Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-04-01

Item Metadata


JSON: discorder-1.0050179.json
JSON-LD: discorder-1.0050179-ld.json
RDF/XML (Pretty): discorder-1.0050179-rdf.xml
RDF/JSON: discorder-1.0050179-rdf.json
Turtle: discorder-1.0050179-turtle.txt
N-Triples: discorder-1.0050179-rdf-ntriples.txt
Original Record: discorder-1.0050179-source.json
Full Text

Full Text

APRIL  200 1
with special guests
& Landscape Body Machine
I Tickets Available At I
I ucHotmaaror |
j (604) 280-4444 f
217 W. Hastings
(604) 689 - 7734
At Richards on Richards
1036 Richards St.
Vancouver, BC           iimm* h*£
Doors at 8 pm             *MP Jr? ?f J
QVAGRANT frffi#lffffi
kia kadiri by hancunt p. 12
solarbaby by spike p. 13
frog eyes by jay aouillara p. 14
ladytron by Christine gfroerer p. 15
amon tobin by luke meat and robert robot p. 16
weights and measures by lia kiessling p. 17
canned hamm tour diary by little hamm p. 19
interview hell p. 5
7" p. 6
radio free press p. 7
strut and fret p. 8
kill your boyfriend p. 8
Vancouver special p. 9
culture shock p. 10
louder than a bomb p. 11
under review p. 20
dj profile p. 21
real live action p. 22
charts p. 27
on the dial p. 28
kick around (comic) p. 29
datebook p. 30
welcome back into our lives, spot colour, we
have missed you. jude griebel made this
woodcut, lori kiessling layed it out with help
from matt searcey.
heavily sedated:
Barbara Andersen
in training:
Lyndsay Sung
ad rep:
Maren Hancock
art directrix:
Lori Kiessling
assistant art director:
Matt Searcey
producfion mananger:
Christa Min
photo editor:
Ann Goncalves
real live action editor:
Steve DiPasquale
Russ "Switch" Davidson, Farah
Dharshi, Lori, Matt Searcy, Tara
photography and illustrations:
Jay Douillard, Ann Goncalves,
Jude Griebel, Lisa Lindsay, Scott
Malin, Shawn Scallen, Dan Siney,
Daryl Wile, Rob Willis
Gordon Au, Cloyton, Nick Bradley,
Jay Douilldrd, Bryce Dunn, Ann
Goncalves, Irene Naidu, Tom
Peacock, Katie Riecken, Lucas
TdS, Jason Trigg, Tristan Winch
on the dial:
Bryce Dunn
Julie Colero
Barbara, Steve, Irene
Matt Steffich
us distribution:
Lindsay Marsak
Linda Scholten
shouts out:
rocky, tim, andrea k. neyedli, and
everyone whose article we killed
© "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia All rights
| reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
I one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2
I (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag-
| azine.
DEADLINES: Copy deadline for the May issue is April 11 th. Ad space is available until April 18th and
:n be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiS-
I CORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicit-
I ed artwork (including but not limited to drawings, photographs and transparencies), or any other
I unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send
| e-mail to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as
I through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
I CiTR DJ line at 822,2487, our office at 822.301 7 ext, 0, or our news and sports lines ot 822.3017
I ext. 2. Fax us at 822.9364, email us at: citrmgr@rriail.ams.ubc.ca visit our web site at http://www.citr.ca or
j just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
printed in Canada
Events at a glance:
•fe AmaHnrl* "Hn.iR« Music" On YOSHITOSHI,
wiggle @insoe
Hosted by New York City's stunning Candis Cayn
DJ HEATHER (Chicago) @ ITISlOe
nt LAZY DOG MAY 5 Lazy Transmissions Release Party @
e Party @ INSIDE MAY 18 Andy Smith (Portishead) @ CROSSFADE YOU COULD WIN FUNKY <sn«ae. GEAR!!!
TO ENTER EMAIL US AT: discorder@yahoo.com
(HINT: log onto www.gorillaz.ca, or www.emimusic.ca/gorillaz for all the answers)
4 *  '<**' t h /'
16 New Songs from the Manic Street Preachers
featuring: "Found That Soul" and "So Why So Sad"
SHOP ON-LINE: m e have added the c
■specially because
ie and only Gowan to
DiSCORDER: Who are you (names, ages,
instruments played)?
Shannon (Shanzig), age 26, lead vocals.
Stacey Maneater, age 26, guitar and background vocals.
Marina Mink, age 25, bass and background
Bjwhatdoyouthink, age 18, drums.
Why not ermine?
Because M.I.N.K. stands for Masters in
Necrophiliac Knowledge.
Tell us, Mink, what are your plans to take
over the music scene, locally and abroad?
Any tour plans comin' up?
First we take Manhattan, then we take
Berlin. Tour plans? Well, our next tour will
take us from the Philippines to Bucharest
Shannon, is it true that you are the female
incarnation     of     Danzig?
C'mon, do tell.
Well, since you asked, I am
Danzig's love child.
Do you think one band can
have two redheads and still
get along?
We don't really get along! We
just rock together. Life's too
short for friends.
Fill in the blanks: In the year
2005, we will be throwing a
gig    in         with
to   the
show, especially because we
have added the one and only
Ask yourselves two questions and answer
Q. How did you guys meet?
A. At band camp.
Q. If you could be a kind of tree, what kind
of tree would you be?
A. Shannon: A camel toe tree.
Marina: A prickly bush tree.
Stacey: An X-mas tree.
Bjwhatdoyouthink: A family tree.
The Black Metal Years
Greatest Hits
should  cc
to    the
In the year 2005
will be throwing a gig in the Netherlands
with Menudo and Danzig, and you should
Masters In Necrophiliac Knowledge
DiSCORDER: Who are you?
Sandra Gracak: bass, guitar, and vocals.
Colin Funk: bass, guitar, vocals, per
Jeff Everden: bass, guitar.
How long have you played together with your current lineup?
Any changes to the scene?
Sandra: Our current lineup actually began five years ago, after the
demise of Colin's and my band Bullet Nose, when Jeff started jamming with us in my basement. Since then, it's been name changes,
member changes, and instrument changes. After all the dust settled, it's back to the original lineup, but a different basement now.
If you were to have crawled out of a musical time capsule, which
five year period would you say that would be, and who would
be right there with you?
Our musical time capsule encompasses the years 1965-1970, and
we would be right there with The Seeds, The Velvet Underground,
and Can.
Is any of your stuff improvisational, spontaneous, or stream of
consciousness inspired? Just wondering, as you have so many
wacky tempo changes and chord progressions.
Well, yeah, we love that shit, it's all part of the process. That's how
we find our songs, digging in the well. Usually we end up with a
stripped down bad ass bare bones song at the end of it all.
What's wacky just for the sake of being wacky falls off
and what's whacked because things are whacked sticks
hard. Besides, who wants to sound typical?
Why are there so few bands who use drum n
these days, Red Siren? Do you think this ii
will make a comeback? People seem to be reverting
back to the sort of "old school" sound the drum machine
Is this something that you find adds a certain
flavour to your work?
We know tons of bands who use drum machines, everything from old '70s beat boxes to modern day sequencers
and samplers. We feel more "old school" when we use an
actual drum kit. In the end, it's not what you use, it's how
We initially started using the drum machine so we could simplify our sound and put together tight songs we could play over
and over again. Our last drummer never wanted to play the same
thing twice, which sharpened our improvisational skills but
drained our brains of riffs after a year.
red siren
Blue Nose Fly, Double Penetration (CD/LP) 1998
Craft Landing, Novelty (Cassette Single) 1999
Red Siren, Several Ways to Oblivion (CD/EP) 2000
The Best; in
Music is on
Chillout aOD1 >v.i
**1  »The Ultimate Chiilout
Includes tracks by Fatboy Slim,
Groove Armada, Deienum,
Supreme Beings of Leisure.
Dusted and many more.
Delerium w  Poem
The highly anticipated follow up
to Karma with guest vocals by
Leigh Nash from Sixpence None
The Richer, Matthew Sweet &
the Mediaeval Baebes.
m   Organic Audio »
Last One Home
Straight from the UK, a fusion
of funk dance music and
percussive rhythms from around
the world.
BT »
Movement in Still Life
Includes the singles "Smartbomb",
"Never Gonna Come Back Down",
& "Shame", as well as the club
smash "Dreaming".
DJ Tiesto »
Over 70 minutes of music mixed
by DJ Tiesto including Delerium's
international smash "Silence"
(DJ Tiesto's In Search of Sunrise
Plastic v.«* »
The latest in the series features
a rare mix of Moby's "Porcelain",
new music by Sasha and
Emerson, as well as tracks
from BT, Azzido Da Bass, The
Chemical Brothers, Brother
Brown, Tnsco & more.
Autour de Lucie »
Faux Mouvement
Autour de Lucie will confound all
expectations, because Faux
Mouvement is one of the most
beautifully crafted albums to come
along in many a year-in any
language. It is a rigourousiy uncontrolled album, in response to
and apart from its predecessors.
5 E^gSg^Effi to hit the big time. Maybe. Or
maybe this'll be another one of
those major label things that no
about. I suggest that you do your best to
check this band,
but do dish them some attention if you're at alia fan of good
to the little fellows,
m supposed to be
comes on a familiar label,
Kittridge, and it sounds like
Kittridge music tends to. This is
a cutesy duo that:
further back than the last Jets
To Brazil album for some inspiration. Sure, you cite Refused
as a RIYL (or whatever those
initials are supposed to be), but
you don't sound like that. You
sound like cats screeching as
skunks pee their stinky spray
on you. Bah. Any song that
starts with a slow build these
days lets me know I ought to
just run for the border, but I
stayed put long enough to hear
this three-song catastrophe out.
