoy this kind of noise. It's what I listen to
when I listen to records. But, for me, it's different if I only
understand about what is the reason for this noise, the
concept behind it, and I talk about it, but I don't listen to
it. I'm more on the side that, you can talk about it, but
the first thing that you should do is listen to it without a
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13 H^SEElE The Silent Majority
The Impact of Homosexism and Heterosexism on Bisexual History
Welcome to my Bitch Rant
I want to look at bisexual history. OK, I'm looking and looking but I
can't see it very clearly. Few people are viewed historically as having
been actually bisexual, when undoubtedly many more were going al
it from bolh ends. Bisexual history has suffered in silence. Many
people in history who may have wanted to live openly as bisexual
couldn't, either for fear of discrimination from the gay community or
fear of arrest from the dominant hetero community. Bisexuals were
often forced to "choose," or to hide their bisexuality from both groups.
This is sad, soggy, and sorry in light of the liberating effects an
affirmation of bisexuality could have on future fornication. So,
homosexism and heterosexism (standpoints which operate under the
assumption thai one is either straight or gay) have had a huge impact
on bisexual history. Got it?
Homosexism and heterosexism are linked to rigid sex-role
differentiation. Who/what you are sexually attracted to is perceived
as being inextricably linked lo your "gender identity." For example,
having tils, if I wanna get down to mowing some muff, others may
view me as being less feminine for it; of being a "man" trapped in a
woman's body. In order to experience an attraction to a female, you
must have either the physical apparatus or psychological constitution
of a male? I think not.
The Invention of the term "Bisexual"
For one thing, it was the homos and the heteros who conceptualized
"bisexuality" in the first place, thus issuing it a historical location. It
wasn't until the categories of heterosexual and homosexual were
created in the nineteenth century that there were two specific sexual
identities for one to remain suspended between. Although there was
rigid gender definition — and normative, compulsory heterosexuality
— before the late 19th Century, the things one did "in bed" were still
jusl the things one did in bed, they were not the things that defined
oneself. Foucault sums it up perfectly:
We must not forget that the psychological, psychiatric, medical
category of homosexuality was constituted from the moment it was
characterized ... less by a type of sexual relations than by a certain
quality of sexual sensibility, a certain way of inverting the masculine
and feminine in oneself. Homosexuality appeared as one of the forms
of sexuality when it was transposed from the practice of sodomy unto
a kind of interior androgyny, a hermaphrodism of the soul. The
sodomite hod been a temporary aberration: the homosexual was now
a species [43].
So this bitch rant about the impact of homo and heterosexism on
bisexual history shall begin with the same time period that Foucault is
referring to, the late 1800s. That's really where the history of
"bisexuality," as a modern concept, begins. That was when Krafft-
Ebing felt it necessary to develop rigid little categories so we all cowd
know who we were according" to who/what we fucked. And may I
say that finding material on "bisexuals" of any given period in history
favourite being Marjorie Garber — the lack of information on
bisexuality flies in the face of my happy mantra "everybody loves you
when you're bi." Let's jump to my conclusion: The impact of
homo/heterosexism has been to render bisexual history invisible.
The Crack-Induced Equation:
Sexual Practice = Gender
Foucault's wise words also point to the historical linking of sexual
practice with gender roles. Very important. In order to illustrate this, it
would be useful to define some sexual categories, not only so that we
can all operate with the same assumptions, but also to highlight the
problem of attempting to define anything as complex as human
sexuality. The following definitions are from a very standard 1985
Webster's Dictionary, "designed for home, office, and school":
Bisexual: Having the organs ol bolh sexes
Homosexual: Attraction between individuals ol the same sex
Heterosexual: Directed towards the opposite sex
What the fuck is with that shit? There is no mention of bisexuality
as influencing sexual attraction (or direction) at all under the heading
bisexual"; the definition provided instead is for the term
"hermaphrodite." It is safe to say that this is due to the assumption that
nd any male-female act is
To be a true bisexual (according to Webster's) one
cannot be male or female at all, but must be both at the same time.
Homosexuality is defined in terms of an "attraction," whereas the
definition for heterosexuality doesn't hint at exactly what has to be
directed at the opposite sex. The meaning, however, is implicit.
Introducing ... the Heterosexual!
While we're getting our hands juicy deconstructing language, it would
be pertinent to examine the term "heterosexual" a little more
thoroughly. Heterosexuality as a concept arrived in 1892 courtesy of
one Dr. James G. Kiernan, who defined heterosexuals as those who
"experienced so-called male erotic attraction to females and so-called
female erotic attraction to males." When the word first came into use,
it was to describe "deviants" that we would actually define as bisexual
nowadays. Krafft-Ebing as well devised a definition of heterosexuality
which links it to bisexuality: to the form of "perversion" called
"psychical hermaphrodism" — erotic desire for both sexes. Both views
exemplify the strong linkage of sexuality with gender that still underlies
much twentieth century sexology.
Beginning with Krafft-Ebing, we can trace how the first
appearances of the concept of bisexuality in psychoanalytic theory
were introduced as a way of explaining the development of
homosexuality in evolutionary terms. While psychoanalysts such as
Havelock Ellis and Sigmund Freud accepted bisexuality as a separate
sexual category, there were many who believed that there was "no
such thing." The belief that bisexuality is a transition stage to
homosexuality is still espoused by homosexists and heterosexists alike.
We get many misconceptions from the aforementioned sexologists.
Dr. James G. Kiernan also took the opportunity to define for us the
prototypical homosexual, whom he described as one whose "general
mental state was that of the opposite sex." Tell that to some radical
dyke and stand back.
Introducing. ..Biphobia!
The modern biphobic assumption that bisexuals are indiscriminant
"swingers" who have a hard time with monogamy comes from the
concept that sex for pleasure — rather than for procreation — is
somehow morally degenerate. Although Krafft-Ebing introduced the
term heterosexual to refer to sexual impulses unrelated to procreation,
the fact that heterosexual contact still had the potential for reproduction
cleared it of most of the immoral implications, so that the mantle of
"pervert" could rest solely on the shoulders of those "queers": faggots,
dykes, and fence-sitters.
One or the Other, Baby...
Garber states that "the deep commitment of Western culture to the
idea that there are only two sexes, exemplified in the limitations of
language ... has led to a cultural resistance to openly intersexed
individuals" [269]. This deep commitment to dualism is what lies
behind biphobia, and thus the workings of homo/heterosexism to
silence bisexual history. The inability to admit that one could be
attracted to two genders throughout a life time seems to spring from
the belief that a dual attraction constitutes a dual gender. One
wonders how many intersexed people have been influenced to
undergo surgery or sex-changes in order to become "one or the other"
because of this single-minded assumption. As Garber points out,
"bisexuality queers the pitch, messes up the neat double columns of
figures: straight and gay" [270].
The belief that a person is either/or has been prevalent in much of
jlations. Many of the major
lity have been completely
homosexis-t in their "scientific" approach. In many "scientific" surveys
investigating same and opposite sex behavior, responses are classified
as either heterosexual or, if people respond that they've had
experiences — even a lone dick-suck in a sea of vaginal
lity was not considered a distinct sexual
One historical response to the problematic label "bisexual" has
been to further "explain" bisexual behavior by categorizing it as
transitional, historical, sequential, or concurrent [Garber, 20], with
concurrent bisexuality often considered the only "true" form of
bisexuality. To be a concurrent bisexual, and to many this is the only
"real" bisexuality, one must be having relations with both male and
female genders at the same time. Now, I am unsure as to whether
this implies that the only legitimate sexual encounter is a menage a
trois, or that one has to be alternating partners on a nightly basis
("Thursday? No, sorry John, that's Susie's night"). It is obvious that
this rigid criterion gave rise to the biphobic belief that bisexuals are
sex-craved horndogs incapable of monogamy.
There is a vast body of literature detailing how a significant portion
of the human family has experienced both heterosexual and
homosexual attractions and behavior. Regardless, stupidity continues.
Understandings of sexual orientation and sexual identity continue to
be based on the assumption of monosexuality — that people make an
exclusive heterosexual or homosexual "object choice." If we follow
this runaway train down the track of narrow mindedness we arrive at
the next stop: sexual deviancy. If we were/are socially pressured to be
"one or the other," bisexuality appears anomalous; individuals who
claim a bisexual identity are seen as psychologically maladjusted and
unfit for social interaction. The end result is that the rigid, socially
prescribed ideals of homo/heterosexism compliment each other as
they close in to squeeze out bisexuality.
Bisexuals: Lost in Time
Although it is necessary to distinguish between those gay individuals
who were forced into a bisexual "lifestyle" (for example, by the
pressure, economic or otherwise, to marry) what pisses me off is how
historians have to bend over backwards in order to document people
who were "truly" bisexual.
Bisexual history has been slapped with the double burden of
heterocentric and homocentric appropriation of its characters and its
literature — whether it's the reduction of sexuality to actual physical
acts, or in the tendancy to emphasize homosexuality or heterosexuality
in the search for a suffocating dichotomy. University of Victoria
instructor and queer sexpert Karen Duder illustrates the problem of
approaching people's sexual histories from the dualistic perspective
that one is either "gay" or "straight": "The 'not said' and the 'not
seen' may also be important conceptual tools in the history of
bisexuality which, in an even more dramatic way than lesbian history,
remains stuck in the quagmire of 'identity' and 'proof'" [4].
In insisting upon "genital contact and visible characteristic, queer
history has largely excluded bisexuality, assuming instead that an
individual's coexisting heterosexual and homosexual desires or
acitivities are merely manifestations of the struggle to come to terms
with a 'true' lesbian or gay sexual orientation" [Duder, 4]. Moreover,
many decisions about who was or wasn't gay in history are made by
judging a book by it's cover. If you didn't "look" gay (ie. exhibit
physical traits of the opposite sex) how could you possibly be gay? If
Alan Alda had died of AIDS in the mid-'80s instead of Rock Hudson,
the world would have been much less shocked. This kind of gendered
thinking has fed the homocentric belief that "feminine" lesbians are
somehow not true lesbians. And what the fuck does a bisexual look
like? Oh, I forgot, "it" looks like a fucking hermaphrodite.
Bitter, bitter ...
Can I have your bodagraph, please?
Historians have acknowledged many bisexual women in the blues
community, namely Ma Rainey, Bessie Smith, and Alberta Hunter;
however, some historians, like Lillian Faderman, take pains to imply
that the women led a somewhat open bisexual life in order to enhance
their sexual image. Total bullshit. It seems from the self-assured lyrics
of all three singers that they were quite comfortable with their
sexualities, and were gettin' jiggy with the ladies out of genuine
desire. All three women had very sexy public personas, but perhaps
the strength and comfort of having the means to support themselves
without a man (economically, emotionally, and sexually) also
contributed to their public sexual appeal. Confidence and comfort,
combined with the pleasure of knowing that you're bending the rules
(and getting away with it for the large part), are bound to translate
into a sexy persona from the inside out. In an article titled "Breaking
Out of the Dominant Paradigm: A New Look at Sexual Attraction," the
authors suggest that "there are indications that individuals with a
greater mix of feminine and masculine characteristics (both mental by Hancunt
(with a little help from Marilyn Monho)
and physical) are actually more arousing than
those who fall closer to the stereotypes. The arts, it
is suggested, have exploited this phenomenon"
[Kaplan& Rogers, 71].
Despite the appeal of bisexuality, history isn't as
fascinated with bisexuals as it is with those late
celebrities, such as Rock Hudson, discovered to be
gay. Little is mentioned of Marilyn Monroe's, Billie
Holliday's, Janis Joplin's, or James Dean's
bisexuality. Bisexuality is often viewed as a "phase"
or an "act," as opposed to a natural expression of
desire amongst the famous and the non-famous.
Similarly, the fact that bisexuality is often
considered "sexy" in our society is viewed as a
motive to "act" bisexual, perhaps in order to cash
in on some kind of Basic Instinct vibe.
Tantalizing Taboos
When we consider how transgression and taboo
are such major erotic forces in Western society,
fueling fantasies and cravings for the "forbidden,"
it is no wonder bisexuality is so provocative. It
subverts the gendered understandings of sexuality
which have been upheld by society and science.
So, would it be pissy to say then that masculinity
and femininity should be measured as separate
spaces, not as opposite ends of a single line? That
way, people could display behavior that is
simultaneously male and female. But, if this is not
considered taboo, would we be then taking the fun
out of it? Hmm. At the very least, basing our
conceptualizations of sexuality on the male/female
dichotomy is not only gross oversimplification, it
also serves as the basis for social control and
discrimination. In a time when being gay or lesbian
is no longer illegal (at least in Canada), bisexuality
still signifies gender transgression. It is this crossing
of yet another line — freely incorporating aspects
of both male and female gender indentities — that
is so titillating.
Et Tu, Brute?
In light of the general history of twentieth century
North American sexuality, it is strange that
bisexuals should experience discrimination on
behalf of those who experience the same brand.
Bisexuals faced intense discrimination from both
homo- and heterosexuals with the advent of AIDS;
the prevalent fear of the bisexual AIDS "carrier"
has been widely documented. Before AIDS, there
was (and still is) a view of bisexuals as vampires,
feeding off the love of homosexuals, then leaving
them high and dry for some heterosexual privilege.
Fuck that.
All the blame for the silent treatment of bisexual
history cannot rest solely on the polar shoulders of
homo/heterosexism, however. The fact that it takes
so much and is so hard to qualify as a "true
bisexual" means this: although most people at
some point in their life have a same-sex sexual
experience (just as most people at some point in
their life have an opposite-sex experience) it doesn't
matter. It's not enough to get you into Club Bi.
Garber agrees: "One should realize that most
bisexual behavior will occur without ever being
labeled bisexual" [97]. Therefore you have to be a
"fence-sitter"; right smack in the middle all the time
to qualify as bisexual, and even then you're still not
free from having your sexuality define your
individuality. It's hard to balance your butt on such
Finally, it is hard to define the impact of
homo/heterosexism on bisexual history because,
so far, that history ii practically non-existent due to
homo/heterosexism. Many bisexuals themselves
have chosen to remain in the shadows, most likely
due to the homo/heterosexism that they experience
in political activity. The Great Goddess Garber
offers another reason for the lack of political activity
on behalf of bisexuals: "Politics is the art and craft
of opposition ... when a binary politics intersects
with a binary notion of sexuality, there is no place
for bisexuality, no place for that which destabilizes
and disrupts" [80].
When I think about you (and
you) I touch myself
In light of the fact that masturbation is not thought to
imply homosexuality (as one is, afler all, touching
oneself, and that could be interpreted as an
attraction to a same-sex body), the questions left to
ponder are: Why are we hostile to the obvious fact
that erotic life is all part of the same set of
pleasures? Why limit ourselves to the only two
socially condoned sexual categories? Wait! I have
the answer: we are uncomfortable with ambiguity.
We want clearly defined parameters. It is almost
impossible to build solid hierarchies with circular
bricks; squares are much more stable objects to
stack things upon.
I Scream, You Scream,
We All Scream For Bi's Cream
A social acknowledgment of bisexuality would
necessarily be part of a larger social change, as
this acknowledgment would mean questioning
traditional beliefs about relationships between men
and women.
If our society began to take a celebratory view
of bisexuality it would fuck the shit out of the anal,
unmoving belief that the stuff of sexual relationships
is equivalent to the stuff of gender. The singular fact
that a potential fuck's gender may not be important
to the bisexual attacks the core of a society which
classifies sexual encounters in terms of gender.