"Catastrophe" might be too
strong of a word, as it usually
worth the effort; for when you
get to "Spread Your Love,"
you'll be blown away. With a
funky bass-line and very
smooth vocals, this song spells
true love for the little band that
could, breaking out of i
like the Apples in Stereo when
their harmonies are working it
to the max. The lyrics on this
one are kind of lacking, but I'll
give the band some credit for
effort. Besides, there's
really hot bridge/chorus action
on the b-side. So there.
(Kittridge Records,
tnet.com )
Picking up the pace and
chucking it out the window is
THE LOT SIX, an utterly
markable band with its nose in
the wrong pile of musical influences. Gentlemen, pie
all know that bad e
days. Another stumbling block
for the band is their lack of
spelling skills, which I find
quite intolerable. I almost saw
some good in all this when I
thought I heard the singer
scream "Recital Rock!" over
and over, but it actually was
nothing of that sort, and so I'll
just take my imaginative term
and dump it on Godspeed You
Black Emperor's head. (Espo,
PO Box 63, Allston, MA 02134
Better music on my plate?
You bet. There's a new
LOCUST single, "Flight of the
Wounded Locust," five tracks of
absolutely crunchy mayhem
that I can't wait to see live. Like
I said earlier, Cali has got some
things working in its favour
these days. Wouldn't you love
to see the Locust on a tourism
brochure, maybe at the gates of
the   new   Disney   California
theme park. You'd just know
that the skinny white rocker
dudes went in and kicked
the pioneers' asses after that
shoot. They've got the pizazz
for it, yeah! (Gold Standard
Laboratories, PO Box 178262
San Diego, CA 92177 USA)
More good stuff: THE
hella-creepy excursion into old-
school synth-rock mayhem, this
three-song single showcases
both male and female pipes,
whole lot of clever chops.
We      processed a
, the female
my.   If:
"Thunderstruck," but so not.
(Empty, PO Box 12034, Seattle,
WA 98102 USA)
And last and absolutely
best is RED MONKEY. I just
can't get enough of the politics,
baby! Taking on consumer consumption, the horrors of the citv
and so-called civilization, and
the overworked society we live
in, Red Monkey like to spread
the message in a funky, funky
way. Big bass, slamming guitar
riffs, and bang-on drumming
make the band the ultimate
consummate purveyors of
modern actionist thought that
they long to be. If only the word
would be spread! And, on a
personal note, I hope that in
their denunciation of consumption, they at least let me buy
their records... Viva la punka!
(Troubleman Unlimited, 16
Willow St., Bayonne, NJ 07002
we offer technical training in video, audio and
new media production and post production including:
final cut pro
avid xpress
protools digital audio editing / sound design
camera, lights and sound
we also have a 2000 sq. ft. studio available for
rental for production purposes, screenings and
audio and music events, for more information
contact Tricia Middleton at 872.8337
hours of operation:
11 am to 6 pm
Monday to Saturday
festival of contemporary media
april 26-30 2001     Video In Studios
signal & noise
signal & noise is a new festival of contemporary media presented by Video
In Studios which will provide a forum for showing and discussing works that
exemplify and address the concerns of media practices today.
Video In Studios
1965 Main St.
Vancouver BC   info.872.8337
exhibit@telus.net    www.videoinstudios.com There arrives a crucial point in
many projects ivhen the cre-
atorhas to ask themselves if
the vision should continue or if the
dead horse is going to respond, gel up
and walk. So I have to ask myself and
you, dear readers, if you appreciate
zine reviezvs in DiSCORDER or you
really don't care. As for me, 1 love
zines and feel the passion to keep reading them and continue working on
Speck fanzine. I guess the problem is
that I am feeling a little disconnected
and have had an annoying sense of
futility seeping into my project here.
I'm wondering if there are even just a
handful ol 'people at tually reading and
enjoying Radio Free Press or not. Let's
face it, DiSCORDER itself is targeted
at a chosen minority overall, obviously. Are zines important to you at all?
Does RFP provide a useful service?
I et me know. When I lived in the interior of BC I starved for this sort of
thing, and that's why 1 have been
doing this for over a year. In the radio
and print game the audience often
becomes an intangible component.
Are you there? Please write
Speaking of obscure cultural phenomena, The Blinding
Light!! Cinema launched the
second 250W zine on March 8.
The event was a literary celebration with a showing of
the Emmy Award-winning
Bookwars, a film by Michel
Negroponte, and the unveiling
of a "bubble gallery," which is
one of those vending machines
that usually dispense small toys
at the grocery store. This one
dispenses tiny zines and comics
by local artists and only costs
you a loonie. On the new zine
shelves at the Blinding Light!! is
Robin Bougie's new CINEMA
SEWER #5, again exploring
psycho-sexual shit on video,
plus a rather innocent look at
the author's favorite animated
features. Stand-outs include the
"piece" on misogynistic porn
asshole Max Hardcore and a
series of Nazi sex-camp flicks.
Vancouver's independent art-
video experimenter Meesoo
Lee is interviewed within these
generous pages also. Always
compelling in so many ways.
($3 to #320-440 E. 5th Avenue,
Vancouver, BC V5T 1N5)
Looking to laugh at some
major and minor celebrities
while  leai
ridiculous facts as well? Lara
Jenny has recently released the
new POP BOFFIN #4. Lara and
friends know when not to take
themselves too seriously when
it comes to the trivial and overexposed world of the pop icon.
Pop Boffin offers a suspension of
reality and lends some fantasy
scenarios to Hollywood and
popular music stars. Also
included are an interview with
Saint Etienne, in addition to
local and far off concerts.
And where the hell did I
pick up ROCK N ROLL
OUTBREAK? Well, wherever it
was, I found this punk punk
punk zine to be old school in
substance and appearance. I
can't tell you how refreshing
this is. I'm looking through this
great zine with a bunch of
punks that look like they're
from 20 years back, but are producing this stuff right fuckin'
now, daddy-o. Whoever
dropped this off in Vancouver,
although it appears to be a year
old now, deserves a big fat sloppy kiss. We need some more
like RNROB. The main kid
behind this venture is Patrick
Grindstaff who works for, or is,
Pelado Records. See the interviews with The Joneses, The
Boils, The Reducers SF, The
Statiks, and more of the usual
and shit. ($3 to 521 Wilson
#C103 Costa Mesa, CA 92627
Let's   keep   on   with   the
BULLSHEET #4, out of the
repressive, fundamentalist environment of the Abbotsford area
(you heard me, you bastards).
There are punks everywhere,
and some of them are even
capable of writing these days,
believe it or not. So when
today's punks aren't out fucking shit up for no apparent reason, the other two that are left
are thinking about how to contribute something to the overall
anti-scheme of things. Maybe
they're doing a zine. Bullsheet is
rough cut-and-paste mayhem
featuring The Huntingtons,
Deadlines, Five Iron Frenzy,
Temper Tantrums, Tomfest,
Value Pac, and... Iron Maiden.
I thought you said "punk"? ($1,
2846 Evergreen Street,
Abbotsford, BC V2T 2S1).   •
Send your zines to
Rleek at #233-6138 SUR
Bluet., Uancouuer,
RC U6T 1Z1
Feel the Funk Every Wednesday Night (® The Funktion
guest djs:
04/04 AviShak
04/18 DJ Granny
05/02 Promo
with your hosts &3 Lush & r4at X • drink specials • giveaways
doors & 9:30 • info 604.685.7777 • at the Lotus (455 Abbott St.)
$5 m he door strut and
The House Of Pootsie Plunket
Friday, February 23
Vancouver East Cultural
It's easy to imagine this production being a nil In the UK,
where it won a Fringe First at
they don't—touches of Prairie
Gothic, Canadian hokiness and
an impossibly frozen north. It's
also gorgeously theatrical and
atmospheric. The far north
twinkles ominously like a big
ice chest full of oddness just
waiting to thaw. Measured dialogue, often hilariously stilted,
Chological depth (and much of
the structure) of Greek tragedy.
you want to walk through and
touch—a towering plexiglass
structure like huge blocks of ice
and small, mysterious statuary
on downstage plinths. No great
surprise that set, lighting, and
costume designer Bretta
Gerecke grew up and studied in
Winnipeg. If Guy Madden were
to film the Orestian Trilogy, it
would probably look a lot like
The story centers on Pootsie
Plunket and her little brother
Kirbus, the orange-haired,
white-clad children who inhabit an ice palace in a frozen village. Their mother, rumored to
have killed their father some
years earlier, winters in the
"South"    and    returns   each
spring—to their increasing discomfort. This time, she has a
of work with plans to encase
their beloved home and environs under a dome, pump it full
of heat and turn everything into
a tropical theme park.
Written by the play's directors, Jonathan Christenson and
Joey Tremblay, the tale works
on several levels, with the
"House" of the title signifying
all of them. It's the literal
dwelling, the Plunket family
dynasty and the psyche. Before
Pootsie can save her house—in
any sense of the word—she has
to revisit old trauma, accept the
truth and then act on it.
Speaking of acting, the one
problem I had with this produces performances—though I sus-
.ay have
demonstrating this and came on
like an out of control skidoo.