At the risk of assuming a bisexist stance let us
state that we firmly believe bisexuality could be
interpreted as a metaphor for ending all
boundaries (sexual, racial, and so on) between
people. Just as a radical lesbian politics — and
lesbian separatism — was an essential part of the
feminist movement in the '70s; a bisexual politics
which refuses to operate according to a binary
gender code should be an essential part of reifing
feminism in the year 2000. Let's let our
relationships to one another reach multidimensional realms — and fuck anything that
Co-Authors    Hancunt    and    Marilyn    Monho
discovered their bisexuality whilst attending a
Reform Party Orgy in Bossano, Alberta. •
Duder,  Karen.   "Public Acts and Private Languages:
Bisexuality and the multiple discourses of Constance Grey
Swartz." Unpublished manuscript.
Foucault, Michel. History of Sexuality Vol.1. Vintage
Books: New York, 1990.
Garber, Marjorie. Vice Versa: Bisexuality and the Eroticism
of Everyday Life. New York: Simon & Schuster, 1995.
Kaplan, Gisela T. & Lesley J. Rogers. "Breaking Out of the
dominant Paradigm: A New Look at Sexual Attraction."
Journal of Homosexuality, Vol. 10(3/4).
August 9
The Chameleon
Double Dutch treat
Ariing & Cameron
musical recipe of
recyclo-kitsch Esperanto
club-pop live for the
first time! PATRICK
By   Robin   Fish_er
1 A ihen I first met Patrick Fillion all I could think aboul were
\/\/ the three big yellow slickers I had lo place on his comic
Y Y to hide il from curious youthful eyes. As a straight girl,
of course his stuff isn't going to do anything for me. Bul, as a comic
lover, I can't help but like his work because it is so well drawn.
When I sat down to interview him he and his work had just been
picked up by two websites (ironically, one of them is for straight
girls). He was finally making enough money to devote all his time
to his art and it was about time, too.
DiSCORDER: So to start off, describe your history. How
did you get into comics?
Patrick: Growing up in Prince George, being the different kid, I
never had lots of friends. I got into comics because it was a good
way to get away from the nasty day-to-day life. I also saw that I
really had a thing for drawing. I liked the medium and just the way
of expressing yourself, to me it felt very free and honest.
Was Affinity your first comic?
Affinity? Actually, no. I started off in elementary school doing comic
books in class, hence the name of my publishing company, Cluss
Comics. As silly as that is, it stuck with me. Anyway, I was drawing
X-Men just for the fun of it and letting the olher kids read it and then
they all said to me at one point, "Well, why don't you do your own
stuff? These characters are great, but if we really want to see the X-
Men we'll go down to the comic store." So I started drawing my
own characters and the first one I did was Camili-Cat. The book
was called Magma Forces. I actually did 1 29 of these. They were
all in pencil and they had 10 pages or so.
How old -were you when you did that?
I started off when I was 12 or 13.
So you were doing Magma Forces?
Well, when Magma Forces came along I was a teenager and I
was starting lo discover my sexuality. Magma Forces became a
sounding board for a lot of things.
How? Were you drawing adult comics around then? I
mean, you were only 12.
Well, I drew my first naked man at 1 1 [laughs]. So go figure.
Did you  have hoards of drawings hidden away?
Because when you're a kid you can't really show them
to anyone.
You know, it's funny because I used to leave pictures of women I
had drawn lying around to fool my parents into thinking I wasn't
gay. But as much as they were a sounding board, I still kept a lot
of my adult pages out of my comics. I think the pages that never
made it to print are the pages that were probably the most
therapeutic. I was pretty hesitant, remembering too that I was still
quite young. So I didn't really have the balls, I think, to put this
stuff out in Prince George of all places. It isn't like gay books and
things fill the library shelves there.
Was coming out to your friends and family hard for
you? Because it wasn't just you but your comics too.
I really wanted to take the plunge and have more of my hardcore
stuff published. That kind of meant coming out. When I moved to
Vancouver I came out to my friends and it was a positive thing.
That was what basically influenced my putting out the erotic gay
comics. I told my parents after that and they were fairly okay with
it, so coming out for me wasn't a terrible thing.
And then Cube came along.
Yeah, Cube came at a later point. I was doihg Affinity for awhile
after I moved here in 1992, but it was going nowhere fast and I
really wanted to try something a little more mainstream. That meant
keeping sex out of it. I had women reading it, I had straight guys
reading it, I had gay guys reading it, and they just took it for what
it was: campy and, most importantly, fun. That was my main goal
for Cube. I also didn't want it to be regarded as a "gay" book
either. Sure, half the characters were gay, but I wanted readers to
enjoy them for what they were. This was a book about human
beings with nifty powers and shit going on some wild adventures.
I think it worked.
After Cube you went on to do the internet comic
Satisfaction Guaranteed. How did that come about?
Satisfaction Guaranteed was a custom-tailored job. I had done
work for Canadian Male which was one of the first gay male porn
magazines done in Canada. I had done some illustration work for
them and the editor at Chisel had seen my work. It also happened
that my good friend Nico, who had done Beatrix Dominatrix for
Eros, was working for Chisel's mother company, Starnet, at the
time. He approached the editor of Chisel and mentioned that I was
interested in doing art for them, and that's how it came about.
When I went and met with Chisel, they told me that they wanted a
strip that would allow for a great variety of characters so that there
would be something for everyone. Satisfaction Guaranteed seemed
to suit that purpose.
Who are some of your influences?
Well, when I was growing up, the Uncanny X-Men were a big
Could you relate to that?
I could relate to the X-Men in a strange way because, if you read
Uncanny X-Men, they're outcasts from humanity. On an interesting
twisted parallel, homosexuality is not all that different from being a
mutant, according to the comics' description [of] how society will
shun you because you're different. They'll hate you and they don't FILLION
even know you and no matter what you do ...
... they'll stereotype you. •
Yeah. Now I'm not saying everyone treats gays like this, but
there   are   a   few.   My   experiences   growing   up   basically
resembled this. Later on I guess I was looking for comics and art
that wasn't  so bubblegum-ish. That's when I discovered Daerick
Gross and Bradley Parker's work.
Who are they?
Well Daerick Gross isn't known as much, but Bradley Parker
has done a lot of gay porn, and they put their money together
and did a book called Ninja Warriors. I didn't know they were
gay, but their depictions of men were very sensual and I think
that's what originally pulled me to them. Anyway, to make a
long story short, Daerick Gross's work is exquisite. It's very
polished and smooth. His men and his women are well-rounded
and I think I evolved my
Daerick Gross who did
artists, I didn't even kno
Before moving t
I mean, in Princ
if it existed ther
Did that bother you?
No, but it was cool to discover. I thought, "Wow, finally!"
Because I love art work, these findings were a complete thrill.
It's like George Quaintance from the '50s.  His men were
beautiful, but I didn't know who he was until '93 either. Despite
all that, there are still a very finite amount of people doing
erotic gay artwork like this.
You   were  going  to   have  a   book  published   by
Fantagraphics,  but due to legal issues it didn't
happen. I would've thought they would be leaping
at a chance to have you on their roster because all
they have is John Blackburn's Coley.
And even that they don't consider [Coley] gay, they consider it
"bi-appealing." To be honest, I don't consider it appealing at
all. I think Fantagraphics felt that the gay market was a little
risky because of the lack of other gay erotic comics out there.
But the thing is, I've been getting a lot of response
I've done for Chisel from Spain, Brazil and Frana
few. My work in Canada has been really well n
■ion of that. Generally, it was
3. As far as established gay
f Finland existed until 1993.
George you didn't have that kind of stuff, and
, I didn't know where to find it.
e for the
there's obviously a market for it, not only in North Arneri-
I want to know how you feel about the negative
response you get [to your work], because it is
pornographic. I'm pretty open-minded when it
comes to these things, but sometimes I'll read it and
I can't help but think, "Whoa, Patrick, that's really
graphic." For all the positive response you get, you
also have the people screaming about how you're
objectifying this and he's raping him, blah, blah,
blah; as well as the slimy lecherous people going,
"(slobber, slobber) I really, really, really liked that
last scene you did."
You know, it's funny because as soon as anyone mentions sex,
people just freak. But you know, Stephen King can write about
some psycho clown terrorizing children and murdering them in
their beds, and it's perfectly fine. To me that is so abnormal.
We're all people and we all enjoy having sex no matter what
our preferences may be. So to me it's all about human nature
and I think that the human form is really a beautiful thing. Its
one of the truest forms of art, yet it's one of the first forms of art
to get censored. You see, I kind of have a naTve approach to the
whole "depicting sex" thing, because I'm having a good and
honest time doing this. I'm not doing it because I'm some dirty
disgusting lecherous individual. I'm pouring as much love into
these characters and their situations as I would into a
mainstream comic. I also think growing up in an environment
that was constantly telling me that gay behaviour and sexual
shouldn't exist, probably explains a little bit about why I'm
depicting so many facets of gay sexuality.
Your poor mother.
[Laughs] You know, ironically enough, my parents were visiting
from out-of-town and my dad looked at one of my issues of ZIP
Magazine, a gay Montreal mag I do a regular Camili-Cat strip
for. I was horrified. I thought, "Oh my god, he looked at this
while I was away." And I came home and said, "Well, Dad,
now you know what I do" and he said, "Patrick, we've always
known what you did. Just because we don't necessarily enjoy
the content doesn't mean we don't take an interest in your
work." And I thought, "This is probably one of the most mature
responses I've gotten." I would've expected a more explosive
reaction from my own father. As far as responses on the net, I
got one e-mail that said "Keep drawing and I'll keep jacking."
I thought, all right, there are two ways to look at this, i could've
been totally grossed out and played the priss or I could just
say, "Well, if it's impressed you that much, it's flattery really."
Now Patrick'
future is busy
With the seco
nd volume of
Cube slated
o come out ne
xt year
with Tom Young writing, it
can only get
better. If you v
vant to
see any of hi
stuff on the
internet check
out <www.chi
. You can get
his comics at
Little Sisters c
r the ABC Book & Con
ic Emporium.
17 ®^§5SB3Sj_ r
£^      e^er swift
fry Anna Friz
briber Swift is a wacky music-playin' woman who is compared to Ani DiFranco more often than she
~can stomach. When I caught up with her on her cross-Canada lour, she confessed to wearing Y-front
m briefs and being addicted to American candy, among other things   ..
in you describe yourself?
jughs]   Which portion of myself a
Ember Swift: No [laughs]  Which portion of myself are you interested in? Like rr
I'm an independent artist [from] Toronto, running an independent endeavour with an independent label:
multi-styled music, eclectic musician, jazz, folk, funk, punk, pop, crazy wacky music.
It's a good description. Tell me about your first performance ever.
I was ten. I had a rip in my leotards, my mother was mortified   That's the one thing that she always
remembers. That was my first solo performance, I sang a solo song for Christmas.
A sign of things to come.
I know! My mother was just beside herself: 'Oh! You sang beautifully, honey — but your leotards!' It's
now characterized our relationship  'But your hair'-
What motivates you to sing and to write songs, play music?
I think it's very important to write about things that I absolutely believe in   Honesty is the biggest moli-
Do you consider yourself an activist?
Absolutely I think music itself and musicians all have the power to be activists, and whichever platform
you choose to stand on and stand off as you progress and grow as a person, I think it's all worthy, il all
teaches you a lot about yourself.
If you could play with anyone who was living or dead, who would that be?
The people I'm playing with right now are pretty smokin', so I should say that right now we're touring
in a trio act and I'm playing with Lyndell Montgomery on violin and bass and Sheryl Reed on drums.
A lot of your songs talk about individuality but also a need to stand together, to find
commonality even among people who are really different. So, in terms of the queer
community, where do you think we're at as a community, and do you think things
need to change?
I'm stroking my goatee. I think that there are some really, really great people in the queer community that
are doing some fantastic work, I really do There's also backlash in the community, there's people who
don't want the change to happen, not because they don't want the queer community to progress, but
because they're just people who don't want change. I think that definitely things are changing, and growing, and getting better There seems to be a growing openness, and even use of the word "queer" has
been, in the last couple of years, making itself more widespread I think that we should celebrate the victories and challenge the problems head-on, and continue to keep our eyes open.
And since you're also playing for Pride this weekend in Vancouver, do you think we
stitl need Pride parades?
I think Pride is great, it's a day of celebration and I think that people who see Pride as the one day of
the year when they can walk out on the streets holding hands and smiling and feeling no fear, those people are missing the fact that it ought to be every day, and they're seeing it as their one day of freedom.
Many people outside of the queer community also see that: 'Today is the gay day!' and, 'Outside of
today, we don't have to see these people on the streets!' But, you know, if we could have more than one
of these days every year it would be amazing.**
Do you ever feel like you've been pigeonholed?
In terms of being pigeonholed stylistically, no Most of the time people are really at a loss for where to
put us stylistically. As a result, they put us into a thematic place: 'Oh, this feminist music Or queer music.
[Or] to an aesthetic place where 'this is obviously punk music [because] oh, look at her hair.' But we're
really style-jumpers — we're trying to do different things and look at music as a complete and open
ground in which we have the right to tread.
One of your songs on the new album ('Permanent Marker') is about eating disorders,
referring to that socially reinforced body ideal. Even though a lot of women in the
queer women's community — again, I'm using more blanket terms here — are pretty politicized, do you think that there are still stereotypes of beauty among queer
women, and do you think that's a problem?
I think that for some it is. There are still women in and out of the queer community who feel that they need
to alter themselves, that they're not quite satisfactory in their skin at the moment, in the here and now.
So that song is particularly about not feeling happy within your own skin, and people experience that
in various ways That song is really about learning to see ourselves with our own eyes in a way that's
accepting and with love. It's talking about someone that feels they're overweight, and somebody who
has experienced eating disorders. It's a conversation between those two people, one of them being
myself. It's a really intimate song for me."
x h e   ^>e N D U L U M
mmm, fr©h food wrap5,
ftesh 3Qiieezed juta
vesetarian 6 ve_an entree*
downed & operated by the students of UBC
n the Student Union Building at UBC,
6138 SUB Blvd, Vancouver, BC
Hours: Mon - Fri: 8am to 8pm
Sat - Sun: 9am to 5pm David Bremner of
Out On Screen
by Erin
DiSCORDER: Tell me a little bit about Out on Screen.
Out on Screen is the name of the organization which produces Vancouver's Queer Film and Video
What makes a film qualify for the Out on Screen Festival? Are there any regulations
with regard to 'queer content' similar to CRTC regulations for CanCon?
Anyone can submit their film to our festival, from any country, [it] can be in any format, and it should
have queer content of some kind. It can be a straight director with queer content, it can be a queer director with very little queer content... it can be any mix of that We do try and keep a large number of our
screening with Canadian content. There are no regulations, though.
In your experience, what has the film industry's perception of queer films been?
It's becoming a lot more friendly. I think there's a difference between gay films and queer films. We chose
that word [queer] because we are a little bit more political. 'Queer' has a different connotation than
'gay' ... I think 'gay' is a lot more accepted these days. 'Queer' has a more political connotation, I think
it's a lot more of an inclusive word too. There are a lot of gay films out there which have been very suc
cessful — such as In and Out — which tend not to deal with very c<
mixture of fun, political, and more topical stuff.
What theatres are you going to be running in?
We start on August 5th, our gala opening, and run until August 15th. The vi
Emily Carr, Judge McGill at Robson Square, Pacific Cinematheque, Van East Cin.
;. We hav
e the Blinding Light,
as, Video In Studios,
is at Famous Players but we turned them down because
and the Grunt Gallery. We were offered v
of the politics.
In the past 11 years, has there been any opposition to the festival?
There's always opposition to these types of things, from a minority of people. Mostly 'concerned citizens,'
that kind of thing. Again, we're targeting a market, and within the film industry it's fairly progressive anyway. We have a fairly open-minded demographic.
Can you tell me about any noteworthy film off the top of your head?
We're opening with Better lhan Chocolate and that will open with a live performance by artists who are
on the soundtrack. And the opening gala is also a fund-raiser for the Little Sister's Legal Defense Fund.
The other opening feature is Trick by Jim Fall. It's got Tori Spelling in it! It's about these two guys who
meet in a bar and decide to have sex, so they just walk around New York, trying to [find] some place
to have sex, it's just over one night and at the end of it they've fallen in love. It's quite magical, it's a kind
of fairy tale. Then we have Positively Queer Youth, a series of shorts all about youth. We have a real
mix of new and old films We're premiering Bruce La Bruce's new film Skinflick. He's a Canadian director and will be in attendance We've got some programming about queers in the military — shorts, actually. We have parties as well.
Tell me about the parties!
The opening night party is at the Electrolush Lounge at Denman Station, and Out by 2 [on Friday,
August 6th] is at a location yet to be announced.
Do you find you have a queer or straight audience or a mixture of the two?
It's a very good mixture. We also have Asian programmes, Jewish programmes, French-Canadian programmes, we cater to the deaf community, we have ESL interpretations, all of our venues are wheelchair
accessible. We try and include as many people as possible. The festival is not just a promoting party
to pat ourselves on the back. It's there to educate and enlighten. Otherwise it would be like preaching
to Buddha. We want to reach out to other disenfranchised communities, to show that no matter what
group they belong to, film is a viable medium for them to have a voice in and be recognized It can be
very expensive, but you can also do something very effective without it being expensive. •
Video Philter
- lo-fi
I the hi-fi, the
Canucks were making their
glorious run to the Stanley Cup,
amateur hockey players suited up
and brought Canada home an
Olympic silver medal, and the
gay and lesbian sectk
Videomatica was a scant two
shelves dominated by coming-out
documentaries and titles such a:
Song of the Loon.
A half-decade later, the
number of gay and lesbian titles
available, not only a
Videomatica but — gasp! — the
"family" chains as well, ha:
increased dramatically. Nestling
up to the plethora o'
documentaries outlining thi
homosexual experience of thi
past century is a wide variety o
narrative films which explore nc
only the revelation, but thi
elation, of being gay.
The  same disclaimer
attached to my previous foray into
the lavender screening roo
still along for the ride here
There's a gay explosion out
there, and I'm not talking
about Boy George's
waistline. When I last covered the
gay and lesbian video beat, the
year was 1994. We were all so
j innocent back then -
am not gay, I only wish I were.
Having gay friends and being
sympathetic to the struggles still
faced by the community in no
way makes me an expert on all
things homo. However, as a film
critic, even gay-themed films can
be subjected to brutalizing
scrutiny as works of art. In that
light, I have delved back into the
now full-wall-sized Videomatica
gay and lesbian section to peruse
a title or two you might want to
pick up on your way down to
Denman St. and those naked
golden boys/girls.
Making my job so much easier
this time around was the relatively
While an attempt to use the
catalogue section entitled "gay
and lesbian" revealed that the title
was the only thing that's actually
been entered so far, in the "New
Releases" section, double-clicking
on the "gay and lesbian" category
actually calls forth five pages of
videos to choose from (including
a quick review, pictures of the front
and back of the box, year made,
stars, etc.)
Always unwilling to stop at
just one, I did my research this
month in delectable double-
deluxe double bills. First stop —
Hollywoodland. As the yin and
yang of recent gay titles, High Art
and 6/7/y's Hollywood Screen Kiss
provide all the drama and
comedy of any good relationship,
gay or straight. I must warn you,
however, that this duo must be
viewed in the order that I have
mentioned them for maximum
viewing pleasure. High Art, the
moody story of a fresh young
magazine editor who becomes
drawn into the world of a heroin-
addicted artist, has such an
addictive intensity that it must not
be wallowed in without respite.
After the power of Ally
Sheedy's performance as the
exquisitely sad artist, Lucy, the
breezy, bubbly charm of Sean
P. Hayes (seen every week as
Jack, the funniest character on
TV's Will and Grace) is just the
drug you need to bring you back
up. Replacing High Art's earth
tones and blacks with pastels and
summer brights, Billy's Hollywood
is the rare flick which gives you
the feeling that these characters
are people first, friends second,
and gay somewhere in the mix.
High Art's somewhat cliche
)spect of the
movie; happily, Billy's Hollywood
Screen Kiss has one of the most
honest and sweet finales of any
film I've ever seen. As I can keep
a secret, you'll just have to find
out why for yourself.
Jumping over into the wish-
fulfillment category of gay
cinema, I skipped through two
independent comedies with
similar school-chums-get-back-
together plots: / Think I Do, a low-
budget American project, and
Different for Girls, a British offing.
As I should have known, the
British won out, hands (and pants)
down. Bad acting, laboured
writing, and an implausible
ending made / Think I Do
(described by Videomatica as
akin to Four Weddings and a
Funeral— I don't think I agree) a
rather painful 90 minutes. For an
hour and a half of thought-
provoking giggles, Different for
Girls is a delightful soiree in a
video box. What would you do
if your best friend from
adolescence turned up in your life
after 1 8 years and a sex-change
operation? And if you found
yourself strangely attracted to
him/her? Such is the dilemma of
the climactically gorgeous
Rupert Graves, set to a
smashing early '80s Brit-pop
soundtrack (including a live onscreen performance by the
Without the space to glorify
Rupert Graves' beauty properly,
or to tell you in detail about all
the swelligant titles you should be
exploring for yourself, I will
conclude by suggesting you keep
an eye out for a queer pairing
that debuted at the Vancouver
International Film Festival last
year. Already on the shelves is
the superlative Gods and
Monsters, which startlingly proves
that Hollywood queens have all
the fun and Brendan Fraser
can actually act. Hopefully
coming soon is Love is the Devil.
Starring Derek Jacobi as
queer artist Francis Bacon, this is
as innovative and compelling a
biography as I've seen in a very
long time. Snappy bon mots and
searing pain are combined for a
sadomasochistic film romp.
Consulting an actual boy who
likes boys, former DiSCORDER
editor Dylan Griffith, I received a
list of must-see films for those on
the ends of the Kinsey scale, and
everyone in between:
1. My Own Private Idaho — an
exquisite disaster
2. Torch Song Trilogy— but avoid
looking at Matthew
Broderick's hair ... if you can!
3. Gallipoli — tell me those boys
aren't desperate to shag each
4. Orlando — Quentin Crisp
as Queen Liz the first; need I say
5. Trevor — It's a short that was
at the film festival a few years ago
as part of a gay shorts compilation; Videomatica has if.
6. Jeff Stryker: Powertool — do
you have a workshop?
7. Another Country — Rupert
Everett giving wealthy, good-
looking, witty paedophiles a
documentary on gay Hollywood.
9. The Life and Times of Harvey
Milk — he was ugly, but what a
10. Stand by Me — watching
River Phoenix in this film has
been known to confirm nagging
suspicions in 11/12 year-old
1 1. Romeo & Juliet— Leo, Leo,
Leo, looking fine everywhere,
plus Harold Perrineau as a
queer Mercutio doing a fabulous
drag number.
1 2 Bound— unparalleled excellence in mafia lesbian thrillers.
13   Cabaret — you know why.
14. The Wizard of Oz — watch
with e
it again with eyes a
15. Priscilla, Queen of My Pants
— er, the Desert. «
Happiness by Miyu
When your mother died, you wept be-
has forgotten his face. Y<
her a potted plant and a Printed
The Spirit Cabinet
(Random House)
The Long Drive Home
(Insomniac Press)
Paul Quarrington is an
entertainer He hunkers down
above his flashlight, pulls the
sleeping bag over his head and
makes us feel like there is
something else out there, until we
can't get back to sleep and have
to turn the lights on and look
under the bed His latest novel,
The Spirit Cabinet, made me
giddy It is creepy and weird, like
ghost stories during a squirmy,
sugar-fueled slumber party.
I was left with an impish
secret, hard to define to those
not initiated. But I'll try to nail
down The Spirit Cabinet, and let
you in on the mystery as best I
can Let's start with a middle-
aged couple, Jurgen and
Rudolfo, Jurgen is a magician
and Rudolfo is an animal tamer
Let's throw in a little glam, a rags-
to-riches saga leading to the
rococo Liberace lifestyle, and, of
course, Las Vegas. Then infuse
the tale with the small gap in
human experience, that "what if"
which renders true magic (versus
mere slight of hand) a possibility
And finally, let us incorporate
thot scene at the end of Raiders
of the Lost Ark where the Ark is
opened and all the ghosties
come out and swirl around.
Maybe, now, we are coming
a little closer to The Spirit
Cabinet If I describe the plot,
you have to all promise me that
you can still believe it contains
serious literary merit. Somehow,
two Germanic body building
performers, clad in seqqined
cowboy outfits and conversing
in pretentious Euro phrase, are
capable of inducing empathy
Rudolfo and Jurgen, at the
peak of their success on the Las
Vegas casino scene, experience
a rift when Jurgen purchases
some remnants of Harry
Houdini's collection of arcana
and magical paraphernalia
Jurgen proceeds to cloister
himself in the Grotto beneath
Das Haus, and sets about
learning the secrets of true
magic   Meanwhile, Rudolfo is
abandoned, and pines for his
lover. While Jurgen becomes
increasingly disembodied,
beatified into a sublime essence,
Rudolfo cannot understand what
is happening to his other half
and wanders their palatial
home, bereft.
The Spirit Cabinet overlaps,
text spliced beyond the
technique of mere
foreshadowing. Each chapter
cuts vertically through Jurgen
and Rudolfo's lives, intermingling
youth with the apex of their
success and the details of their
dwindling relationship.
Quarrington cuts and pastes his
novel into an organically three-
dimensional plot structure. As
Jurgen's magical capabiliti
intrude on the miraculous, <
feel the concrete whole of
Quarrington's plot crack
appropriately. The result:
delightfully effective shards of
light peer out of the text.
Quarrington manages to be
operatic without an ounce of
pretension. The Spirit Cabinet
broaches all the huge themes:
lost love, success, mega success,
failure,   and   the   nature   of
dedication to art Still, it
feels as
Rogal's novel The Long Drive
mostly occurring on Conadion
if   these   huge   them
-•s   are
Home. Here we encounter a tale
turf with a liberal sprinkling of
incidental to the plot   Th
e Spirit
about   disparate    travelers
local    place    names    ond
Cabinet introduces huge ideas
converging   on   a   roadside
Canadian trivia, why are most
backwater. Unfortunately, it left
of the characters carrying guns?
me at that motel in Magog,
We know they're bad people up
Quebec, on the unused bed,
to no good, but liberal gun toting
drinking tepid cola and numbing
unravels all of Rogal's deliberate
my road weary eyes in search
Canadiona  Further, it is hugely
of a made-for-TV movie of the
obvious that The Long Drive
co «7'-/.v
Home is reaching out to other
1 just can't understand what
audiences, overseas and south
is so new about a road novel,
of the border. There is a lot of
sex, violence and suspense,
exposition, covering geography
especially when it isn't very well-
written. 1 can read the some
Raymond Chandler    short
and cultural details with which
the average Canadian reader is
more than familiar. It makes me
story  over  and  over again.
feel, well, like 1 was not Rogal's
rehashing the same plot and
chosen audience. And that hurts
elements, and be thrilled silly
The Long Drive Home is
over     Chandler's     use     of
ambitious:   ambitious to be
language. Rogal attempts the
discovered outside Canada, and
same linguistic tension and
perhaps also ambitious in its
sparse prose, but falls short.
Indeed, The Long Drive Home
lacks that literary edge It would
make an intriguing film, but is
attempt at clean, hard boiled
prose. Wait for the late night
made-for-TV version. It should
possess all of the eerie shadows
an awkward novel
and tension, the quiet car sounds
The novel's premise is
and road conversation which the
appealing, however. Several
novel lacks. Even the guns might
characters, some on the road.
offer requisite shock value given
some      in      Toronto,      are
some visuals of the Canadian
unknowingly intertwined; all
shield and lots of bilingual road
converge in a final droma in the
signs. Maybe then, with the
Magog, Quebec motel parking
wooden dialogue converted into
gently, and sincerely, a
id then
lot. Each individual is a little
flesh, we will really understand
.knocks them down all
in fun,
corrupt and partly responsible
Rogal's observation that gun-
using sheer melodrarr
a.  But
for the final showdown, but no
toting  bad   people  are  not
don't be fooled. Jurgt
n and
one character is fully aware of
exclusive   to   the   American
Rudolfo may be buffoons, but
the inter-relatedness of his or her
landscape,    that   even    we
their saga is genuine. Let
t break
Canadians may be in some way
your heart; you'll be okay.
What 1 want to know is this*.
implicated in that showdown at
My second foray intc
since The Long Road Home is a
a   sleepy   motel   in  Magog,
new Canadian
ng i
i Stan
consciously Canadian novel,
Louder Than
A Bomb
I find the contradictory relationship between mainstream Black culture and queer
brothers and sisters both fascinating and deeply disturbing. I
mean, it has been said a million
times that the general homophobia
of the Black community is most
clearly articulated in forms of popular cultural expression such as rap
music. The music reflects what the
people are thinking, or rather what
they have been told to think No
(sub) culture, however, exists in a
vacuum. Any minority culture inevitably assimilates and reflects many
of the central cultural tenets and attitudes of the majority Since we are
constantly bombarded with images
and cultural iconography which
serve to reinforce notions of agency
and power based on the White
Supremacist Patriarchy's repressive
hierarchies, agency becomes associated with patriarchal notions of
masculinity. In this zero-sum game,
power is necessarily seen as "power
over" rather than "empowerment".
The only way to assume a powerful
role is to dominate an other, the justification for this domination is simply difference. Since the structure of
the greater society is mirrored within
the Black community, it is those who
are perceived as different who are
targeted, those who do not fit in to
the sexual identities assigned by the
system. People are afraid of homosexuality because we have been socialized to associate difference with
degradation rather than understanding difference for difference.
What we must realize is that by using difference as a basis for degradation we are replicating oppressive hierarchies. Even among political radicals the tacit acceptance
of notions of power based on an
oppressive and dominating notion
of masculinity often go unexamined.
For example, Eldridge Cleaver's
scathing attack on James Baldwin
in which, through some very twisted
logic, he arrives at the conclusion
that queers have betrayed their race
and are the agents of the enemy;
Public Enemy's pathetically homophobic "Meet the G That Killed
Me", or rapper and activist KRS
One's violent assault on members
of PM Dawn.
What is often overlooked or denied by these people is the fact that
many of the artists and musicians
whose work has influenced contemporary artists were queer. The am
biguous sexualities of many giants
in the history of blues, jazz and soul
music go almost completely
unexamined. Shit, the most sampled
man on the planet, James Brown,
has sucked his fair share of dick.
There's a huge blind spot when it
comes to the achievements of queer
sisters and brothers, simply because
acknowledging their value as members of the community threatens the
very basis on which one's value is
judged: the adherence to patriarchal standards.