Joey Tremblay was a bit more
successful as the greedy developer, Uncle Del. At least he
managed to pull back enough
for us to see how his evil and
exploitative needs made sense
from his point of view. But Dov
Mickelson knew exactly what
note to hit as Kirbus. His pale,
moon-faced, sweetly nervous
presence captivated me, and
threw the sinister goings into
high relief. With all that strangeness blowing through the play's
landscape, he just trusted hi:
eel  I
0 the
b la m
Pootsie, Sian Williams was passionate and committed, but
trowelled on the "eh's" and the
dropped g's so thickly, that her
performance in the earlier
scenes was a cliche of earnest
Canadiana. Later on, when her
world really began to sour, she
started declaiming like a tragic
diva. Her character development was coming along quite
nicely without this sudden
change in diction. In the role of
Momma Belle, Juliana Barclay
treated us to some truly alarming over-playing. Yes, Momma
is a scheming, vulgar slut, but
Barclay seemed hell-bent on
Like most classic tragedies,
this one had a body count, with
old murder exposed, new ones
committed and the innocent
slain along with the guilty. After
the last fatal shot had been
fired, Pootsie was alone—her
family dead, her house cleansed
of evil and her ice palace intact
The sad shivery ending felt
nice and sent me away wondering about things like the high
price of resisting change and
what the rest of Pootsie's life
would be like, alone in her
house of ice.
Vogue Theatre
Wednesday March 14
Betcha thought you'd heard the
last  of  this  one,  didn'tcha?
Sorry, but because DiSCORDER
is a monthly, we get the last
word. So here's one more discharge—I mean dispatch—on
the touring juggernaut that
spent three weeks here in
I'll admit that I had misgivings about it from the start—not
from a fear that the show
wouldn't be feminist enough, or
would be too feminist, or even
just wouldn't be very good, but
from an aversion to ghetto-izing
things which are best left at
I know there have been and
still are, entire cults of repression around this most famous
and powerful body part and
that its freedom—or rather, the
freedom of individuals who
have one—is essential both
socially and psychologically.
But this show doesn't feel like
the answer.
The Vagina Monologues is
the work of American playwright Eve Ensler, who conducted interviews with various
women, soliciting their vagina-
related thoughts, feelings and
stories. A good deal of the material was moving and potent, but
often got massacred by forced
delivery. The fluffier stuff
ranged from cutesy rant (my
vagina is pissed off) to interminable 12-step rapture (discovering my clit) which
somehow    managed    to    be
al or whether they actually
served as script notes, but they
shouldn't have been there. I just
wanted to see and hear actors
channelling the women whose
stories these were. Was that too
much to ask?
The only performer who
didn't clobber me with affecta-
s Elvi
i Kurt
e of a
s hell.
The staging (the three performers were seated in a row in
front of mike stands) was somewhere between talk show and
game show, and the between-
monologues patter further distanced the audience from the
stories. I don't know if the
sheets of paper they were constantly shuffling were props
meant to underline the
researched nature of the materi-
series of guest artists. She's a
comedienne, but proved to be
the best actor of the lot—open,
real, and capable of transforming herself. Oddly enough, the
other two (Sherri Parker Lee
and Starla Benford) are actors,
but pounded out most of the
monologues like stand-up routines. Actually, a few of the
pieces would make bloody good
stand-up if they could be airlifted from this production and
detonated someplace where
they were least expected. The
final story, which celebrated the
vagina as an organ of birth,
could stand on its own as a
beautiful piece of poetry.
But I digress unrealistically.
The Monologues are one big
show, which suffered from the
trivial and the extremely relevant banging up against each
other. I mean, how much sympathy can you feel for a woman
whose vagina is angry because
sexy lingerie is uncomfortable
and tampons are too dry when
there's a woman in Bosnia so
shredded by prolonged multiple rape that chunks of her labia
are coming off in her hand?
This latter monologue was
delivered by Kurt (thank God—
I hate to imagine what Lee or
Benford might have done with
it) and preceded by a tally of
statistics for the genital mutilation of children. The whole
thing just gutted me and produced a more intense form of
the annoyance I feel at all the
i lavished on eating dis
orders when there are people
who haven't enough food to
survive, let alone play games
with. Though all problems are
important to those who have
them, there are some things that
only the more affluent or relatively free can afford to have
"issues" about. This probably
wouldn't have mattered had
the monologues run back to
back with no commentary. Each
one could have spoken for itself
and any sifting and weighing
would have been the audience's
look-out. That's how theatre
should work. As it was, the
show seemed blissfully
unaware of inequalities like
these and used the in-between
chat to try and cheerlead us all
into one great self-congratulatory wallow. That, if you'll pardon the turn of phrase, nibbed
me the wrong way.
P.S. Why didn't we hear
from any prostitutes?
Someone gave me a press
release over the weekend. It's
textured and collagey and
wrapped in cling film. After
playing with it for awhile, I
decided to call and find out it is
was for real. It is; so I quote: "A
Story Of Money. Power and
the Strength pf a Nation.
Stockholm '77 is making a film
about, and with, Canada's other
currency, Canadian Tire Money.
Everybody has a private
stash—stuffed in the glove box
or stuck to the fringe—send us
yours, and you'll help finance
the first film made ENTIRELY
with Canadian Tire dollars.
We'll give you a credit and the
chance to tell the story of your
adventure with this national
cultural anomaly. Send your
dough and stories to: Box 4035,
■r, BC V6B 3Z4." •
When I first got into a
couldn't believe how n
them had lame stories
were good, but I wasn't finding
them as often as you would
think. When I saw Kabuki:
Circle of Blood I only bought
the first issue ir
H,gh  It
very Or
vellian and very Blade
and also very much
nvn thing. It's about
a woman raised to be
an assass
in. Trained in the art of
war, she
is part of the Noh, a
group put together to keep the
peace between the Japanese
Yakuza gangs and the Japanese
politicians. The strange thing is
that the general public knows
all about her and her partners.
The other women are Scarab,
Tiger Lily, Siamesel, Siamese2,
Butoh, Snapdragon, and Ice.
Guys lust after them and girls
want to be them. They commercialize and merchandise themselves. The Circle of Blood story
is about Kabuki's life: where
she comes from, how she came
to be an efficient killing machine,
and her struggle to accept the
life she's been given. I know it's
kinda La Femine Nikita, but it's a
riveting tale that keeps you
guessing. Action packed, yet
beautiful and graceful like ballet, this is a comic that is almost
literally begging to be made
So you have this wonderful
story that could be destroyed by
lame indie Caliber-style art. But
no: Mack elevates comics to a
new level. It's a black and white
comic manipulated and styled
in ways I've never seen. Mixed
media is the constant theme,
incorporating lacy textures, film
reel format, song lyrics, and elements of Victorian design.
Crayon, pastel, India ink, and
ziptone so textured you don't
notice the lack of colour. Blood
designed future cities. The page
layout was foreign and new to
me. Everything flowed well.
The next series to come out
was The Masks of the Noh. This
time around Mack wrote the
stories and let different artists
interpret the lives of the other
members of the Noh. A couple
of my favourites were Rick
Mays, whose soft, simplified
manga style in the Scarab story
eventually became its own
series, also worth investigating.
Michael Avon Omening's take
realism by giving them their
series that managed to push the
story of Kabuki along while
fleshing out the other charac-
i Ice v
ttle n
n film.
toony and creepy. He experimented with panel structure
and design, with impressive
results. All the different artists
and their approaches to the
characters only added to their
Obviously, Mack became
big and famous and was picked
up by a more mainstream publisher, Image. Call him a sell-out
if you like, but the current
rips anything
comics: lush
.'■■■.■    ..
puter graphics blurred and
torn. Still employing the mixed
media of before, each page is a
masterpiece. Pencil crayon,
markers, leaves, and lace.
Photos and negatives, acrylic
and oil—it will blow your
mind. Mack continues the
Kabuki story, making it even
more intricate and complex,
introducing new characters and
creating a blend that's half
Modesty Blaise and half Hong
Kong action film. The story is
involved, constantly evolving,
and pushes the boundaries of
comic art. I just wish it came out
Mack has become quite the
sought-after artist and now
spends most of his time working on Daredevil. Despite its
superhero plot, Daredevil is a
refreshing change and lets
us see Mack's sensibility.
Discounting the ever-so-static
stagnance of Alex Ross, how
often do you see complete
water-colour pieces in a Marvel
comic? It's beautiful and not to
be scoffed at. Mack is elevating
the standard of comics, and I
appreciate that. •
Japanese ink brush work, ci
Trashville Jukebox
I remember once, many years
ago, trying to justify my fondness for The Cramps to a girl I
admired. Yes, it was embarrassing for an earnest female student like me to like a band that
did songs like "You've Got
Good Taste" and "Can Your
Pussy Do the Dog," and yes,
when I saw them live I was
filled with a kind of
joyful/shameful horror at the
thought that Lux's pants might
slip one centimeter lower. But
there was Poison Ivy co-writing
the songs, and there was the
primal twisted psychobilly
music itself, and the obvious
sense of humour in those often
(but not always) bawdy lyrics
which somehow made it feel
alright for me.
The Deadcats also play a
kind of twisted psychobilly, and
it's a kind that runs off the rails
even more than Lux and Ivy's
does. Scooter sets fire to his
"voodoo gutbucket" (you can't
quite hear it on Trashville
Jukebox, although he's famous
for doing it at their shows),
there's a hell of a junky echo-
chamber guitar thing going,
and yes, the songs rock.
According to their new British
label, this CD is devoted to
"maniacle [sic] covers," and it's
hard to argue with that. There's
a version of "Strychnine" which
may be even noisier and more
weirdly-recorded than the
Sonics original, a run at the
Munsters theme, and even a
cover of the Cramps' "Naked
Girl Falling Down the Stairs," to
name just three of 16 songs. Still
wondering where The Deadcats
are coming from? Well, I can't
quite remember the original
chorus to "California Sun," but
I'm betting it wasn't: "And I
fuck and she fucks/And I suck
and she sucks/And I lick and
she licks/And 1 come and she
comes/Well, we're out there
a-having fun/In the warm
California sun."