The challenge then, in particular for straight brothers and sisters,
is to recognize and examine the implications of their own socialization,
and question their complicity in
oppressive patriarchy: to represent
the best of the Black freedom struggle by remaining in contact with the
humanity of each and every member of the human family This means
questioning homophobia, mi-'
sogyny and patriarchal sensibilities,
classism, and questioning the sense
that somehow by reproducing the
same kind of stereotypes one becomes powerful. One can pose
and posture in the same form of
power that is being used against
August 4th
Mount Pleasant (t-rex with a 12 string)
Team Strike Force (college rock without all that learnin')
August 11th
Vit-Vit Records Presents!
Julie Doiron (ex-Eric's Trip)
The Wooden Stan-
Nine Miles to Morgan (emo core from Calgary)
August 18th
Young and Sexy (yes, on both accounts)
Bossanova (lounge music without the lounge)
Palace Flophouse
August 28th
Endearing Records Presents!
Endearing Recording Artists:
The Salteens (pop music)
The Vancouver Knights (pop music)
Arch (also pop music)
Plus Endearing guests!
Railway Club 579 Dunsmuir (at Seymour)
Au$u${ ft \Tvm^
think smiley, think small.
Guy Smiley s 3rd full length release.   /^R\ S^^T^iCmT"
Available in August '99.   \jjJ oy>4°:fnT   •
$12.00ppd smallmanrecords
I E[gg3l@2Ii Under
Stay Down
(Matador /Warp)
Starting off the beginning of the
album sounding like a melodic,
more involved version of Pole
without the bass but with all the
crackles, Andrew Weatherall and
Tenniswood create a haunting,
ambienl dub collection that strikes
at the heart of all that is good
about ambient. The tracks are
short yet interesting, ranging from
the German Basic Channel-
sounding "Ivy and Lead" (with its
violin strings ond singing notes
reminiscent of an old episode of
The Avengers) to the quirky, withheld breaks of "We Change The
Frequency," a song which borders upon Drexicya-styled
electro. At the time of this writing, the Andrew Weatherall
show here in Vancouver has been
cancelled, which is unfortunate
— I was looking forward to seeing Weatherall lay down equally
ambient-electro tracks. For now,
the album will have to do, and it
does in a fine fashion, working
into the dub tentacles of subconscious aural stimulation. Some
people ask what makes a good
album, why some forms of musik
get the kudos and others don't
Well, this is it: beats that
"groove," bul beats thai are also
intelligent, that process sound information on different levels then
just the basic boom-cha of rave
kulture or the sex-focus of cheesy
club crap Of course, this album
is on the ambient tip and is not a
premiere example of "dance
music" per se, but it satisfies the
cavernous ear like Swayzak
and Boards of Canada and
is a mind-trip into the fantasies of
ambience, electro and techno
with a quirk and groove settling
into the nooks and crannies of the
spiraled sound.
Social Dancing
(Grand Royal)
I'm sure it comes as no surprise
to many of you that I'm reviewing the new bis record The surprise is that I don't love it as much
as I probably should When did
these kids get so polished? When
I saw them last year I was heap-
big impressed with the new songs
they played. These songs sound
good on the record, too, but
they're few and far between. The
song titles are going to crap ("I'm
A Slut" — go go Mandal), and
the lyrics kinda suck, too. Most
of the album has the standard
happy/dancey feel to it, but so
much of it is just too slick. Sci-Fi
Steven's voice has gotten really
good,and his songs are definitely
the best on the album, but Manda
Rin and John Disco miss the fun-
punk marker by a mile. There's a
_2 Ku.rip.iri-ft
super-stinky track on here called
"Detour" that all fans must avoid
like the plague: a slow, r&b type
track with wispy girl vocals and
some pathetic rap by John Ugh.
So now I've successfully
turned all of you off of bis That
was not exactly the point. I'm just
showing that I've learned how not
to gush uncontrollably about
things that I like, instead pointing out the good and the bad.
There are good bits to this record,
at least five songs that are as
good as, if not better than, the
old bis stuff As long as I can
dance to the disco beat, I am still
a fan of the Teen-C Nation. Any
new members?
Julie Colero
Bengali Bantam Youth Experience
According to a sticker on the
cover of this CD, the london
Evening Standard (with stunning
originality) describes this as "the
future of Rock'n'Roll," while Company Magazine reckons it's "a
funky electro masterpiece." These
opinions alone will cause most
discerning purchasers to recoil
like a vampire at a garlic convention, but you may also like to
know that this is world music for
people who don't like world music, blended with techno for people who don't like to dance. Lots
of people will buy this disc, not
all of them complete morons, I
suppose. Cafe owners, for example, could use this as an adequate
replacement for their worn out
Gipsy Kings albums, giving us
yet another reason to eat at
Quentin Wright
Grow Fins Vol. I 2IP
Me? I love Captain
Beefheart! John Peel used to
play it to me, back when I were
a lad, nigh on 20 years ago. I
remember: curious but inexplicable it was. Actually, I can't quite
remember it, probably because
it was too complicated for a
young "punk." However, I can't
quite forget it, either.
The first time I bought some
Captain Beefheart, it was the
cheapest available recording: the
title had been changed from the
original, the cover was minimal,
the sound was dismal. Well, the
awful sound discouraged me, but
there was something about a
song named "Grown So Ugly"
that twisted my mind A little later
(about 7 years ago), my sedative-
hungry neighbour mumbled, "I
have some Captain Beefheart." I
loved if I am now the proud
owner of Grow Fins Vol.1.
Shopping for this in 1999
was easy because I knew I'd like
it It's not what I expected,
though The material is from the
far-out, brilliant, and ultimately
world re-configuring Trout Mask
Replica sessions and before, but
it's relatively straightforward
There are lots of familiar titles, but
all are attached to previously
unreleased demos, live takes and
covers Moreover, it sounds p-e-
r-f-e-c-t on vinyl. It's sho' crazy, it's
mo' funky, and this time, the quality is delicious!
Rate of decay: it's worth the
cash just for the early '66 "I'm
So Glad"  demo.
Gospel Morning
This album is a beautiful throwback to soulful rock and roll from
the past with harmonies, pianos,
horns and, above all, great songs
and great hooks. The brainchild
of twenty-something Kevin Junior,
who apprenticed with the late
Epic Soundtracks, the Chamber
Strings evokes a simpler time,
when music still had the power
to change the world on all levels. Mature songwriting and complete arrangements are deftly
complemented by tales of love
lost and found, which ultimately
result in a final package that will
leave you with a smile on your
face and a longing in your heart
Steve Guimond
Some Boys Got It, Most Men
(New Disorder)
They ain't young highschoolers
no more Despite growing up, it
seems Vancouver punk-pop quartet d.b.s. still rocks with the same
exuberance they showed on their
1993 debut tape Catch 22. This
effort, their fifth full-length (not including the split album with Anti-
Flag), sees the band tighter, angrier and rocking with wilder
abandon than ever before Think
older Seaweed meets older
Pennywise, with the Seaweed
nounced. This album is definitely
more emo rock than hardcore
This album, their first for San
Fran's New Disorder, shows a
bright future for the label. This
album may never get the recognition of, say, Seaweed's Four or
Time's Up, but it is displaying a
potential new direction for Vancouver pop-punk to take. Many
tracks sound like they were done
live off the floor, yet still sound
very clean and professional.
Moreover, the album doesn't get
stuck in the common punk rut (as
well as d b.s.'s past problem) of
hour-syndrome, which is nice for
a change. There are some good
feedback-driven improvisarional
epics, contrasted by a few very
short speed-thrash tracks and
some semi-slow, heartbreaking
punk ballads It all rings in at a
smidge over 40 minutes (good
value) and selections could just
as easily be found on a mix tape
at work as on a boom box at a
skate park
I really dig the muted horns
on "And Then I Awoke" and
"Apology." Punk needs more
horns sections on tunes that cannot be filed under "ska," such as
Mike Chilton
E luxo so
This fifth album finds
Labradford's Robert Donne,
Mark Nelson and Carter Brown
getting closer to an absolute
sound. They have progressed
from the drone-based work of
their earliest recordings to a
greater realized, significantly
more musical product It's not that
they've changed so much as
gotten better within themselves.
It's clear that Nelson's Pan
American dub experiments
have also been wisely introduced
into the Labradford formula. The
result is an even deeper, more picturesque sense of atmosphere
than before. Sounds and patterns
emerge with a slow, careful drifting quality, unfolding across the
stereo field, yet nothing is overworked or too heavy with
processing. Live strings, piano
and dulcimer augment guitar,
bass guitar, synthesizers, tape
loops and samples, with occa-
crete elements.  This is true
headphone music.
Brady Cranfield
Maid to Minx
When Scottish lassies invade our
shores, trouble ensues ... Lung
Leg, queens of the one-minute
pop song, return with a new lineup (there's a boy!), and a new
idea: longer songs! This idea
works really well on songs like
the title track, a very smooth tune
for all of you who love laid-back
bass and female harmonies.
There's considerably more singing (as opposed to silly screams
and yelps) on this album, and it
comes off sounding great The lyrics are still a bit daft at times, as
is evidenced by the track about
going to clubs, dancing, and taking too many drugs ("Disco Biscuits"), in which people keep
passing out or having their teeth
fall out on the dance floor. This is
a killer-fun album for summer. Believe the hype!
Julie Colero
Destiny: Rare Ska Sides
from Studio One
If you've never heard early Bob
Marley then be prepared. It's
sort of like hearing early
Beatles — more pop-'50s-ish
songs than original compositions.
What is interesting about these
unreleased tracks, besides the
sort of "get these because you've
never heard them before" beauty,
is their direct reference to another
Studio One - the Studio One
of Germany's Mike Ink . Ink creates dub-minimalism, a genre
basing its roots from Jamaica but
its style and philosophy from minimal techno, centering around the
German city of Cologne and artists such as Maurizio , Pole,
and Thomas Brinkmann
Ink's Studio One series of 10
records is a direct tribute to this
very Studio One where Bob
Marley recorded; and, as far as
I can tell, a direct tribute to this
very recording session. Throughout the tracks of Marley's Studio
One sessions are the early reggae repeating guitar wahs and
deep, jumpy bass that would
characterize dub-reggae in the
late 1960s. Thirty years later,
these same basic structures would
be stripped, fed into drum machines, and manufactured in Germany by Mike Ink. What I am
saying is that you can hear fhe
same riffs and bass structures in
this Bob Marley recording as in
Ink's Studio One records ... a direct, one-to-one copy in some
parts, though the newer version
is stripped down and changed
into an aural exploration of the
electronic. This has made the album worth it: to see how over 40
years, an idea can change and
carry to different peoples and
generations while still remaining
essentially the same.
The Sicko Inside Me
(In The Red)
Think you've got that perfect
hangover cure? Then you haven't
listened to New York City's answer to a thousand little jackham-
mers drilling into your brain, driving away the haze of last night's
scotch and soda binge. These
guys provide one helluva garage
rock racket, and seeing as that
this band was formed out of the
ashes of the triple-guitar screech
of Fireworks and fhe primal
pound of the Beguiled , it's easy
to understand why. From the intense feedback workouts of
"Glory Hole" to the howl and
moan of "Girl" (which owes a
great debt to fellow garage terrors, the Cheater Slicks ), to the
rockabilly tinged "Drag Pow
Wow Drag" (which puts the
band's Cramps influence
through the ringer), this is one
disc that would not look out of
place in the medicine cabinet.
Forget the Motrin and Tylenol, the
Necessary Evils have got the
cure for what ails you, guaranteed.
Bryce Dunn
The First Conspiracy
(G-7 Welcoming Committee)
What happens when everyone's
favorite Swedish hardcore band
(ie. Refused) calls it quits? Let
me let you all in on the Conspiracy — It's frontman Dennis'
other revolutionary musical outlet, but this one is a lot... funkier
Think Make-Up . Think Delta
72 Now, instead of lan's strangulated yelps, add Dennis' frightening screams. Singing about
"politics and action and madness," the Noise Conspiracy
rips shit up in a very accessible
way. You can dance to this
record, and you can learn from
it too!
Julie Colero
The Middle of Nowhere
As secretary of the Orbital Fan
Club (a title I selected myself because I felt that "Grand High Potentate" was a little gaudy), you
can doggone betcha I've read
thousands of letters and cards addressed to "our boys." Now I've
made a new enemy — the
Mailman! He has bags under his
arms (and under his eyes) from
the loads. So, in order to take the
pressure off him I want to here
and now publicly answer some
of the most asked questions he
brings.   Ready?
Firstly, they are NOT brothers,
although there's a legend going
around which I just made up to
the effect that Phil and Bill are
Siamese twins and because they
were joined at the feet their parents thought they were a dance
team. Secondly: Yes, both of them
dig girls, but neither one is married or anything as drastic as
-I think you'll dig this bunch of
goodies as much as I did.
Well, I've got to get back to
the mailbox now, it's loaded
Quentin Wright
Natural Thing
As their name implies, this band
is an enigma. Poi Dog Pondering has been together for
almost fifteen years and this is the
umpteenth album, but one still
does not know really what to expect from this collective Poi
Dog Pondering hailed from
the same musical circles as the
Mekons and the Go-
Betweens , so usually one has
expected their sound to be similar — alternative rock meets
world music meets some (if not
lots) of country flavour.
But with their newest album,
the Poi Dogs spin the tables and
opt for a more disco-meets-dance-
pop sound. My jaw dropped.
This wasn't the PDP I once knew.
This is fucking disco music! Sure,
it's thinly-veiled disco-pop, and
yeah, there was the odd world
beat pause, but didn't we have
enough of this disco shit in the
'70s? I was really pissed off at
first. But wait ... it's infectious
disco music! I got up and danced.
I looked like a goof. I didn't care.
When the album ended, I spun it
again. I skipped the few non- disco tunes and jumped and
danced some more. My neighbour spied me spazzing to this
album through my living room
window. I let him in. We proceeded to spazz out together to
Natural Thing. Life is good with
the new disco Poi Dogs.
Mike Chilton
Smashed Hits
(Alice/Pigeon Inlet)
Cover Story: 15 Newfoundland Bands Steal 15 Newfoundland Classics
Newfoundland may be our
youngest province, but damn, its
musical culture is light-years head
of the rest of the country, as far
as I'm concerned. The standard
argument among Newfies and
non-Newfies alike is: What is the
land a half-hour ahead of the rest
of us better at (and currently better-known for) — traditional Celtic
music or progressive alterna-pop?
Well, I have two albums here
which definitely won't settle fhe
argument, but will, instead, raise
First off, we have the new album from Kelly Russell and
the Planks , who were formerly
just the Planks, and before that,
the Plankerton Band Confused
yet? This group is made up of the
trio who normally make up the
rock band Drive — Sean Panting (lead vocal/guitar), Chris
Batstone (bass) and Adam Staple
(drums) — plus old-school Celtic
fiddler (and near living legend)
Kelly Russell. They take many old
reels and jigs, from past Celtic
fiddle legends like Rufus
Guinchard, and give them a modern rock flair. From the traditional-
sounding "Suzanna Perry" and
"Diane's Happiness," to the
moody rock of" 100 Feet to Go,"
to the weird amalgamation of folk
and alterna-rock on such tunes as
"The Rushes," the sound, although unique, couldn't come
from any band that isn't from
Newfoundland. With the exception of two slower songs, which
could be used as an opportunity
for a breather, these tunes could
get a kitchen party going and
keep it going. Kelly Russell and
the Planks' sound is comparable
to fellow Newfies Rawlin'i
Cross (whose accordionist,
Geoff Panting — Sean's brother
— makes a guest appearance on
"Running the Goat"), both wistful for the past yet gunning for
the future. This album and a bottle of screech could keep you
parrying until dawn, Newfie-
Next, we have a compilation,
also released by the Planks/Drive
guys (with the help of Halifax's
No Records), with the premise of
Newfie bands covering Newfie
bands. Cover Story features up-
and-coming Newfoundland rock
bands like Spunk, Fur-
Packed Action , Drive, and
Trimmed Naval Beef doing
songs by such rock/pop legends
as Great Big Sea, Dog Meat
BBQ, Bung and (my personal
fave) Thomas Trio and the
Red Albino As can be expected from a cover album, most
of these bands attempt to make
each of their covers their own special version Some succeed, others don't. However, the overall
quality of Newfoundland music
is revealed twofold on this album:
first, there is no bad cover song
on this album-second, one realizes how great these songs were
in the first place when one — especially one who is familiar with
most of them, such as myself —
hears them given new life on this
CD. Even though this album is
totally different from the Planks'
new album, its unifying quality is
that this album is also a great
kitchen party album. It, too, could
keep things going well past the
witching hour.