Panurge is a three-piece offshoot of Vega, and like Vega,
they throw together loads of
disparate musical elements, in
this case ranging from Syd
Barrett-era Pink Floyd-like
lyrics about elves, to space-age
sounds to contemporary dance
beats. This really ought to result
in something cheesy, but somehow Erectangle avoids the obvious pitfalls and only gives the
impression of youthful talent,
wit, and good taste. The title
piece appears in three different
forms (in the first, sixth, and
tenth tracks), mixing up a gentle acoustic guitar with
those Sputnik-esque stylings.
"Chocolate Ice Cream" is practically a minimalist symphony,
including spots of lush vocal
harmonies, a guitar solo from
another Vega bandmate, and
sections of the calm, cool, flat-
styled male singing that runs
throughout the CD. If all this
sounds suspiciously like a prog-
rock concept album, maybe it is,
but the clever understatement
and spare arrangement of songs
like "Listen to Your Own" and
the sweet, late-Beatles-ish
flavourings of so much of the
record make this a very easy pill
In Good Hands
After 11 tracks (about 20 minutes) of two anti-melodic, anti-
harmonizing, lo-fi girl vocal
lines, drums, bass, and entry
level electric guitar, the 12th,
"After Another," fairly slaps
you upside the head. The lyrics
are still almost indecipherable,
but there is something of a
charming hook here, and the
song, at around 2:20, really feels
like a song rather than a snippet. Elsewhere, you'll find some
acoustic guitar, a bit of rocking
out with flavours of a very basic
Veruca Salt, a "New Waltz" in
4/4 time, piano bits, and, on the
first track, some inexplicably
flashy bass playing.
I recently had a conversation
with Mr. Crusty about
my   disapproving   review
Ed] What, are we selling ads
now all of a sudden? Anyway, it
is with all this in mind, and a
healthy dose of incredulity, that
I have limited myself to a mere
four local servings of the good
stuff and a vocabulary hovering
and Clifford the Big Red
Vancouver's  Shame.  He
spent half my column on a band
I didn't even like; how's that for
"bad" publicity? I replied that I
hadn't intended things to be
this way, that the column
seemed longer when I wrote it,
and—hey, what the fuck happened to my introduction? It
has since become painfully clear
that I have been getting cut and
pasted for some time now; I
guess I'm a little long winded.
[Oops! My hand, uh, slipped.—
The Switch hail from somewhere in the greater Vancouver
area and come at us with what
can sincerely be described as
rock 'n' roll. The disc sounds
nice and polished, as well as
varied, for short-attention-
spanned demo directors. I
wrote down Tripping Daisy,
but I can't for the life of me
remember why. Track two
rocked my world all over the
place, while track three licked
"influenced" into "plagiarist."
At some point the pop sensibilities started leaking through
efforts to appease the masses,
and I was all the happier for it.
When's the next show?
Ooh! This one's labeled
"Canadian Rock." I'm from
Ontario, I own three Hip
albums, and I play hockey and
everything. Unfortunately for
Half-Hour Late, I also know
when shit stinks, which is why
most people never go to
Langley in the first place, let
alone stick around long enough
to form a band. Anyone remember The Jitters? They were
good. (Box 32047, Langley, BC
VIM 2M3)
The Whole Damn County
have one of the finest names
I've had the good fortune of
rolling off my tongue in a long
time, and they come out rocking on this disc. The guitar riffs
have a retro, if not ripped-off,
feel to them, though they
remain just beyond the reach of
my inner catalogue. Track two
gets right Stockwell, right
quick: think Tragically Hip
meets Green Day. Seriously.
The wanking seems to be dangerously on the rise here. Whoa,
slow down buddy. I like my
voice too, but... Okay, fuck off.
And finally, we race our
way towards the home goal,
Vancouver's own Hevybevan.
The CD has written on it,
"Unauthorized Penetration
Is A Violation." Well said.
Unfortunately, these guys obvi-
not actual illegal hobbies
(though 1 too am partial to
"bubble butts"). As lor the
music, it's heavy as all shit, but
I can still hear the Ivrics. Is that
right? Of course, music like this
tends to build for long periods
lung, ,i
,   I   i
musing than anything else. I
ssume that's An inappropriate
.'action. Oh well, everything is
9 im^mm anthony monday:kuwaiti correspondent
April. Spring. Better yet:
Spring Holiday! And
while the West's version of a spring holiday is one
of those Miami Beach
MuchMusic/MTV specials, I
thought I'd be a little different.
Besides, when you live in
Kuwait, have an autistic
budgie, drink computer cleaning fluid for fun, and have dirty
thoughts about students, you
reach a point where you say to
yourself, "Hey, why not go to
the Islamic Republic of Iran for
a spring holiday?"
I had to get "married"
before my female friend and 1
could depart. Otherwise, we'd
be travelling in illicit sin and
could have had appendages cut
off. It's a good thing my lovely
"wife" is a whiz at Adobe
Illustrator and whipped us off
an official-looking marriage certificate. Who knew I'd been
married for three years? What
with me being such a homosexual and all.
Since I'm the man (THAT
was a first), I sent my wife off to
do the hard work. (Hey, if I'm
going to buy into such a patriarchal system, I'm gonna abuse
the shit out of it.) My good wife
went to get the travel visas at
the Iranian Embassy here in
Kuwait. She was a little testy
that day due to the fact that it
was a hot day and her scalp was
sweating beneath the head scarf
she had to wear to enter the
She became even more irate
when they asked her foolish
questions like "Where was your
husband born?" and "What
was your husband's father's
name?" She metamorphosed
into the angry Muslim wife
and emphatically stressed,
"Husband! Pah! He does not
tell me such things," which,
apparently, is a common
enough answer from women
travelling to the Islamic
Republic of Iran. The clerk simply shrugged, accepted the
plight of the Muslim wife, and
stamped our passport, telling
her to enjoy her time with her
husband in Iran.
So with forged married cer
tificates and legitimate travel
natch—to the land of Ayatollahs
and  anti-Western  sentiment.
"Let's not bring too much
money    with    us,    Honey,"
bank cards are accepted either.
Anywhere. Luckily, my fine
wife is the overly prepared
kind, and we survived 11 days
with the US cash she had secretly placed about her person.
Well, she was good for a couple
of Persian rugs anyways. And
lots of rice and lamb kebab:
some form of national dish.
Iran, in the Western imagination, will always be that terrible place filled with fanatical
terrorists, those terrible people
who didn't want to let Sally
Field take her baby back to
America in that brilliantly ren-
Anthony says, thinking it best
we get money in the local currency from bank machines
there. And if the cards don't
work, there's always Visa. It's
everywhere you want to be.
Visa, apparently, isn't
everywhere you want to be,
and they will be hearing from
my lawyers soon regarding a
false advertising suit. Visa is
part of that whole US embargo
shit and could not be accessed
anywhere in Iran. The bank
machines, too, are strictly
national, so no international
dered and true-to-life movie,
Not Without My Daughter. It was
such a poignant and touching
film and really captured the
spirit of the Iranian people.
Sadly, Iran is nothing like
the film suggests. It is filled
with more culture than you can
shake a stick at. They have
funeral monuments to poets
and artists; beautiful strangers
would stop us in the street just
to say, "I hope you enjoy your
stay in Iran." (I guess we looked
kinda Western. My lovely wife
hadn't really got the knack of
the head scarf and she kept
exposing a tuft of hair,
temptress that she was.) Iran
was filled with shopkeepers
that would offer us tea, with
taxi drivers that said, "No hotel!
You must stay with my family
tonight." It was filled with sexy
men that chatted to us over the
hubbly-bubbly pipe and offered
to drive two hours out of their
way so that we could see ruins
of ancient Persia, when their
empire stretched from Spain to
Indeed, the whole country
seems like a place trapped in its
own beautiful past: the opulence of their overthrown kings
has left us a country that seems
like a James Bond holiday. Like
Eastern Europe in spring, the
boxy cars and modernist styles,
all mystery and history. Adding
to the 007 mystique, we were
only picked up by the secret
police once. They stopped us on
the streets, ushered us into a
nondescript dirty white car, and
checked us for "hashish, heroin,
or peeeestols."
We were confused as to
what the "peeeestols" were for
a while, but thankfully we
had left our semi-automatic
machine guns at the hotel and
had no peeeestols. They even
checked our arms for track
marks. Iran and Afghanistan,
the world's most fundamental-
ntries, have
drug problems and
jpply Europe with something
like 90% of its heroin.
Connection? Who am I to
Sadly, the frisks by the
secret police and the army in
the various airports and at various checkpoints were the
closest I got to sex on my "honeymoon." For, although I spent
my honeymoon drooling over
forms with big guns; boys on
motorbikes; men in the orange
groves, the ones outside the
poets' mausoleums; men and
more men—the holiday was
completed without a single
offer of heretical nookie.
My wife was pleased to
return to Kuwait, though only
because she doesn't have to
wear a headdress here. And,
though I whine and complain
about Kuwait, I was pleased to
return. Sure I can't drink, the
people are mostly assholes,
there is very little accessible culture that does not include Toni
Braxton or Eminem, there is
nothing to do on a Saturday
night but talk to my budgie and
watch the sheep, but I was
slightly excited to return—
mostly so that I could access my
email again.
The wife helps me out here.