Mike Chilton
Tired of You
(Sub City)
Return of the Read Menace
(G-7 Welcoming Committee)
Giving money to social causes is
cool. It sure beats the hell out of
lining the pockets of record corn-
bums give the majors a boot in
the ass, while giving a much-
needed shot in the arm to a
number of "do-gooder" organisations. Punk label Hopeless
Records has set up Sub City in
order to release works by political bands like Fifteen and
Scared of Chaka . Proceeds
from Scared of Chaka's Tired of
You will go to various youth shelters in New Mexico and, while
the politics are worth paying for,
the music ain't bad either. At
times sounding somewhat garage-oriented, Scared of Chaka
play pretty decent punk rock.
Besides, they all dress like revo-
camera so you have to give 'em
props. At the same time, Winnipeg's G7 Welcoming Committee
(no strangers to leftist activity)
have released the follow-up to the
Better Read than Dead album that
served to benefit AK Press. AK
Press is a San Francisco based
anarchist collective that publishes
books and spoken word albums.
And they need the money. Lots.
The nice kids at G-7 know this
so they've included absolute
gems by artists like Ron
Hawkins, Atom and His
Package, and Endeavor,
among many others. Local favourites Submission Hold
contributes an amazing track
and Propagandhi even does
a cover of "Hard Times" by the
Cro-Mags. If anything, you
should buy it for the new
Weakerthans track, "Ringing
of Revolution," 'cuz it's really
god-damned good. Forget Tom
Waits, Return ofthe Read Menace has album of the year written all over it. Twenty-five songs
that'll make you laugh, cry,
dance and throw bricks.
Yeehaw. But remember, a CD is
only the beginning.
Gibby Peach
Chris Speed 's second album
for Vancouver's Songlines label
features the same stand up
players as his first: Speed on
tenor sax and clarinet, Cuong
Vu on trumpet, Skuli Sverrisson
on electric bass, and the amazing Jim Black on drums and
melodica To be expected,
there is plenty of smart, spirited
playing here, drawing from a
wide range of influences, from
ion,  Balkan
to drum and bass. Although I
prefer the more abstract, ambient and textured parts, once
things get going, these guys
can rock out nicely, with little
self-indulgence. Overall,
Deviantics has a loose, good-
natured live feel and is generally accessible. Unfortunately,
I fear that this same "live" quality also betrays Deviantics: this
music would probably be better enjoyed truly live, perhaps
particularly for listeners not already familiar with avant jazz.
Recordings can be replayed
and studied, of course, but they
still do not posses the same
physical and immediate impact
as an actual live event. However, this isn't a blanket negative statement that weighs
evenly in all situations. For example,  some music loses its
other music almost needs to be
recorded to stand out. In any
case, a recording is significantly different from a live performance; I wouldn't privilege
one over the other. But, in my
opinion, improvisational music
especially walks a fine line.
This is not to put Speed and
friends unduly down.
Deviantics is a genuinely fine
record lead by an already experienced young talent.
Brady Cranfield
Katherine Whalen's Jazz
If you've heard the Squirrel
Nut Zippers (one of the only
bands marketed as "swing" that
doesn't make me want to drown
them in diarrhea every time I
hear them) then you would be
familiar with the husky, moist
Whalen. Her debut solo record
ing i
a fin
Holliday whilst maintaining
her own sound: bouncy, happy,
and, unlike Holliday, devoid of
pathos and pain. Sexy when
she wants to be and sweet all
the time, Whalen's versions of
"Deed I Do," "Sugar," "My
Baby Just Cares for Me" and 8
other standards (and one original) are fresh and fun. The dixie
sound of Whalen's band is reminiscent without descending into
the white-guy/bow tie cheese
that sometimes happens when
contemporary bands try to go
for a distinctly nostalgic feel.
Sometimes I Cry
(Sonic Unyon)
Can somebody please tell me
what is going on over in Montreal right now? Where are all
these killer bands coming from?
You've got the Spaceshits ,
the Kamikazes, Smash-Up
Derby, and Tricky Woo —
damn! On their third release the
Woo have shed some of the
soul from last year's The Enemy
Is Real and bared more fangs
than Dracula in a blood donor
clinic. Lyrically, there's a more
"psychedelic" quality to songs
like "Fly The Orient" ("I'm not
a man, I'm a coastline/ and
you can sail me you can fly"),
and "Tails Of A Sunray" ("I
burned my eyes on the tails of
a sunray") and also the cover
art which features a guy with
cobras for arms inside the belly
of a raven with devil tails (what
have these guys been smoking?). Lots of rock riffage going on here too, bringing to
mind mid-sixties Who, the
MCS, and AC/DC on tracks
like "Let The Goodtimes Roll,"
"Sad Eyed Woman," and "Hypnotic Persuasion." These guys
on a bill with the Quadrajets
and the Fireballs Of Freedom could do some serious
Bryce Dunn
The Moon
Wooden Stars is not a band
you can pigeon-hole, as their
first two albums proved. Those
releases were eclectic, experimental, and quite eccentric. So
when I heard The Moon was
more accessible, and yes, even
smoothingly beautiful pop, I
had to check it out, even though
I wasn't a huge fan of the band.
That all changed when I heard
this album.
Maybe it's because the
band hung out so much with
too-mellow-for-words Julie
Doiron during the making of
her last album (who returns the
band's guest spot on her album
with back-up vocals on three
tracks), but the change in the
Stars' was, for me, to a heavenly sound. Right from the open-
ing notes of "Outlaws,"
Wooden Stars exuded a mellow
confidence which made me feel
right at home. Sparse guitars
and vocals throughout the album create a type of soft rock
with jazz sensibilities, with a little dash of alterna-pop
big dollop of streetwise urgency
that tells the listener it is oka*
to take some time out for youi
self in this hectic world. Check
out the only instrumental, "Romantic Machinery" (you can
just hear it clunk along), and
see if I'm wrong.
Yeah, I know this description might make the average
Wooden Stars fan cringe
nay, might make the average
college-rock geekoid contemplate something drastic — but I
don't care, 'cause it's the truth.
Mark my words: this album
uld easily land the Stars on
Jazz Fest circuit, if the band
your more interesting CD pu
chases. Not a 30 second re
nted to do il.
Mike Chilton
Short Music  for Short
(Fat Wreck Chords)
This time, Fat Mike has outdone himself in the gimmick
department: one hundred and
one songs by 10 different punk
bands (get this) all clocking in
at 30 seconds or less each (actually, this 100+ song idea has
been done before — check out
any album by Victoria's late,
great Mexican Power Authority). Okay, a couple of
songs go a few seconds over.
But, to prove my point, soon
after I put this CD on, I sneezed
and missed the first two songs!
Musically, there is a broad
representation of punk, pop-
punk, ska, and some
uncategorisable sounds — the
type of stuff one would expect
there is representation of
bands from such diverse countries as Spain, Israel, Japan
and Australia. Even the odd
Canadian contribution shows
up. If you buy this album just
to get a previously unreleased
song from your favourite group
(some songs are previously re-
it may not be your wisest purchase,  but it may be one of
Crusty Comp.   Vol.   1   :
Crusty is As Crusty Does
It's kinda funny that this compilation uses a takeoff of
Forrest Gump for both its title
art, especially when
sider that s
required to understand this
music. The weird Vancouver
trend of goof-punk (or maybe
simpleton-punk might be a
more apt description) is
showcased in all its glory on
this first local compilation by
Crusty Records. Even though
the music ain't all that intelligent, damn, is it ever fun!
Crusty Comp Volume 1 features 28 brand new tunes by
28 different local bands There
are some new bands like
Subway Thugs and
Ziggy's Fix alongside older
bands like Aging Youth
Gang (alarmingly appropriate name, under the circumstances). Overall, a solid representation of most of Vancouver's pop-punk/hard rock community. This compilation is a
must-buy if you are a fan of
this sector of the local music
Mike Chilton
KiLLRopic   StarS
(  ON SRC)
distributed by
( a SPLIT REL3r--.SE)
for a catalog
write to:
120 NE State Ave,
•    Olympia,  Wii,  ?8501
www.killrockstqra.com Real Live
Phhlk: a program of new
digital music
Thursday, June 17
Performance Works
This concert was supposed to
have some relationship to the
avant-garde Ten years ago
groups like 808 State and
Negativland were creating
pop electronica that was substantially more fresh than anything
heard tonight It is customary to
expect some degree of innovation from government-subsidized
composers If this show had been
put on by teen-agers instead of
federally funded, musically educated adults, it would have been
In Raven's Highway
Kucharazyk maintained a digital
wall of sound while Hannan improvised on electronic recorder:
no score, no composed coordination between the players. With
nothing in the computer-generated sounds to imply directions
for the soloist, Hannon could not
bounce ideas off of his digital
accompaniment in any constructive manner. Aspiring young musicians, learning their instruments,
call this enjoyable, common practice "wanking" and consider it
inappropriate for public view.
These composers offered expensive, tax-paid gadgetry: a marvel of engineering, unaccompanied by aesthetic ingenuity. Other
pieces included drumbeats identical to goth disco, interspersed
among sections of fuzz, bleeps,
and clicks. The program emulated both antiquated pop and
roughly equal measure.
The computer sound expose
came to a head in the cadenzalike duet from S/'/;song 17hr.
Hannan played the "Lightning,"
a variation of the radio drum,
recently developed by Don
Buchla. Kucharzyk worked a
Theremin, generating the classic,
ominous whistle sound that has
become a standard soundtrack
feature. There was no score or
audible logic to the music, but the
players themselves looked impressive, like Composers with a capital C; their sharp, intelligent eyes
and concise motions could easily intimidate However, all that
visual authenticity and computer
wizardry cannot negate the blaring necessity for composers to
prioritize composition — the combination of associative sounds -
- over technology.
The alternation among pop
and "experimental" sounds heard
tonight resulted in a pastiche lacking any consummation of such
disparate elements. Popular and
serious music mesh poorly, as do
24 Aa$ii6*-M
sharply differing sounds tends to
drain the power of the individual
idiom. Very few of the attempts
to graft Chinese, Indian, or
Gamelan sounds to Western
music have worked out memorably. Dance music does not have
this problem because its coherence revolves among the common beat denominator: very little can clutter a pop pulse in obscurity Art music is less resilient,
and anything that doesn't clarify
its direction obscures it completely.
Though the music was negligible, listeners could have done
worse Vancouver Pro Musica
booked a fine room, complete
with colored spotlights, and cannot be faulted for the programming because they are in the
business of taking chances,
which is attractive in a macho
sort of way. The event would
have been fine if listeners were
not expected to pay attention as
if listening closely would somehow pay off. Fake art often operates as a perfectly palatable
background. If patrons could
talk, drink, and play darts, it
would have been a great show.
John Keillor
Friday, June 18
Tractor Tavern, Seattle
The Gourds is one of the best
bands to come out of the musical hotbed of Austin, Texas in
years, buf sadly too few have
heard the news. Seattle, however, with its ever-growing ND/
alt-country scene, has embraced
these guys in a big way.
The SRO crowd was treated
to opener Mike Nicolai, formerly
of Austin, now resident in the
Emerald City. Sparse vocals and
just a hint of early Lou Reed
made for a great appetizer. Next
up was bland local country-rawk
outfit, The Penningtones
They were a B-version of the
circa-1976 Eagles, right down to
hair and wardrobe.
And for the main course, a
big ol' gumbo of berserk
bluegrass, croonin' country, and
southern rawk that had everybody dancin', drinkin' and
hollerin' well into Saturday. Think
the Band meeting Captain
Beefhear t and the Pogues in
a dark alley somewhere along
the waterfront. Bookending the
group were their two writers and
singers. Kevin Russell crooned on
mandolin and guitar with a
sweet, Levon Helms style baritone. On the other end of the
t Jin
r Smith
nged with a sandpaper vi
and twitchiness to suit. Anchoring them were a snap accordion
player and drummer, and a new
member who rates a special mention Max Johnston (dobro,
mando, fiddle, guitar) has a fine
musical pedigree, having done
stints with Wilco and Uncle
Tupelo, and he's Michelle
Shocked ' s brother to boot
Best couple hours I ever spent
in that establishment. The only
thing missing was their infamous
cover of Snoop Dogg ' s "Gin
and Juice" done hoedown-style.
Next Gourds sighting will be
in early September at the
Bumbershoot festival Drag
yerselves across the border for
some real Southern rock, until
we're lucky enough to get a
Gourds gumbo up here.
Val Cormier
Wednesday, June 23
For those attending the gallery
showing of "Graphic Works by
the Boy" at the Brickyard, the writing is on the walls. Stuck to the
walls and hanging from the ceiling were 75 freaks, monster-
driven hot-rods, corporate war
machines and cutesy cartoons
gone mad. Each piece is a single
image drawn in black marker on
white vinyl board, cut out and
outlined to shape. Called a cartoon style, the work could be a
combination of the styles of Matt
Groening and Ted Harris,
with a little Robert Williams
thrown in. A design of the Boy
himself shows the artist drawing
with chalk on the ground, his eyes
bound by a belt, and arrows protruding from his skull in 3 directions. A recurring theme of the
work is war mongering. One wall
was hung with tanks, guns and
futuristic killing machines bearing
various corporate logos. Other
pieces were laden with the symbols of North American pop-culture: a TV with sharp teeth, a
bomb wearing a tie, a smiling
marker sniffing another marker, a
Schmoo-type character smoking a
cigarette. The show was sponsored by Skull Skates and attended by the usual skater-punk
crowd: lots of rock n' roll revelers
covered in dangerous tattoos
Strolling onto stage first was Slick
— a five piece band o'
bohemians providing free-flowing
instrumental jams a la Beastie
Boys. While Slick's music may
seem an odd complement to a
roomful of Mike Ness es and
Betty Page s, it actually provided the ideal atmosphere for
mingling and checking out
graphic art and body art alike.
Slick's lost song, "Hot Pants
Breakdown," was dedicated to
the ubiquitous man in the red
leather jacket and ended in a
frenzy of dueling drum chops
(Slick has two drummers) that left
the bike couriers crying for more.
After a quick T-shirt and artwork giveaway, Jesse's Girl
took the slage and launched into
a set of hard-hitting power pop
songs. Jesse's Girl used a standard mix of guitar/guitar/bass/
drums (and some trumpet, too)
to produce some not-so-standard
dynamics, changes and vocal
harmonies. They played "Ferro
Caril," " 1 /4 inch speaker," and
"Dangerous Liaisons" to the delight of the partisan crowd. Some
of their songs were reminiscent
of Frank Black's early stuff,
while others had a more punk-a-
billy flavour. By the end of their
The drink specials had taken
their toll and everyone shuffled
out the door with smiles on their
Jamie Maclaren & Jason Neve
Wednesday, June 23
Sugar Refiner y
Now hear this! Now, here, this!
It's all about right here, right
now. Sure NYC, London, San
Francisco, Montreal, and LA
have cool music scenes, but
Vancouver has an under-appreciated hipness of its own, a
coolness not found on the Georgia Straight's "What's Hot" list.
This particular Wednesday
evening's coolness was billed
as Wade Wave, a musical
melange hosted by low-key local Wade Thomas. In a town
where any guy with two turntables and an opposable thumb
is a DJ, Thomas stands out with
his refreshing takes on the DJ
schtick. This evening the
radiophile introduced us to his
unique musical blending via the
Ambience oozed its way
from Thomas' large collection
of radios into the whole space.
In this way, Thomas introduced
us to his unique musical blending and a number of his talented associates. Thomas provided a rich musical backdrop
to the mellow scene. Friends
joined him throughout the
night, from urban cowpoke
Andrew Power on guitar to the
flamboyant Lady K freestyling
her b-live message on the mike.
The result was as hep as any
happening in the Village.
With his homemade radio
transmitter Thomas reassured us
that Big Brother doesn't control
the airwaves, and with his understated talent for positive-vibe
creation he proved that being
a DJ doesn't have to mean being a wanker. The night had all
necessary ingredients of an ultra-hip urban scene: intimacy,
spontaneity, and genuine creativity. Right here in Vancouver -
- imagine that.
Wendy Fletcher
Thursday, June 24
The Cultch
Somewhere between a karaoke
and an open mic improv, this
neighbourhood Live Aid
showcased dozens of local performers, both amateur and professional, to raise cash for the BC
Cancer Fund Each act was allotted 5 minutes, which meant
that the rank amateurs fared well
against the more slick artists —
you barely had time to start wishing they'd get off the stage before they did just that. In fact,
almost everything seen tonight
was worthy of its time on stage.
Moreover, the whole thing was
admirably compered by Nigel
Connerbund (the British sex expert). Although it would be unfair to single out any one performer as having kicked ass more
than the others, Michelle
Keobke connected with both
buttocks with her beautiful rendition of "Vergin Tutto Amor" (opera, or didn't you know?) Further
kudos to Michelle for coming
back on for Campbell
Massie's subversive rendering
of "Oh Canada." The organizers of this event deserve a pat
on the head for managing to
scrape together so much talent,
delivering the most entertaining
evening at the Cultch in ages.
Quentin Wright
Saturday, June 26
Wowie-zowie, Vancouver's neat.
We have so many excellent bands
and this bill showcased three of
'em. I'll get to the Come Ons
later. For now, I'm gonna talk
about the Tonics. They blazed
through their garage-y set, sounding more "Canadian" than
Bryan Adams could ever
dream of. They even ripped
through a cover of the Littlest
Hobo theme song. You can't beat
that with a bamboo cane.
Maow followed the Tonics and
started things off with a cover of
Hank Williams Jr. s "All My
Rowdy Friends Are Comin' Over
Tonight." Wowie-zowie, Maow's
a treat. I wish they'd play more.
And the Groovie Ghoulies
Well ... do I need to give an explanation? As can be expected,
their set left the crowd bobbin'
their heads to pure, unadulterated garage punk. But the highlight of the evening wasn't the
Ghoulies. Vancouver's newest
supergroup, the Come Ons , set
a pace that any band would
have difficulty keeping up with.
Playing their first-ever show, they
showed the poise of a seasoned,
tight-knit outfit. They were ga-
raged-out to the max and, if their
first show is any indicator, they'll
be pleasing crowds for a long
time to come. In summary, this
show was incredible. I left with
an ear-to-ear shit-eating grin, and
my teeth have been brown ever
Gibby Peach
Tuesday,June 29
Richard's on Richar ds
Boredoms : boogie noiSe, awesome-good, rumbling jammy-
throb; three full drum kits (so
good), bass guitar (and about 70
effects pedals), guitar, the spectacle within a catastrophe that is
Yamatsuka Eye, and a lot of effects gear. There was less chaos,
more boogie this time around
(which is good, although I can
always listen to more free noise).
The set was very jammy, almost
one long song, with plenty of
bass to go with the drums and
even a few post-Steve Howe
prog guitar noodles. Eye is the
James Brown of noise: a-
scamperin' and groovin', goofin'
and wigglin', enjoyin' himself.
Thursday, July 1
The Russel Malone Quartet opened the show. The guitarist, who rapidly gained visibility and praise playing in
Diana Kralls' trio, led a four-
Anthony Wonsey, bassist Richie
Goods, and drummer Donald
Edwards. The music was great,
although a little to chops-y, if ya
know what I mean. Malone is
capable of much more subtlety,
as exhibited on his recordings
and in his live shows with Krall,
and I would have liked to have
seen him apply it a bit more that
night. Just being picky. Otherwise they totally smoked because they're all total
motherfuckers (that means really
good, like shit-hot).
T.S. Monk is about as subtle as headbanger poetry, but
he usually manages to deliver
a good show, resting largely on
the strengths of his sextet. The
horn section of Willie Williams
on tenor sax, Bobby Porcelli on
alto sax, and Don Sicler on trumpet was a bit disappointing:
when playing off each other
they lacked the punch that was
achieved during solos. Porcelli
sounded particularly sweet on
ballads. Within the rhythm section, the stand out player was
not Monk, but bass player Gary
Wang. Wang's playing exhibits a grace, maturity, and depth
suprising for a musician only 25
years old. Piano player Ray
Gallen did not make too much
of an impression until after the
arrival of Ms. Nnenna
Freelon a third of the way into
the set, when the vocalist, the
bassist and the pianist performed as a trio. Freelon was
great. Her voice has a gorgeous
tone, and she slipped in between the standards with commanding knowledge and colour. Her scatting ability was
remarkable: she managed to
get beyond hookiness and
please the crowd. Thankfully,
Monk kept his infamous verbal ramblings to a surprising minimum Having sat through several monologues at previous
Monk performances, I was
greatly relieved.
Hancunt w/Rhythm Chemist
Sunday, July 4
Nice to see a big crowd out on
a Sunday evening, hope it
bodes well for more live shows
in the future at this dance venue
Interesting blend of American cultures on this Independence Day. El Vez, "The Mexican Elvis," opened with his
usual high-energy blend of
schtick, politics, dancing, and
costume changes. The Elvettes
and his backing Memphis
Mariachis were in fine form,
looking and sounding mighty
good midway through a
grueling summer tour. It was a
fairly generic show, though, for
those used to themes like "Merry
Mexmas," "Revolutionary" or
"Gospel." The only sly acknowledgment of the U.S. national
holiday was a wave of a Canadian flag near the end of the
North Carolina's SCOTS
rocked hard through a long set.
The beehived bass player certainly looked a lot happier this
show; last trip up to Vancouver
she'd been suffering through an
injured foot and the theft of
some gear. They ran through
hits like "Banana Puddin',"
"Camel Walk," "Biscuit Eater,"
"Sheik's Watk," "My House Has
Wheels," "Chicken Shit
Farmer," and "Eight Piece Box."
It was lotsa fun, and anybody
who was lucky enough to have
seen the B-52's in the early '80s
would have noticed a lot of similarities. Keep an eye out for
these hillbillies!
Val Cormier
Friday, July 9
Starfish Room
v That
good listenin'.
I've never seen a show before that influenced what people wore. Snappy yet casual
attire was the fashion for the
Mountain Goats as well as
a number of persons in the audience.
Dressy Bessy appeared
next. I'd heard good comments
about them before the show'd
begun. The music was interesting to begin with but I soon became more interested in what
the singer's T-shirt said on it.
Boo, Doug, boo ...
Apples in Ster eo, sharing a number of members with
Dressy Bessy, sounded rather
similar and, therefore, uninteresting to me (this might have
been different had the Mountain Goats appeared between
sets to break things up).
Doug Jines
Sunday, July 11
Starfish Room
If, for some strange reason, the
Province had covered this show,
the front-page headline would
probably have read "Looper or
Blooper?" Poor sound, poor
showmanship and many technical glitches meant that this was
a disappointing performance.
Things weren't always so
bad. IQU put in a solid performance on their last live date with
the headliners. Hailing from Olympia, IQU is a young chainsmoking trio who alternately sample, play guitar, pound organ
and wave theremin over heavy
stand-up bass and manufactured
beats. Their first song — featuring eerie theremin and reverberating organ — sounded something like a dub remix of Mercury Rev's "Holes." Other
songs either concentrated more
on the frontman's ample guitar
skills or on the keyboardist's understated melodies. One constant
throughout was the bass player's
booty-shaking. By the end of their
short set, IQU had smoked an
entire pack of cigarettes and
drawn the undivided attention of
the appreciative crowd. They finished with a guitar frenzy worthy of Ira Kaplan's attention, and
then announced they were off to
play Yo Yo A Go Go.
If IQU was the appetite-whetting hors d'oeuvre, then Looper
was meant to be the special du
jour. The crowd — hungry for
some of Looper's patented mix of
samples, keyboards and looped
beats — gathered close to the
multimedia stage. Their set began
with "the treehouse," and three
of four screens showed the laughing faces of wee lads and lassies while the last screen showed
nature stills. Each subsequent
song followed the same basic formula: a barely audible narrative
accompanied by some stills and
a short film — all dripping with
the sweet taste of nostalgia and
innocence. As good as Karn's
films were, they could not mask
the poor sound and Stuart's many
mumblings and grumblings.
Songs like "ballad of ray suzuki,"
"burning flies" and "impossible
things #2" (with its live typewriter) shone in spite of it all, but
it was obvious from the get-go
that Looper was playing with one
foot out the door. The disenchanted Scots played their set
and then sneaked out the back.
The gracious crowd, perhaps in
an attempt to console the sulking
band, called for an encore, but
only received a roadie and some
bright lights in return. The $15
ticket price might have been better spent on the magical Looper
CD and some old home movies.
Jamie Maclaren
Saturday, July 10
Breakroom (Seattle)
Despite Will Oldham   s some-
times cliched lyrics and the triple
forte that the band seemed to
play at no matter what was happening in the song, Oldham's
voice pushed through his handlebar moustache and made the
fringe on his cut-offs quiver. I had
hoped that Oldham would play
alone, but with all his pseudonyms, his affinty for Les Pauls,
and the solos that always seem
to go along with them it's hard
to tell who he'll decide to be.
Anomoanon felt like a big
old family reunion. Beer, radio
songs and sing-alongs.
What I really came to see,
what was worth almost getting
killed by guns and somnolence
on the highway, was Joel R.L
Phelps and the Downer
Trio. Their set was perfect musical diplomacy: restrained or urgent, but never at the wrong
time. Between Phelps' throat,
Robert Mercer's fingers and
William Herzog's wrists, they are
the most brilliant, beautiful,
breath-stealing men I have ever
... Ever.
Christa Min
GOTHBLINS (standing in
Sunday, July 11
Picadilly Pub
As I'm sure most of you have
heard by now, this show was the
first-ever Evaporators gig to
be performed sans-Nardwuar.
And it didn't suck. Let me explain:
"Are the Evaporators going
to play?" seemed to be the question of the evening, as rumours
flew on flitty little beer-wings all
around the Pic Pub. Where was
our buddy? What was up? As it
turns out, Nardwuar was in hospital due to health problems, but
the show went on. Tennessee
Twin took to the stage with
mighty cowboy flair and won
the crowd over quickly with their
enthusiasm. I am down with accordions in every way, shape,
and form, and this four-piece
with boot-stompin' skills galore
made me quite happy.
up   *
Gothblins , and they fuckin'
(excuse the strong language, but
it's true) rocked the house! The
metal antics of John and Dave
just ripped the place up, and
things couldn't have been much
cooler, until ... What's this? The
Gothblins had a guest singer!
Alaric, good buddy of those
of us "on the up and up" at CiTR,
was ready to fillin for Nardwuar
in the Evaporators' time of need!
Alaric, a goth-opera wonder,
sang a tune of his own and two
Evaporators classics (I don't
think Nardwuar ever did that
suggestive thing with his hips
when he sang "Hump the Dog,"
though). Dave sang "I'm Your
Buddy" and dedicated it to
Nardwuar, and then the Wolfe
sisters rounded off the all-star tribute with a charmingly chaotic
version of "Welcome to My Castle." This performance would
surely have made Nardwuar
And finally, what everyone
and her kid sister had been waiting for — Bratmobile ! This reunion tour has had people coming out in hordes to check out the
reincarnated riot grrrl antics of
Allison, Molly and Erin. The
sound mangled Allison's vocals,
but she did manage to convey the
basic gist of things. She was
bouncing and dancing like the
best of them, and helped to give
me an idea of why everyone's so
ga-ga for this band. When asked
to do an encore, Allison declined,
saying that they didn't know how
to play any more songs. Now
that's punk rock.
Julie Colero
Sunday, July 18
Washington Hall, Seattle
Okay, so I missed Yo Yo. End of
the world, right? Wrong   Red
Monkey   came to me, and I
went to Marine Research . My
life is good. This concert warranted a day off work and a long
car ride down to Seattle. I missed
out on any chances to see Heavenly when they were together (I
was probably about  13 when
they came to over here last, a bit
too hung up on Digital Underground or Nirvana to know
twee goodness), and didn't want
to miss Marine Research. Seeing
the Make-Up  sounded like a
good idea, too.
My paranoia about missing
a single second of the action got
us to the hall very, very early. I
got a chance to check out the
Seattle all-ages scene at its best:
lots of ultra-cool looking kids
hanging out around the front,
waiting for the action. Marine
Research played quite early, and
slowly got the audience into the
swing of things Amelia and
Cathy have got their harmonies
down pat, and new drummer DJ
fits in quite nicely with the others. The band played songs from
its new album, an album which
most of the audience probably
had not heard yet. The crowd
seemed to take to the band
quickly, and it seems that the performance was greatly enjoyed by
I was outside when the Tight
Bros, played, but can honestly
say I didn't miss anything Those
guys are so loud, I could hear
them from around the block! They
were super-tight (as were their t-
shirts, attests my eye-witness),
and the singer sounded just like
the AC/DC guy. Dude.
Last time I saw the Make-Up,
I was kind of non-plussed. This
time, they taught me a thing or
two about their world. Maybe the
crowd makes all the difference,
as this bunch was all over Ian and
his baby-making antics. The
Make-Up looked and sounded
very good, and made even
crowd-conscious me said "yeah!"
ning was topped off
to Taco Bell and lots
„. E^gSSUSS Our annual directory, chock full of contact numbers
and addresses of Bands and the businesses that
support them, will be in the September issue.
The deadline for entries is August 15, 1999.