She's good. Besides, we're having a divorce party. You're all
invited. Bring budgie food and
beer. Sigh, only 93 days left to
go until I am home... not that
I'm counting. Not at all. •
*Ai^TTfcAuA«0 ^a>tz. f\M^*zJ
Tr/^C lo«z-e^ &r\o<zo& f*.0. &0X. i^Ce^O £A*J F«z*JAt2tgflgc?, <£A- "(4«<t       to(oto.FATlog^£*^o*-Y ^/ This month I had planned to
write a column about the
Free Trade Area of the
Americas (FTAA) conference in
Quebec City; however, recently a
friend of mine passed along an
open letter to Canadian activists
from former Black Panther Lorenzo
Ervin which not only summed up
most of what I wanted to say but
also provided an example of the
truly illusory nature of "freedom of
expression" on this continent.
What follows is a partial text of
that letter:
Dear Canadian Friends,
I am very sorry that I cannot be there with you in
Calgary or Lethbridge, to dis-
brutality, and capitalist globalization. It is not due to my wishes, and totally out of my control
for these events to occur. The
US border officials have contacted Canadian immigration
officials about the great "threat"
that I represent, and as a result
Canadian immigration authorities have seen fit to bar me from
coming into the country until I
can produce "evidence" that I
am a person of "fit character"
and have no outstanding felony
legal cases. Of course, since I
left Canada, not even two
weeks ago after a speaking
engagement at Concordia
University in Montreal, this is
clearly nonsense. Further, I have
entered Canada at least 15 times
in the last five years and never
been stopped before by border
guards. They have no reason at
all to assume that I constitute a
"clear and present danger" to
state security. This is not to say
that I am no longer a revolutionary Anarchist or that my
message is a tame one preaching peace or non-violence, it's
just that contrary to what the
officials think, all Anarchists do
not wear a long black cloak
with a bomb underneath, and
all Black people do not have a
propensity to personal acts of
violence. Some of us Anarchists
and jackets, with our speaking
notes underneath; and surprisingly some Black people have
nice manners and even know
how to speak fairly proper
English. I am one.
But let us cut to the chase:
the Canadian authorities did
not like what I said when I was
last there in January about
resisting the Free Trade Area of
the Americas meeting to be held
in Quebec City and how all
activists in the Americas have a
responsibility to attend and
protest the meeting this coming
April. They did not like me calling these FTAA "statesmen"
what they really are: a "group
of international gangsters."
They did not appreciate my
accusation that the global capitalist entities like the G8 (now
G20) are responsible for all the
suffering, murder, and oppression of poor people all over the
world. That global capitalism is
responsible for mass exoduses
to Europe, America, and
Canada because of austerity
policies forced upon various
governments by the IMF, WTO,
and other "alphabet soup institutions." They did not like it
when I said that these institutions are also responsible for all
the police state regimes in Latin
America and starvation of peasants all over the hemisphere.
They did not like it when I said
that "Baby Doc" (George
Dubya) would be coming to
Canada to shit all over the land
and people of the Americas,
and that that idiot Chretien
would be trailing after him like
a tame puppy dog. They did
not like it when I talked about
the internal colonialism of
native peoples in Canada, and
they sure as hell didn't like it
when I talked about homeless-
ness, police brutality, and the
rise of the prison-industrial
complex in the Americas being
an integral part of the "new"
global capitalism. So that is why
they did not want me there to
speak to you.
We need to protest what
has happened to me now by the
Canadian government, not just
because it happened to a so-
called "prominent individual,"
but because we must fight for
the principle of the right to
speak and travel  freely, and
oppose militarized borders forbidding that. We cannot sit quietly around while they do their
dirty work to ban political
speakers coming to Canada (or
the USA when you try to come
over). The idea of banning
someone on grounds of "having
a criminal record" unless they
are heads of state like Mandela,
should be totally offensive to
anyone who believes in civil liberties, not just Anarchists who
reject the state. I am calling on
you, who would have heard
my talks, to go to the Canadian
immigration service, and
protest in front of [or inside)
their building. I am asking you
to write letters of complaint
about their political censorship.
I am asking you to get an attorney and sue the bastards. I am
asking you to even pressure
provincial politicians, as well as
the Minister of Foreign
Affairs/Immigration. I am asking you to take whatever action
you find necessary to raise this
issue publicly, and rescind their
repressive policies. I hope that
others in Europe and the USA
will also protest this matter. I
am vulnerable due to the
attempted frame-up cases in the
USA, and I really need your
help to stop this political repression and censorship by
Canadian authorities. I cannot
do it all by myself, nor should I
have to. STAND UP AND
FIGHT! I would have enjoyed
speaking there before you, and
meeting many of you and
working together in the future,
but our battle is not over, and I
do not ever give up. I hope that
you will use this incident as fuel
for even more attacks on the
antiquated  institution of the
man and his message that they
would ban me. I hope that you
will really give them hell at the
FTAA meeting in Quebec City
now, to make Bush squirm and
even break for the exits! Don't
let these criminals get comfortable at their $1,000 plate dinners, and conference confab.
Give 'em hell, and say I sent
you. I am not the terrorist here: I
have not killed, imprisoned,
tortured, or detained anyone. I
have not discriminated against
anyone because of their race,
nor sought to censor them from
speaking in a public forum. It is
the US and Canadian states,
which should be on trial here,
for their crimes and intolerance.
I have merely sought to tell the
truth, and it is that which they
It's nice to see an Anarchist who
understands that revolutionary
struggle means more than smashing Starbucks windows, burning
dumpsters, and wrecking stolen
BMWs like our comical masked
friends in Seattle. • Does It All...
Singer, lyricist, composer, and personality,
Victoria's Kia Kadiri is fast becoming the West
Coast's best-kept secret. That's not her plan
though. She's been dazzling Vancity audiences at
Full Clit, Under the Volcano, Context, and
Sista'hood—to name a few shows—while socking
it back home as frontwoman for the recently
defunct funk band Solid 7, or during her hip hop
residency with the Stirfry Crew at Lucky's. Shit. But
that's all in the past.
By Hancunt
DiSCORDER: You work in a few different genres.
You don't define yourself solely as a hip hop
artist, do you?
Kia Kadiri: No.
You just made a pop album, didn't you?
That's interesting. You made a pop album in a
deliberate attempt to do something that was good,
but commercial.
Well, talk about it!
It came down to the fact that I like writing in whatever style. If it's got a beat, if it's good music and
musicianship, then I think it doesn't matter what
style it is. But it's also nice to be able to write music
that can be played on the radio, appeal to the
masses. And people don't listen to [hip hop] with
an open mind, they judge it, so they can listen to
me sing happy pop songs.
You didn't actually really grow up listening to hip
hop. How did you get into rhyming?
Through my friends Ozzie and Arimay, who were
kind of my first black friends. [We laugh[
Did you meet because you were one of 15 or so
black people in Victoria? Were they like, "Hey,
there's a black girl"?
Pretty close. I met them through Noah Becker
(Victoria Saxophonist/painter/weirdo). They were
playing at this cafe, and I went down to the gig
because Ozzie used to live in the house where I
jammed with the first band I played with, this rock
'n' roll basement band. Ozzie said, "Hey, I've got
this gig, you should check it out," and I thought that
it would be really bad because he had this basement
band that was really bad. But it turned out to be
with Noah and (bassist) Sam Shoket and Arimay. I
sat in with them that night and the next day they
asked me to join their band, DIGG, and I learned
about   hip   hop.   Arimay   taught   me   how   to
Is that something you can teach someone?
Well, yeah, we walked around in the woods and he
gave us, like, writing exercises, topics, word plays,
.; rhythms, patterns. We just hung out in the
I Walbran (Rainforest) for a month.
I Do you think your experiences living in a squat
in the Walbran and dealing with the RCMP
k':   and logging corporations politicized you?
Somewhat. Also just having black friends that
were obviously not mainstream Victorians
opened my mind up for
, ..>    the first time to the fact
that there is racism. I
never really noticed
: k        it before because I
got treated like a
white girl, you
know what 1 mean? I grew up in that suburban
society as an insider, not looked upon as a threat.
Whereas Arimay, being a dreadlocked young black
man from the US, experienced a lot of racial crap
before, saw things differently than me, and he
opened up my mind.
Do you think that you maybe didn't notice the
really subtle brand of covert Canadian racism?
Not as much, and I still don't. I think it's because
I'm a middle-class female. My brother did have a
lot a racism directed at him. People are more threatened by him as black male—even when he was six
years old, in Edmonton, I just remember him coming home and being sad because someone had
called him a nigger or something. No one had ever,
ever said anything to me like that. But I noticed
when I was in NYC that there is definitely racism
or prejudice directed against black people. It's not
so much in Victoria. You know what I mean? The
way people looked at me, and more overtly from
the black people that looked at me because I was
staying in white Manhattan where all the black
people work. [It was] just like in the movies where
the janitors and store clerks are all from the Bronx,
and I spoke like a Canadian. I'm very educated,
and they saw me a lot with my friend, a very
wealthy white guy. I automatically just felt, "Oh,
I'm a black person, I'm even worse, I'm an Oreo
cookie." I noticed it a lot. But I also met lots of black
people, musicians in the jazz clubs, when I was
there and I met my aunt for the first time. She's 65
and has raised nine kids in the Bronx, she's still a
schoolteacher in the Bronx. I described all this to
her and she said, "Oh, it's not prejudice where you
are," and I said that that wasn't true, there just
aren't enough of us black people to be a threat. We
don't experience the same degree or kind of racism
directed against the First Nations people or Asians
in Vancouver.