YOU ARE A (Check one):
(elaborate below)
DESCRIPTION (15 words or less):
URL: _
'    233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 fax: 604.822.9364
CiTR's annual battle of the bands
starts sooner than we'd all like to think!
receive W»»
I YkT 111   Ctftoh
KtfKftf KoOc&V-tAJt
Feel free to call Julie with
any questions you may have:
822-8733 CiTR
The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"),
7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by
our djs during the previous month (ie, "August" charts reflect airplay over July). Weekly
charts can be received via e-mail. Send mail to "majordomo@unixg.ubc.ca" with the
WHArSBHNC, HAYHJON  lUI.VHM ■^.iliiMiI»m'l»fflil^li_»
august 99   long uinyl
august 99   short uinyl
1       tricky woo
sometimes i cry                   sonic unyon
1        the novas                   the crusher                                    norton
2     various artists
return of the reod menace   ak press/g-7
2       jackson phibes          old devil moon                     reanimator
3     wooden stars
the moon                                    matlock
3       n. case/whiskeytown   split                                          bloodshot
4      pizzicato five
playboy & playgirl                   matador
4       the sonics                  house party                                  norton
5      sci fi witch doctor
enter the now                       phat phunk
5       harry dean stanton   you don't miss your water    rx remedy
6      cibo matto
stereo type a                               warner
6       the catheters              the kids know how to rock          empty
7      negativland/chumbawambaabcs of anarchism                           seeland
7       los infernos                the outlaw                          alt. tentacles
8      moby
play                                                     v2
8       meridian 1520         sonorous envelope   brentwood estates
9      red monkey
difficult is easy                             slampt
9       the make-up/lung leg split                                            southern
10      mark
chocolate covered bad things    catsup
10    huevos rancheros     wild turkey surprise!                        mint
11      chicklet
wanderlust                                  satellite
11     tricky woo                 ten tons                                  bittersweet
12      the planet smasher
life of the party                             stomp
12     holly golightly           listen                                   kill rock stars
13      ibrahim ferrer
buena vista social club...       nonesuch
13     readymade                the block alone                      endearing
14     chemical brothers
surrender                              astralwerks
14    marine research        s/t                                                          k
15     d.b.s.
some boys got it...            new disorder
15     the essex green         s/t                                    sudden shame
16      the donnas
...get skintight                           lookout!
16     sackville/handsome family                                                   split
17      barry adamson
murky world of...                            mute
17     quixotic                       s/t                                                  ixor stix
18      julie doiron
will you still love me?                       tree
18     the hellacopters        down right blue                         sub pop
19      nobukazu takemurc
scope                                    thrill jockey
19    the disgusteens         nothing personal                      longshot
20      third eye tribe
wub-suffer                           independent
20    the users                    sick of you                                        raw
21 skavenjah
22 os mutantes
23 david kristian
little monsters                                stomp
everything is possible!          luaka bop
beneath the valley of the...             alien8
24      saturnhead
saturnhead, California                     vast
Barbara and Christa went to Yo Yo and
25      scanner
lauwarm instrumental               sulphur
spent way too much time gossiping. Our
26     man or astroman?
eeviac                             touch and go
printer decided it didn't want to play
28      rachels
selenography                      quarterstick
nice on the last night of production;
29     buttless chaps
tumblewire                  lonesome cow...
fortunately, our homies at the Ubyssey
30      to rococo rot
the amateur view                            mute
were nice enough to let us use theirs.
31      tight bros...
runnin' thru my bones                       krs
Tristan risked death via a certain
32      stacey earle
simple gearle                               gearle
uncooked grain product. Hancunt
33     various artists
crusty is as crusty does                crusty
edited her essay about 50 times. Viva
34     clover honey
s/t                                     independent
35      ani difranco & utah phillips fellow workers               righteous babe
august 99
indie home jobs
1        radio berlin
2       the radio
kinder surprise
3       swank o'hara
no one has a clue (but you)
4       team strike force
bomb at the party
5       Victorian pork
6       reverberators
el perro loco
7       clover honey
talk about me
8       full sketch
9       les saints
ta mere
10     skavengers
i won't forget you
11     siobhan duvall
12    adri
mischievous elves
13    david lester
the light changed...
14     space kid
machine gun
15     sharp kid
teenage hooligan
16    Canadian
music of Canada
17    rye catchers
things in the way
18     nagasaki fondu
19     new electric riot
teenage blues
20     salteens
nice day
what   we   listened   to
behead the prophet nxlxsxlx * autechre * jason
traeger * comet gain * dif juz * guided by voices
lee "scratch" perry * dysentery/falling sickness *
patrik fitzgerald * fugazi * lung leg * c average
scanner * rezillos * v/a four dots * black halos
hudson falcons * beltones * los lobos * the birthday party * fantastic plastic machine * lydia lunch
& roland s. howard * britney spears * gang starr
the bodies * johnny cash * us bombs ducky boys
pavement * kingpins (live! on ska-t's scene-ik drive!)
* hans kloss misery hour (of course)
^ooJUasiu Comic
fJly $ason r0a 6/foa (en route) On The Dia
12:00PM All of time is measured by
its art. This show presents the most
recent new music from around the
world. Ears open.
Reggae inno all styles ond fashion.
5:00PM  Reakowshikaughf-in-yer-
boots country
6:00PM British pop music Irom all
SAINT TROPEZ alt. 5:00-6:00PM
International pop [Japanese, French,
Swedish, British, US, etc.],  '60s
soundtracks and lounge Book your
jet set holiday nowl
QUEER FM 6KW-8.-00PM Dedicated
to the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened lo by everyone. Lots of human interest features,
background on current issues and
great music from musicians of all
sexual preferences and gender identities.
HELLO INCH A 8:00-9:00PM
GEETANJAU 9:00-10:00PM
Geetanjali features a wide range of
music from India, including classical
music, both Hindustani and Carnatic,
popular music from Indian movies
from rhe 1930's lo the 1990's, semi-
classical music such as Ghazals and
Bho|ans, and also Quawwalis, elc.
THESHOWlOdOPM-1:00AM Strictly
Hip Hop — Strictly Underground —
Strictly Vinyl With your hosts Check
mate, Flip Out _ J Swing on the 1 &
Decter spins techno So chill out wilh
us. Have a nice day
8:00AM Back in September.
&15-11:00AM Yourfavouritebrown-
slers, James and Peter, offer a savoury
blend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy eoch weekly brown plate special.
Instrumental, trance, lounge and ambi-
BLUE MONDAY all. 11:00AM-
1:00PM Vancouver's only indus
trial-electron ic-retro-gotti program.
Music to schlomp to, hosted by
THE ETHER TABU alt. 11:00AM-
1:00PM II a collective of Belgian
satanists ever put reverb on a flock of
geese, I'll find it and play all 28
minutes! Dark ambienl and experimental and noisy stuff. Barbara listens to too much old vinyl.
Feeling a little French-impaired?
Francophone music from around the
globe, sans Celine Dion.
will triumph? Hardcore/punk from beyond the grave
BIRDWATCHERS 5: 00-6:00PM Join
the Sports department for their eye
on Ihe T-birds.
PIRATE RADIO 7:30-9*00PM For
merly "Love Sucks," now ot a new
Vancouver's longest running prime time
jazz program. Hosled by the ever-suave
Gavin Waker. Features at 11
Aug 2:   Pianist Red Garland leads a
quintet lhat includes John Coltrane:
High Pressure
Aug 9: New star alto saxophonist Greg
Osby Banned in New york.
Aug 16: Underrated trumpeter/composer
Charles Tolliver and his big band Music Inc : Impact.
Aug 23: Legendary organist Roosevelt
'Baby Face' Willette. Stop and listen.
Aug 30*. The Individualism ol Gil Evans
4:00AM  Hasted by Trevor. Ifs punk
rock, baby! Gone from the charts but not
from our hearts — tank fucking Christ.
X-l 6-00-8-OOAM
WORLD HEAT 8:00-9:30AM
11:30AM Tamd trasfnock, sleazy
surf ond pukatin' punk provide the perfect scissor kick to your head every
Tuesdaymom.Thefe'snosecond chance
when Kungfu is used for evil with drunken
fist Bryce. IGlyaoir
11:30AM-1:00PM Talesofpuppy
love gone awry, and of baby ducks
crossing the street, all backed up by a
sad soundtrack of various indiefock
bands for your awn enjoyment ond
education. Cry in your beer, please.
Music for families and little people.
RADIO ACTIVE 5:30-6:00PM Activism, issues and fucking up the corporate powers that be.
Hardcore and punk rock since 1989.
http: //flexyourhead.
10:00PM Greek radio filling in for
La Bomba for the summer.
10H)0PM-12:00AM Noise, ambient, electronic, hip hop, free jozz,
Christian better living LPs, the occasional amateur radio play, whatever.
10:00PM- 12:00AM Join Greg
in the love den for a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here... and
bring some ice
3:00AM Warning: This show is
moody and unpredictable. It encourages insomnia and may prove lo be
hazardous lo your health. Ambient,
ethnic, funk, pop, dance, punk, electronic, synth, blues, and unusual rock.
6:00AM 100% west coast rop.
Huge giveaways, with your host like
no other Shawn Powers.
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
NEEDLES 9:00-10:00AM Spike
spins Canadian tunes accompanied
by spotlights on locol artists. Weekly
"Vintage Vancouver" segment takes
a look back at this city's musical
REBEL JAZZ 10:O0-12:00PM
in for Clinton. Essays, poetry, social
commentary, and conscious music
from a Black radical perspective. If
you can't take the heat listen to Z95.
sleep, ride, listen to Motordaddy,
RACHEL'S SONG 5: 10-6:0OPM Info
on health and ihe environment. From
recycling and conservation projects to
diet, health, and consumption and
suslainability in the urban context.
SOLID STATE 6:00 -7:30PM Featuring the latest in techno, trance, acid
and progressive house. Spotlights
on local artists, ticket giveaways, &
live performances. Hosted by M-Parh.
9:00PM sleater-kinney,low,sushi...
ihese are a few of our faveotavrit things.
BY THE WAY alt. 7:30-9:OOPM
Let's give alternative media a chance
- VIVA VINYL! 7"s new and old,
local cassettes and demos.
FOLK OASIS fcOO-10:30PM Featuring the latest local and international
releases in folk/roots/world music,
phone interviews, in-studioguestsand
more. Requests always welcomed!
10:30PM-12*OOAM LetDJsJindwa
and Bindwa immerse you in radioactive Bhungra! "Chakkh de phulay."
Listen to all our favourite Punjabi tunes
— remixes and originals.
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
REEL MUSIC   8:30-10:00AM
Soundtracks and classical.
FILIBUSTER alt. 10:00-11:30AM
Port accordion-tinged musical
meanderings, part experiemental
weirdness, with a little bad hill blood
thrown in for good measure.
10:00-11:30AM DJHancunturges
women to gel down with their cunts
while listening to women in jazz,
funk, rap, soul, worldbeat, disco and
1:00PM FromTofinoloGander, Baffin
Island lo Portage La Prairie. The al
Canadia* soundtrack for your midday snockl
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
Comix comix comix oh yeah and some
music. With Robin and Jules.
SHAPE UP alt. 5:30-6:00PM
REELS TO REEL alt. 5:30-6:OOPM
Movie reviews and criticism.
OUT FOR KICKS 6*>0-7:30PM No
Birkenstocks, nothing politically correct. We don't get paid so you're
damn right we have fun with it. Hosted
by Chris B.
9:00PM Roots of rock & roll.
HELL 9:00-11:00PM Local muzak
from 9. live bandz from 10-11.
11:00PM-1:00AM You adjust the
lighting, DJ Satyricon mixes the
sounds. Radio that could only happen after the sun's gone down. Songs
and soundscapes for the naked city.
4:00AM Late night vinyl. Occasional skips. Cheers.
8:00AM with DJ Galosh
Trawling the trash heap of over 50
years worth of real rock V roll debris. Stick out yo' can.
12:00PM   E-mail your requests to
Djska T@hotmail.com
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats.
Versatile at any style.
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NOIZ4:00-5:00PM seMed.
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS 9:00PM- 12:00AM
Hosted by DJ Noah: techno, but also
some trance, acid, tribal, etc. Guest
DJ's, interviews, retrospectives, giveaways, and more.
SHIT MIX alt 12:00-3:OOAM No
beatmatching. No crossfading. No
indiefascism. No
No Phish. Just a mix.
GET TO THE CHORUS alt. 6:00-
12:00PM Studio guests, new releases, British comedy sketches, folk
music calendar, and ticket giveaways.
8-9AM: African/World roots. 9AM
12PM: Celtic music and performances.
ALAM MAZEKA 12:00- 1:00PM
Arabic music.
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Raltlehead and
Metal Ron do the damage.
From backwoods delta low-down
slide to urban harp honks, blues
tunesters and crooners in the blue
degree. Blues and blues roots with
your hosts Anna and Barry.
8:00PM Extraordinary political research guaranteed to make you ihink.
Originally broadcast on KFJC (Los Altos, Cal.)
GROOVE JUMPING alt. 10:00-
PIPEDREAMS alt. 10:00-1:00 AM
SOUL TREE alt. 1:00 -4:30AM From
doo-wop to hip hop, from the electric
to the eclectic, host Michael Ingram
goes beyond the call of gospel and
takes soul music to the nth degree.
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
Hardcore dancehall reggae that will
make your mitochondria quake.
Hosled by Sister B.
$4tifitL*y ftiMy 3fl
k cpeeir radi© eweot
celebrating seiyal diversity
Kickoff - a brief history of Vancouver Pride, and info
about this year's line-up
Short Features
Halfbreeds, Homos and Other Heroes - a two-
spirited perspective
The Bi-onic Man
Queer Film & Video - a round table discussion with
programmers and guests from Out On Screen
Interview with Ember Swift
Queer Noiz - audio art by non-heterosexuals
Two-Spirited Storytelling - with Gordon DeFresne
Hearsay - Spoken word, for those literary types
Raunchy Bisexual Stuff-with DJ Hancunt
Straight FM - Heather and Craig do the flip side
Onomatopoeia - Yes, there are queer comix
Dykes on Mykes - with live guest Kathy O'Neil
Live and Queer - Satina Saturnina
Queer Roots of House - with DJ Tobias
Nardwuar vs. Dan Savage
Earwax - queer underground sounds
onGlMOMffl Datebook
SAT  31   Asad  Rizvi@Sonar;  Black Halos,  Catheters,
Cuckoos@Piccadilly; Artporn or Pornorr?@Blinding Light
SUN 1   Robert Walter's 20th Congress@Chameleon; Brian
MON 2 Jar@Starfish
TUE 3 Mixmaster Mike@Sonar; Mr. Sa/esman/@Blinding Light;
Hot Baud Rally (feat. Error 404, Manu Fortis,
Akashic)@Columbia; Cereal Porn, Hurt, Silvertongue@Starfish
WED 4 The New Deal@Chameleon; Mr. Sa/esmon@Blinding
Light; SMAQu-2, Bloodmusic@Brickyard; Secret Three@Sugar
THU 5 Sex In Sweden, Pet Fairies, Vancouver's
Shame@Piccadilly; Moby@Richard's; Fritz Lang's Metropolis
w/Eye of Newt Collective@Blinding Light; Hot Baud Rally (feat.