I want to talk about your music, and as we're also
talking about gender and race, the way your gender
protected you from one brand of discrimination. I
wanted to bring up something that is succinctly
described by Medusa (in the documentary Nobody
Knows my Name by Rachel Raimist): "If someone
didn't really know about hip hop, and they just
turned on MTV or stared at album covers, they
would think that hip hop hates women." What do
you think about the scene in Vancouver? Is it supportive of women? There's big difference between
the underground and mainstream hip hop scenes...
Yeah, it's really divided. The kids that are into the
mainstream hip hop here 1 would say don't support
women hip hop performers. Because there's not
really anything to support—the type of lyrics they're
looking for from the women... no one's willing to
rhyme about how much they fuck.
I ask because most people who have seen you or
Ndidi Cascade or QB doing hip hop had seen you
at Full Clit, Lampin', Grrlapalooza, Under the
Volcano, Sista'Hood—shows with a politicized,
female-friendly or female-focused theme, produced by women. I wonder if the Vancouver hip
hop scene does enough to nurture its female
artists, because I don't see all of you getting
booked too much.
I wouldn't say that they're out there trying too hard
[laughs]. You know what I mean? I don't know if it
comes down to whether they think that we're
sl.illed enough or not—the women that are out
there that want to be heard, maybe they think that
we're not good enough or something like that. But I
do get a lot of support from the male hip hop community, especially the male artists. They want to do
recordings with me, so I can't say that I don't think
they're supporting. But at the same time, I think
that they do envy the fact that we get higher profile
shows because the ones organized by the ladies
tend to be better organized, but then they shut the
door to us for the regular nights, the hip hop nights.
Let's switch gears: how far have you come as a
lyricist in the past five years?
I think I've refined my timing, I have a better concept
of what you can do rhythmically with lyrics. I need to
work on my poetics and expand my vocabulary. But
I have grown as an improv artist because I know how
to listen. Tonight I'm going to go to my first battle.
So what are the future plans? Am I right or wrong
in saying that one of the reasons you haven't left
BC for the big time is because it's so beautiful here
and you are such a hippie? What's it like being a
hippie and a hip hop artist?
It's totally true. I am an Island girl. And that was
one thing about my trip to NYC, after all the buildings and all the great shows, you still look at people and say to them honestly, "Where I live, there's
mountains and water and lakes," and they all look
at you and say, "Omigod, that's heaven." And it is,
it's so beautiful here. Future plans are to work on a
hip hop album, to go back to NYC in August and
work with this producer that I met. I just did a
recording with Moka Only that's going out on his
next solo album on Mammal music, his own label.
It's got international distribution so that's pretty
cool. I'm probably going to be doing something
with the City Planners crew, and maybe a track
with Prevail from Swollen Members. Ndidi
Cascade and I are going to start doing some writing together, and Sara Marreiros [Vancouver based
jazz/bossanova singer] and I are going to hopefully work with drummer Sarka Kocicka. I'll probably
be playing in Vancouver as part of the jazz festival. And good old Victoria, as far as it's concerned,
who knows? • BY SPIKE
W singer/songwriter Marq
Desouza   sent   out  a
\j\    demo under the name
Solarbaby to various
O   record labels a few
years ago, he had
no    idea    that    it
Ml would get so much
.        that he would not
Jjb   only be stuck with
the band name, but
^.       he would also have
HJ    to feverishly whip up
a band. When Toronto
Pmt     label   Teenage   USA
^*    Recordings   decided
they wanted to release
Jj|    the      demo—which,
after being reworked
-^     and mastered, eventu-
\M    ally     became      the
band's 1998 debut The
*<  p™"    <*   Negative
Prayer—they were not
aware that the demo
irely written and
played by Desouza himself.
"I'd sent out a bunch of demos under different
band names. I'd just make up band names because
1 didn't want people to think it was me solo, but at
the time it was," explains Desouza. "I did all the
drums and bass and whatever else was on there. 1
just happened to send out this one demo under the
name Solarbaby, and out of all the demos I'd done,
it really got a lot of good feedback from a lot of people. It just blossomed from there." On The Power of
Negative Prayer, the band included Desouza on
vocals and guitar, drummer Scott Anderson, and
bass beater Justin Clow. The band managed to get
local producing super-whiz John Shepp behind the
board and the album was whipped off and local
gigs ensued—both to rave reviews by local and
Fast-forward two years. After a nation wide
tour, an appearance at Canadian Music Week in
Toronto and numerous local gigs, the band was in
slight turmoil. Clow amicably left the band and
was replaced by Russ Laturnus on bass for the new
recording. While temporarily bass-less, Desouza
recorded a solo album called Temporary
Redemption and released that on his own Pale
Horse Records imprint. "I had a lot of extra songs
that Solarbaby wouldn't have room for. Some of
them, stylistically, were just a little off the mark for
the Solarbaby project," said Desouza. "Also, I was
bored. That was the time that the band was kind of
going through some upheavals, so I just did it to
blow off some stearr
"I did it so fast. I could
have spent a lot more
time, effort, and
money on it, and ]
probably could have
gotten somebody tc
put it out for me. But I |
didn't do any graphics
or anything, I just put
it in a cardboard I
sleeve, it was just kind
of like a guerrilla
recording. I just put
everything I had into ***
the actual recording of it
—I did it half on four-track, half at a studio. I put it
out as fast as 1 could and then almost right after
that I started work on the new Solarbaby record. I
didn't spend too much time promoting it or any-
The sophomore release, Another Sidewalk's
Bloody Dream, was recorded during the summer of
2000 at the increasingly infamous Utopia Parkway
Studios with Shepp behind the controls again.
Desouza explained why Shepp is the man for
Solarbaby: "He's the perfect guy for us to work
with. He lets us be ourselves, but he doesn't let us
get away with too much. Your ear in the studio is
different than anywhere else." Desouz
"You're hearing things a lot of times in a row, so
you start to see them in a coloured way, and it's not
really representative of what it really is. He's £ow\
because he can be objective for us. I worked with
him on my solo record, and I can't picture myself
working with anyone else."
The band added Greg Zakis on bass after the
recording sessions were completed in the late summer, and Laturnus moved over to second guitar.
The constant local gigging ensued again. Now that
the new album was done, how to release it?
Desouza found that although Teenage USA was
supportive of the band's efforts, it was prohibitive
to conduct business with a label located halfway
across the country: "That did make it difficult to
So at least I know it's out there. It's pretty easy to
work with them. I don't have to worry about double talk or anything. They do what they say, and we
do what we say, and that's the way it should be. We
just give them the CDs and it's in their hands. I
know it's in the stores, so I know they've been
doing their part of the agreement."
Another Sidewalk's Bloody Dream was launched
with a release party on February 3 at the Railway
Club alongside locals Star Collector. The raves have
started pouring in for the new album, which has
been played on CBC and across the country on
campus radio. All signs point to the fact that this
new CD may be more successful than the debut.
Desouza credits that to the songwriting and
retooled sound: "Power... was sort of a quick fix.
People got into it instantly—and I'm sure people
^^m   ' f ■
than the
really listen t<
tance thing. "We still
the new album and a lot of people say that the
talk to them period-
songs strike you in different ways the more times
icallv.    But,    you
you hear them. You hear things in a line that you
know, we probably
didn't necessarily pick up on the first time you
talk to them now as
heard it. 1 know that people will have to listen to
the music fairly closely to identify with it."
And what of the tact that the new album's
the label, which is
more "alt. country" flavour has garnered many
W   not much," explains
mentions and has got the band lumped together,
W   Desouza when asked
comparatively at least, with other local roots rockers like Radiogram, Flophouse Jr. and Jonathan
ity between band and label. Desouza decided to
release the album himself on Pale Horse and get
somebody to distribute it for them. He struck up a
deal with local label and distributor, Scratch
"As far as Scratch goes, we were just looking
for somebody to handle distribution because that's
a huge area of work that we didn't want to do,"
Desouza said with a laugh. "So we looked around,
and Scratch was really cool and was totally into
putting out the CD. They knew us through Teenage
USA before, so it was quite a simple task to get
them to put it out for us. Now it's out there. I
haven't seen it in stores yet, but some friends have.
"I don't really mind it. It's the same thing as
with the first record. People said it was pop and
lumped us in with bands like The Salteens. That
was fine with me. Now they put us in with Rich
Hope and John Ford and such. That's fine with me,
too because everybody needs to put it into some
sort of category, but I know we can cover all those
bases and not just whatever anybody says about
April 20, Backstage Lounge
April 27, Ms. T's Cabaret
Here's what critics are already saying about
the much anticipated full length debut from
London based South:
itSouth draw a line between rock classicism's
warmth and the 5am edginess of post-revelry
paranoia. When South really take flight they're
capable of unleashing a storm of thunder
rumblin' beats, droning bass frequencies and
some crunching. Warp-esque electronics. ' '
- Jockey Slut
11 Raw guitar loveliness and savvy beatmanship ' J
11 Buy all their records forever! "
- Melody M
'3 sfggsmsm, A
fter a sold-out show at the Sugar Refinery, I had the chance to ask
Carey Mercer of Frog Eyes a few questions. Although this may
seem like a simple task, I assure you for the likes of me it is not.
n that your band transformed from B
Thankfully, Can-
1 had a lot to
After a riotous I
rgy ofdrink
inery had never
seen before,
DiSCORDER: Are you the principal songwriter in the band
Carey Mercer: Yep, but the keyboardist [Spencer] does a lot
the songs. If you listen to his lines versus what I come to as the
you probably wouldn't even recognize the songs. Mike, win
played in the Blue Pine, is a good bass player because he knov
intrinsic value of bass. And Mel, our drummer, has only been play
ing for three weeks.
How long have you been playing together as Frog Eyes?