75 Million Changs, Einsturzende nasenbluten, Miss
X)@Columbia; Shawn Meehan, Sam, My Blue Heavy@Starfish
FRI 6 Lowbrows@Marine Club; Rock Against
Prisons@Heritage Hall; Chai-Man Cheng@Dr. Sun Yat-Sen
Garden; Jar, Random Damage, G.R.A.V.E.L.©Starfish;
Zumpano, Come Ons@Brickyard
SAT 7 Tonics, July 4th Toilet, Radio@Piccadilly; Brian Springer's Spin w/ The Mark Twain Company^Blinding Light; Terror
of a Tiny Town, Hemeon, Big Rig Sweeties@Starfish
SUN   8    Big   Red,   Daisy   Dukes@Piccadilly;   Skunk
Anansie@Starfish; 23rd Annual Prisoners' Justice Day Memorial Rally@Vancouver Pre-Trial Centre; Under the Volcano (see
Special Events)@Cates Park
MON 9 Arling & Cameron@Chameleon
TUE 10 Jimmy Cliff@Rage, Guy Debord's The Society ofthe
Spectac/e@Blinding Light; Kimmie, Good Time Clubsters, Trevor
WED 11 1 lth Annual Vancouver Queer Film & Video
Festival@Blinding Light
THU 12 Tricky Woo, Spitfires, Mooney Suzuki@Starfish; Curiosity Shop, Velveteens@Piccadilly; BY08@Blinding Light
FRI 13 New Big Shoes, Luma@Starfish; ASZA@Dr. Sun Yat-
TUE   31 Transgressive  Chicks:  Linda  Feesey +  Kika
7norne@Blinding Light
WED   1    Transgressive Chicks:  Linda Feesey +  Kika
77iorne@Blinding Light
THU  2   Charlie Chaplin's City Lights w/Eye of Newt
Collective@Blinding Light
Sen Garden; Deadcats, Tonics@Brickyard
SAT 14 Barbie Nation: An Unauthorized Tour^Blinding Light;
Pan,  Midge,  Ocean  3@Starfish;  Satsuma,  Run Chico
SUN 15 Barbie Nation: An Unauthorized Tour@Blinding Light
MON 16 T-Model Ford, Paul "Wine" Jones@Yale
TUE 1 7 Gutter Punks, Street V7ews@Blinding Light
WED 18 Gutter Punks, Streel Views@Blinding Light; Captain
THU 19 JP5, Custom Made Scare, Fatal Flying
Guilloteens@Piccadilly; The Organization Man: The End of
Society As We Know //©Blinding Light; Glimmer, One-900,
FRI 20 Fireballs of Freedom, Fiends, Countdowns,
Tonics@Piccadilly; Dido@Sonar; Zolty@Marine Club; Yu-Ping
Chen@Dr. Sun Yat-Sen Garden; Stripped & Teased: Tales from
Vegas Women@Blinding Light; Real McKenzies@Starfish
SAT 21 Shellac, Silkworm@Starfish; Lazy Cowgirls, Von Zippers, Johnny Legend, Hell Caminos@Piccadilly
SUN 22 Stripped & Teased: Tales From Vegas
Women@Blinding Light
MON      23      Moth:    A     Live    Multimedia     Dance
Performance@Blinding Light
TUE 24 Mof/i@Blinding Light
WED 25 Mof/i@Blinding Light
THU 26 Salteens, Solarbaby, Lavish@Piccadilly; Herbaliser,
Roots Manuva@Sonar; Freeze-Dried Angst@Sugar Refinery;
Star Collector, Mt. Pleasant, Ooberband@Starfish
FRI 27 Dragons, Spitfires, Weaklings, RC5, Jet Set@Brickyard;
Dick N Jane@Marine Club; Silk Road@Dr. Sun Yat-Sen Garden; Braineater Deluxe@Brickyard; Verbeena@Starfish
SAT 28 Smugglers@Piccadilly; Mo(f)@Blinding Light; The
Retards are Winning@Good Jacket; Buttless Chaps@Sugar
SUN 29 Motri@Blinding Light
MON 30 Rearrange your sock drawers or something
Amsterdam Cafe 302 West Cordova (Gas Town) 683 7200
Anza Club 3 W. 8th  (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Astoria Hotel 769 East Hastings 254 3636
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston (Granville Island) 687 1354
Black Dog Video 3451 Cambie 873 6958
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
Blinding Light 36 Powell St. 878 3366
Boomtown  #102-1252 Burrard (at Davie) 893 8696
The Brickyard 315 Carrall St 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cambie 515 Seymour 684 7757
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities  1022 Davie (at Burrard) 689 3180
Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR 101.9fM 233-6138 SUB Blvd 822-3017
Club Vesuvius     1176 Granville (downtown) 688 8701
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
CNB Skate and Snow 3712 Robson 682 5345
Cordova Cafe 307 Cordova (Gastown) 683 5637
Croatian Cultural Centre  3250 Commercial (al 17th) 879 0154
Crosstown Music 518 W Pender 683 8774
Denman Place Cinema   1030 Denman (V\fest End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie  (downtown) 682 4388
Fifth Avenue Cinemas 2110 Burrard (at 5th) 734 7469
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
F.W.U.H.  Beatty 552 Beatty 687 7464
Frederic Wood Theatre (UBC)
Garage Pub 2889 E. Hastings (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main  (Ml. Pleasant)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main (Mt. Pleasant)
Hush Records 221 Abbott Street
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards  1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott (Gaslown)
Luv-A-Fair   1275 Seymour (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion 7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (Gastown)
Naam Restaurant 2724 W 4th (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre Smithe & Seymour  (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards (downtown)
Paradise 27 Church  (New Westminster)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Piccadilly Pub 630 W. Pender (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre 881 Granville (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave)
Puff #14-712 Robson (al Granville)
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge  1221 Granville (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
Richard's on Richards  1036 Richards (downtown) 687 6794
Ride On 2255 West Broadway; 2-712 Robson (Upstairs)    738-7734
Ridge Cinema 3131 Arbutus (at 16th Ave.) 738 6311
Scrape Records 17 W. Broadway (near Main) 877 1676
Scratch Records 726 Richards (NEW LOCATON!) 687 0499
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)      291 6864
Singles Going Steady 3296 Main (at 17th) 876 9233
Sonar 66 Water (Gastown) 683 6695
Starfish Room   1055 Homer (downtown) 682 4171
Starlight Cinema 935 Denman (West End) 689 0096
Station Street Arts Centre 930 Station (off Main) 688 3312
Sugar Refinery  1115 Granville (downtown) 683 2004
Theatre E 254 E. Hastings (Chinatown) 681 8915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Tribeca 536 Seymour 688 8385
Tru Valu Vintage Robson (downstairs) 685 5403
Vancouver E. Cultural Centre  1895 Venables (at Victoria)   254 9578
Vancouver Little Theatre 3102 Main (Mt. Pleasant) 876 4165
Vancouver Press Club  2215 Granville  (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th (Point Grey) 222 2235
Vert/Futuristic Flavours 1020 Granville (downtown) 872 2999
Video In Studios  1965 Main  (Mt. Pleasant) 872 8337
Vinyl Rekkids 76 W. Cordova (Gastown) 689 3326
Vogue Theatre 918 Granville (Granville Mall) 331 7909
Waterfront Theatre  1405 Anderson (Granville Is.) 685 6217
Western Front 303 E. 8th Ave (near Main) 876 9343
Wett Bar 1320 Richards (downtown) 230 6278
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall  1882Adanac (the Drive) 254 5858
Women In Print 3566 W 4th (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downtown) 6819253
Zulu Records 1869 W. 4th (Kitsilano) 738 3232
.0  AUcjWrf ■*(_ 	
/                                     BY08 (BRING YOUR OWN FILM) /2
BARB/E NATION: an unauthorhep tour /3-/S
GUTTER PUNKS * street views vipeos 17/t8
STRIPPED & TEASED: tales from vegas women 20-22
SHIRKA URECHKO'S MOTH, live multimepia pance 24-29
TRANSGRESS/I/E CHICKS: linpa feesey* kika worm 31/1
^WT       6    NIGHTS    A    WEEK
Check out '75$ 0jitl Live
eveiy Satuida\f ajteinoon
Open mic evety ^huisdiiy
Visit Our Website
phone: (604) 68-BLUNT (604)682-5868 1
317 West Hastings Street, Vancouver, B.C. V6B1H6
Aug. 25, 7 & 9:30pm
Aug. 26,7 & 9:30pm
Aug. 27,7pm
Aug. 28,7pm
Dal Richards Orchestra & guests
3DEEP featuring
Joshua Morrow (The Young & Restless),
Eddie Cibrian (Sunset Beach) & CJ Huyer
Michael Buble
The Gospel Experience
featuring Circle of Voices & Cloud 9
Bocephus King
Sh&ri Ulrich
Rumba Calzada
Oscar Lopez
Bobby Bruce
"Nearly Neil" Neil Diamond Tribute
Farmer's Daughter
1 Blues
Mae Moore
Barney Bentall
v.i.p atea
Concerts are included
your s6 Fair admission
Aug. 29,7 & 9:30pm Flashback 99 Featuring sixties mania,
the Honeycones, Laura Gillespie,
and the Curvette Dance Team
Aug. 30,6:30pm  Bobbi Smith
7pm   Lyndia Scott
9:30pm  Lisa Brokop
Aug. 31,7pm Zubot & Dawson
9:30pm Roy Forbes
Sept 1,7pm Pure
9:30pm By Divine Right
Sept 2,7pm Tiller's Folly
with the Sabir Sisters & Irish Dancers
9:30pm The Barra MacNeils
Sept 3,7pm Disco Divas
9:30pm Wunderbread
Sept 4,7pm BabeGurr
9:30pm Amy Sky
Sept 5,7pm Rob Best's World Jive Big Band
9:30pm Ache Brasil
Sept 6,7pm Lee Aaron
9:30pm Trooper BCTEL
22 Mobility
The Vancouver Sun j
mmm wmm ■ zoom in with zulu
get a close up on these great new releases!
England Made
Me CD '>;.*"
Combining the dark brood-   iflBMBM
ing moodiness ot Mazzy     ^i_____5_55__i#
Star with the smart hooks ot
clever pop stars such as PJ Harvey, this sophomore
release trom UK's Black Box Recorder sent Shockwaves
through the Zulu offices at first listen! Comprised ot
members ot The Auteurs and the Jesus _ Mary Chain,
this may be the sleeper release ot the year with its near
perfect blend ot otherworldly sounds, deep bass, strings
and bouncy beats. Add to the mix an Arab Strap-like
worldview and things really start to simmer,
CD 16.98
Fly The Flag CIV LP
The Timex ot Punk Rock, Down By Law take a licking
and keep on ticking! Godfathers of California power-
punk-pop, Dave Smalley & Co. return with another
landmark hardcore blast, featuring emotive lyrics, hooks
galore and a melodious mastery ot the three-minute
summer anthem. A banner release, the punk pennant.
Fry the Flag'!   (AVMUSLEAUGUST4IH)
CD 16.98    LP 14.98
Field Recordings
From... cd/lp
Come Pick Me
of the bands that
helped to write the sound
style of the 1990's, North
Do The Collapse CD
continues to grow, improve and point the way. Over the
years becoming more pop that punk, the Jim O'Rourke
produced Come Pick Me Up smartly plays all of
Superchunk s favourite cards, from sing along rockers to
happy/sad power ballads, plus a tew new ones, strings
and horns. Gosh, where would we be without them?
CD 16.98
'' I   ooser than the Royal Trux." "More bombastic than
Lthe exploding showman Jon Spencer." "Wild, as in
rocking the wilderness, man." "Definitely sexier than
Nashville Pussy." The accolades are still rolling in for this
Doll Rod's new blast of charnel body movin' garage noise.
People cannot stop discussing the matter Why? Because
its very good, and because good things usually stir up
some debate. Of course some may think, "This is pure
shit," well, that's just the other side of the debate. Why
not do something reckless — drop what your doing right
now. and join the rumpus over this cross-dressing, shock
rocking good thing now!
CD 16.98
*ome records you listen
Oothers you romance! Boy is it
easy to get smitten with these
Guided by Voices, because they
just keep on givin', baby! Gifted
songwriter that he is. Robert Pollard
always has something to give — hey he's written more songs
than McCartney and Lemon combined! Featuring 16 brilliant
pop nuggets, with a new Ric Ocasek enhanced sound, Do the
Collapse is prime GBV. from "Teenage FBI" to "Surgical
Focus" or Strumpet Eye", we love it    (AVAIABUE AUGUST 4TH)
CD 16.98
Various Artists
A Tribute to
Gram Parsons co
tribute to this great alt-country pioneer. Featuring Wilco,
Lucinda Williams. Beck. Gillian Welch, Elvis Costello and
more, this cast of luminaries revisit the splendour of Gram
Parsons' gilded palace of song. A must have for all tans of
Parsons' timeless melancholic twangs, as well as a great starting point for those wishing to unravel the roots of today's budding countrified rock scene! Enjoy.
CD 16.98
Astronomy CD
One of modern electronic
music's oddball wizards,
easily trades
knocks with'his peers, and helps
set the standard for everyone else. Maybe not as ui
dictable as Aphex Twin or as goofy as Squarepusher.
Paradinas knows, how to uniquely string sounds together
while keeping the beats big and rolling. Come enjoy the distortions of this telescope.
CD 16.98
Red Letter Day
s' gorgeous
te-specific bass meditations prove this Tortoise
mainstay to be a budding Ry
Cooder. Featuring Josh Abran
Mazurek. John Herndon, John McEntire and Mary
Hansen, this subtle, beautiful record leaves us wanting
more. And if more is what you're after, we've decided to
have 15% OFF all Thrill Jockey titles through August.
Started by Bettina Richards, this great Chicago base-
label helped establish such highly regarded bands as
Tortoise. Sea and Cake, Freakwater and Traits Am
Pop music has not been the same since, thank goodness, but most of all, thanks to our pal Bettina
CD 16.98    LP 14.98
Iore top shelf, charming
melodic punk rock from
these young er
Equal parts Si
Sunny Day Real Estate, these
Kids come across as good old hardcore before it went totally
metal or got too mathematical. Good work done right, this
late summer surprise is a welcome small oasis in an otherwise Fat landscape. Keep it real.
CD-EP 12.98    10" 9.98
Various Artists
iaze upon the new CELESTIAL stars! Celestial Records
Ethat is. Spearheaded by tlfe phenomenal success of wiz-
ard-tumtablist DJ Hive and the latest bomb MC Pheonix
Orion, this LA hip-hop label's profile has steadily increased
with each converted boom box player. Features Alien
Ifation. Self-Jupiter, DJ Rhettmatic (Beat Junkies) Daddy
Kev. Supernatural and more.    (AVAAABLE AUGUST 4TH)
CD 9.98
InStore Weckiesday August 11th @ 4:30 PM
An exclusive appearance from this Sappy Records artist. Come one, come all,
as Julie and her band THE WOODEN STARS hold court at Zulu!
bmg these titles tito focus:
APPENDIX OUT Daylight Saving CD/IP
-a nice journey into the alt-country Palace.
-2 long drones from this modern composer.
-on Drag City, a new American songwriter a la Smog.
DUDE OF LIFE Under the Sound Umbrella CD
- solo outings from this Phish dude.
VANDALS Sweating to the Oldies CD/2LP (reissue)
-old school punk, you'll be surprised when your remember the words.
-the new indie-wave sounds on Up Records
MARINE RESEARCH Parallel Horizontal CD-EP
-a teaser from these Heavenly popsters
TRANSAM Who Do We Think You Are CD
-ultra limited edition UK only disc, once its gone, its gone.
IQU w/MIRANDA JULY Girls on Dates 12"
-a cool collaboration from these two K Records bright spots.
SOUTHERNING One Piece In Four Parts CD (ex-Jessamine!)
-mini-moog workouts from this Faust inspired rocker.
MC5 '66 Breakout CD/LP
-revisit the sound of revolution!
GAY DAD Joy CD-EP Pts.1+2
-no longer a secret, these are the new heirs to the British pop throne.
ARSONISTS As the World Bums CD/LP
-critical new hip-hop on Matador.
ATIVIN Summing the Approach CD-EP
-great low key moody rock with atmospnere.
SKYLAB SkylabNo.2 CD
ELECTRONIC Late At Night CD-EP Pts.1+2
PET SHOP BOYS I Don't Know What You Want CD-EP Pts.1+2
1869 W 4th Ave.
Vancouver BC
V6J 1M4
tel 738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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