About three weeks.
t lit
is there any i
Frog Eyes?
Well, the usual... actually, not really. I'm trying to be aware as a songwriter of the people you bounce things off, everyone has a different
reaction to things. And if you bounce it off new people you get different things. It doesn't mean that Blue Pine was getting stale, this is
just something I find myself more interested in doing.
How long was Blue Pine around for?
About a year and a half. And we all had a good time. I find it strange
how people react to a name change or a band breaking up. Someone
brought up the fact that it is simply hard for the consumers to keep
track of all the bands. I'm sure everyone can relate to the experience
of going into a music store and being overwhelmed by the number
of bands there. I find myself thinking I wish that I could just find a
CD that I liked!
Do these kind of considerations weigh into the decisions made in
the band?
Well, if you get an idea in your head and it stays there for a while,
you should probably just go with it, I suppose. The important part is
that good songs get made, and I think this is a better way for me to
make good songs.
I noticed that Frog Eyes is much noisier than Blue Pine.
It is more direct, but we have a lot of softer songs as well. I think
that Blue Pine would be the median to Frog Eyes because there are
some songs with just me on piano, which are very slow, then there
are others which are total rockplosions—which is a hard thing to
pull off without being goofy, pretentious or just inconsistent. So
that's a definite challenge and the question remains, does it work?
But it is certainly more direct than Blue Pine.
What were your motives when you started Blue Pine?
When we started Blue Pine a lot of the reaction seemed to be, "They
are sort of strange or eccentric." Our intention was to form a band
that could play on the BC Ferries; a softer side of CCR or something.
So in our intent we miserably failed, which is kinda funny.
Do you have any sort of musical training?
No. Spencer the piano player is [trained]. In Blue Pine, Eric the guitarist had training, he provided a lot of the melody for Blue Pine.
Spencer has a similar role in Frog Eyes. Eric would take a root
"Our inten
was to
melody of mine, and it was like a flower. Spencer is different. It is
this lucky thing that has always happened to me that people who
know how to play their instruments want to play with me. Born
under a lucky sign I suppose. We really adopt this position of
amateurism. The simple joy of playing music. I know this sounds
like a mundane point, but it really can't be stressed enough—I think
the doctrine of amateurism is really interesting because it distills
this idea that the only thing we are trying to do is go out and enjoy
ourselves and establish a rapport with other people. Not to just
overwhelm an audience.
So you want the audience to become active participants?
1 think the audience is into that; it is nice to see at all times. People
breaking out ot the shell of "arms-crossed-indie rocker." Sometimes
it is really sad because you get the sense that people really want do
that, but no one is willing to grab the reins and say, "Let's do it!"
Unfortunately it is usually the really drunk people that want to do it,
which is sort of too bad. But I guess th.it is just a pragmatic truth.
Where did you grow up?
I was born in Vernon, but I'm chiefly from Smithers, BC. That
informs a lot of my decisions.
You live in Victoria now. Do you like there?
I think that because it is on an island, by its geographical definition
it creates a need for bands to at least attempt to make their own
music. And I think there is a supportive community there. I don't
think that I would be writing songs at all in Vancouver or any big
city. There is an interesting number of bands from Victoria. I don't
want to be "scene pride guy," I'm certainly not—I hate a lot of people in Victoria, but I love a lot of people too. There is nothing special
about the people, we don't just eat special food there. It is the geographical aspects. The popular culture in Victoria is so British, old
world British. That is what I like about it, because it is a real battle.
Some things make me really disgusted to live in that city, and there
has to be some way to express that. I think that might be the common ground of the bands from Victoria. [And that] is why 1 like
Is there a general theme to your lyrics?
I would say they are fragmented images that somehow relate to one
another. More specifically for a song and less so with an album. I
think that the first Blue Pine album had a lot to do with geography,
the vastness and importance of land. But it is not something that I
can form into an acute point. It is something that strikes me both as
obvious and complex and interesting. It is really hard to talk about
because I really don't know if it's the real answer to that question.
And that's the way I like it.
Are you recording anytime soon?
Yeah, we are recording in March. Another Blue Pine album has been
recorded, but we have not yet decided if it is worth putting it out
since the band has already broken up. •
Blue Pine      s/t        (Global Symphonic, 2000) Another question that is difficult to
"* avoid is that with your distinct sound—which def-
nitely takes a new slant on the exciting stuff that was
developing in the '80s—there might be a plethora of copycats or wannabes riding on your coattails. What are your feelings about that? Would you find it aggravating, or would you be
DiSCORDER: How did Ladytron come to be a band? At this stage
all I know is that Helen met Mira on a train travelling somewhere.
Danny Hunt: Reuben and I have known each other since we were
younger. We both lived in Liverpool, and both DJ'd to an extent. He
then went off to study product design in Sheffield, and I stayed put
and worked on music. When he came back, some of the songs existed already, and we used that to start the band, meeting Helen in a
club in Liverpool, and Mira being introduced to us through her.
Why did you decide to be completely electronically-based?
I just didn't want to be in a guitar band. There are enough of them
about already. Also I've collected old synths since I was a teenager,
so we had these instruments lying around which we used.
The equipment that you use obviously sounds like old analogue
synths. Was it difficult to find them and use them? With today's
technology it just seems like it would be easier to use the new
stuff. I don't know much about that sort of thing, but is there any
new equipment that can somewhat mimic the sounds and properties of the older equipment? Did you have a purpose and a desire
to onlv use older gear?
As I said in the last question, I've collected that stuff since I was about
16, 10 years. It had no commercial value when I was picking those
keyboards up at flea markets and the like. The synths themselves are
easier to use and a lot more tactile than modern stuff, to the extent
that modern synths now try and replicate the controls and feel of 20-
30 year old synthesizers. The main issue though is cost: I wouldn't
and couldn't afford to spend more on one new synth, a Nordlead or
a Waldorf, than I spent on all of our keyboards put together.
There is no delicate way to ask this question, but tying into the
fact that you use older equipment, there are very apparent comparisons and influences from bands like the Human League, Gary
Numan, OMD, Kraftwerk, and various other early '80s bands. It
makes me suspect that your record collection contains copious
amounts of this sort of music... would you care to elaborate on this?
Our record collections are quite removed from what people expect.
I've been DJing northern soul and rare funk for six years. There are
lots of '60s influences on the LP that are overlooked because the
instruments we use are from the late '70s and early '80s. I obviously own Human League and Kraftwerk records, I don't own any
Gary Numan, and OMD? With them being from Liverpool, and me
knowing a little loo much about them, they have a credibility problem for me. Andy McClusky is the guy behind "Atomic Kitten," and
I know that before they became OMD, they were a progressive rock
band called Pegasus. These little things make it difficult to take
seriously. "Electricity" is still a great song, though. No one remembers that Flock of Seagulls were from Liverpool too.
There's quite a lot of good current material to perhaps draw from
as a reference. Is there any new stuff that you and the band
particularly enjoy?
Overload by Sugababes was our combined favourite record of 2000.
There's lots of good music being made at the moment, but I wouldn't say anything in the underground or leftfield was an influence on
that record. We get compared to groups with keyboards—Add N to
(X), etc.—I love them, but the only thing in common we have is a
studio full of dusty crackling antiques.
happy that others
To be honest, this i
today, because there w<
for band: influences Hu
freaked me out. I'd nevi
tially influential; it is nc
it hope that if
mid be inspired by your sound?
s something I had never considered, until
is a Loot ad [that said] "Keyboardist required
man League, Kraftwerk, Ladytron, etc." That
?r considered what we are doing to be poten-
>t something that had ever entered my mind.
re, then people do it their own way and use
the lessons we've learned to create something new, instead of
dressing like us and trying to replicate us.
Some of the bands I'm thinking of that are your peers in this
movement Add N To (X), Baxendale, Chicks on Speed, Magnetic
Fields, even Air (sort of) and, well, a lot of the bands found on the
Human League tribute album. Any opinions or thoughts?
Baxendale, I've known for a long time. Tim used to live in Liverpool,
I've got him singing those songs on tape from 1993. I wouldn't call
them peers really, their attitude is completely different. Chicks
neither, I don't see the comparison, but it's often made. Magnetic
Fields, I don't own a single record, and laughed my head off when
he was cited as an influence. Air, I think sonically we've got something in common, but again, different attitude.
One thing I have to mention which I personally thought was quite
hilarious (yet intrigued by the idea) was the "Romo" scene that
the Melody Maker created about five or six years ago. Of course, it
was developed by journalists to create hype and sell magazines,
but without a doubt there were some bands involved that were
trying to resurrect synth-pop. Is there anything positive that can
be extracted from that whole thing?
That thing was an embarrassment. It set electronic pop music back
20 years. When that Melody Maker ran, it was hysterical, because one
of the singers in one of the bands went to my school. I laughed my
head off. There was nothing musical there at all, so nothing positive
can be drawn from it. They loved all the bad things about the '80s. It
was all about dressing up in frilly shirts and wearing bad makeup.
That's all terrible. I've always liked the sound of, say, Visage's Fade
To Grey, with the silly costumes stripped away. The visual identity of
that period damages the credibility of the music made back then.
Your melodies and hooks are dead on. How did you come up with
such super songs? Is it a collaborative effort throughout the group
or is there one of you that supplies most of the ideas?
On this album, I wrote them all, but it was a collaboration too.
I think there's always a person in a band where most of the drive
comes from, with the other members adding crucial ingredients.
Are any of the band members formally trained in music?
Helen is classically trained on piano, Reuben on violin. I don't know
what any musical notes or chords are, it's all by ear and memory for me.
So now I'm going to ask you about your live show! It's kind of a
given that electronic bands sometimes don't have much to offer
in the way of an exciting live performance so they hire silly
dancers or whatever. I know that you're far too cool for this sort of
thing, but something tells me with the style of your music that
you might appreciate drama or theatrics of some sort. So what
kind of things can we look forward to when we are lucky enough
to catch you on stage?
We just play the songs, it's very functional, we don't create artifice
by jumping about onstage like bands seem to think they have to in
should be enough to make it interesting, we don't want to rely on
gimmicks. Having said that, the stage show is still developing,
we've only played about 15 concerts—seven of which were in the
past month.
Earlier I mentioned the Human League tribute album
Reproductions. How did you get involved with that?
Skippy from March Records just asked us. We had only done one
single at that point, and it was before we signed to Emperor Norton
in the States. We recorded and mixed it in three hours, and I think it
sounds like that.
And speaking of other collaborations and projects, furthermore,
how did you meet up with French producer Bertrand Burgalat (a
personal favourite of mine) to remix the track "He Took Her To A
Bertrand I've known for about four years. He heard demos before
Ladytron really existed properly and wanted to work with us. He's
a genius—difficult, but a genius.
Anyway, moving along... I get this feeling that perhaps you
be destined for bigger things with your potential for
ic press is a bit savage, if
co-operate with them? I
How would that affect you i
Everyone knows that the British rr
decided they liked you, would y
they noticed you yet?
The British press is shrinking, in size and importance. On the whole
they like us, but as you'd expect there are people who think we have
no right to exist. Having said that, 604 has been album of t .j
month/week in just about every publication, so we must be doine
something right. We made a point of not playing in London for a
long time because we don't want to pander to the press.
I imagine at this time you might just be concentrating on promoting
604, but if you were to work on new material would you stay in the
same vein or will there be a constant evolution in your sound?
Evolution. I'm frustrated and want to begin the next record immediately, some of it is already there. 604 is like four years' work in a
way, and was finished a year ago. I really want to get another album
finished this year.
You've probably been interviewed by some other folks from
Vancouver already who may have told you this, but did you know
that "604" is our local telephone area code? Where did "604" come
It was a reference to lots of things: Andromeda Slra
Renault, your area code. •
15 E^gSSMigS TWO
Amon Tobin
by luke meat
and robert robot
DiSCORDER: Welcome to Vancouver! Growing up in Brazil, was
there pressure put on a child to become the best soccer player in
the world, as it is here in Canada with hockey?
Amon Tobin: I don't know. 1 didn't have those sorts of motivations
when I was growing up. I moved to Europe at a fairly young age, so
I didn't really know where I was and therefore no real soccer
ambitions. I was living in a squat in Amsterdam when I was four,
so it was kind of different.
What brought you to Europe in the first place?
My mother traveled when I was very young, we left Brazil for
Morocco when I was two, then Amsterdam, then London, and then
back to Brazil again, then back to Europe. Brighton has been my
home now for about 10 years.
Easy-E is to 40 oz. bottles of malt liquor and misogyny as Amon
Tobin is to...
[laughs] Cardiovascular workouts.
I saw an Akai S-612 sampler, one of the earliest samplers ever
made, for only 60 dollars at a pawnshop last week...
Oh wow!!!
...and I was wondering what was your first equipment get-up?
If you really want to know, it's really tragic. It was a Casio S-One.
And an Amstrad Studio 100 tape-to-tape, you ever see one of those?
A beautifully constructed machine [laughs] they had these great
faders that were painted on instead of LED. I've still got one in a
basement somewhere, but I don't think it would be of any use. I still
really miss that old Casio though.
Is there any sound that should not be sampled?
No! People are doing interesting stuff with Christina Aguilera even)
and getting her and just like, chopping her up. You can get these
amazing bootlegs of cut-up stuff.
In that case, are you familiar with the documentary Sonic Outlaws
which features artists such as Negativland, John Oswald, E.B.N.,
and The Tape Beatles?
Oh yeah! I've heard about it.
Should sound be copyrighted?
I think sampling kind of bewildered a lot of people in
the legal musical world because it's very hard to draw
the line between plagiarism, creative sampling, and referential sampling, where you're taking something as a
reference to point to somewhere else. I don't know. I'm
not even sure of the laws, y'know, what constitutes a
rip-off and what doesn't? Morally, I think sampling is a
more direct and credible way of using existing notes in
your own music, than say, picking up an acoustic guitar
and going, "Well, I like 'Smoke on the Water,' so I'm
going to do something that sounds a bit like 'Smoke on the Water'"
and then call it your own. The thing about sampling is you're saying,
"None of this belongs to me and all I take credit for is not the source
material, but this is what I've done with it" and hopefully people can
recognize where the sample is from and they understand where it's
gone. There's an integrity there, I think, which gets lost with plagiarism, when people take credit for sound that isn't theirs.
You mentioned in an earlier interview that "black music"
influences you. What is "black music"?
I must have been talking about blues again. I suppose all music is
"black music" to some extent nowadays, but "white music" too—it's
just so hybrid now. It's another thing I think ties in well with this
whole sampling thing. It's one of the main reasons why I got so
excited about sampling. I didn't feel like I was qualified to put out a
record where I was playing blues. It doesn't have anything to do
with colour—it's what time you live in as well, and what place you
live in. I think you have to be from a certain era and have a certain
background in order to produce that specific type of music. What
you can do with sampling is you can say "Well, even though I
wasn't living in the '50s, and I'm not a black man with that kind of
history, this music still has an effect on me. If still has a place in my
world, and it's relevant. I can twist it and make it into something all
about where I am and what I'm doing."
Your side project is called Cujo. Whaf s your favorite Stephen King novel?
[laughs] I would have to say The Shining, [laughs again[ I see what
you mean though. It's a cool name, but I haven't read the book.
What determines what becomes a Cujo track and what becomes an
Amon Tobin track?
The Cujo thing is dead anyways now, just because the label, Ninebar
Records, has since gone under. We never released stuff simultaneously—
16 april 2001
it wasn't a change in style. It was another label, hence another name.
Os Mutantes played the Music Populaire Festival in 1968 and got
booed off the stage for having nothing to do with traditional
Brazilian music. If you had played this festival, do you think you
would have been booed off the stage?
Well, I don't know. It would depend if they'd set me up as some
"Brazilian boy made good," or if they accepted the fact that I'm as
much European as Brazilian, I suppose. The thing is I've never really flown the flag. I've never gone around going, "Hey, I'm from
Brazil. I make this kind of music because I'm from here." I use
Brazilian sounds in my music because I love them, and that's the
only reason I use them. If they booed me off stage it would mean
that they'd missed the point, which is I suppose what they did with
Os Mutantes as well. They're awesome! Yeah, man, they're awesome. I've been collecting their vinyl; they've been putting out lots
of good reissues lately, which is great.
Which leads me to my next question: Has David Byrne really done
anything for Brazilian music?
I don't know. It's like Stan Getz—did he really do anything for
Brazilian music? Anyone who brings it out to more people is, I
suppose, expanding it and making people more aware, but whether
they're having an impact on the music itself? I guess I just don't
know enough about what he's done.
I understand that you used to study photography. How does the
visual segue into your music?
I have the same idea when I take pictures as when I'm making
music. I have this whole thing about making very unspectacular
things look spectacular. I think that's the same approach I'm trying
to have with samples, where it's not about raw material but what
you do with it. So I used to take pictures of foam, for example—you
know, shaving foam—and I'd try to make landscapes out of shaving
foam, that sort of thing. That's where Adventures in Foam [Cujo's first
release] came from. All the pictures on there came from those experiments. But of course you've got the wack American version without
all the pictures on it.
Yeah, we got the Shadow Records release.
Fucking Shadow, the cover is the least of their sins, man; they cut up
that record with a knife and fork. The thing is that the original album
was one of those swishy albums that went from one track to another. What they did was they took a track and chopped it up in a completely different order and they couldn't even figure out where a
track started and ended, so half the tracks are starting in the wrong
place and ending in the wrong place.
Here's another pointed question.
All right, load me up.
Kraftwerk had mannequins, Aphex Twin has dancing bears. What
do you have in your live performance?
Oh, wow, I have dancing girls, and lights and smoke, and mirrors.
How do you feel about props in a live performance?
I don't know, I keep it quite stripped down really, I'm not really into
the whole performance thing anyway, you know what I mean.
Going back to being a rock star, picked up some dry ice and going
on the road!
Label cohorts interrupt interview with questions of pizza choices. Amon
decides that he will have the "bum a fag" special as usual. A saucy
Haiuaiian number is finally agreed upon. The label mates discuss when
they will play, and instruct Amon not to suck tonight.
Back to the article on you printed in the Georgia Straight. You said
you had all these noises and you wanted to make them sound
coherent. Does noise have to necessarily be coherent? Does noise
always have to have a music value?
I'm not sure what you're asking.
Do you think that noise is valid in a musical sense?
Of course. Yeah, absolutely. I don't know. It depends on what your
definition is. I think that if it works in context with the other sounds,
as long as it's not just some vacant space filler. I think that's the problem when you get into that sort of noisescapes. You know what I
mean, well that could be substituted for any other sound. I think
what makes a musical composition, or something worth listening
to, is the fact that it is constructed in some way where the things balance each other out. You know they lend each other something, you
know there's a tension there. And it shouldn't just be something
totally random otherwise it's kind of pointless.
Is there any particular place you think it would be interesting to
hear your music?
I don't really think about it at all. People ask me all the time about
making tracks for dance floors as opposed to making tracks for the
bedroom or something. I'm interested about this sound thing you're
talking about. Are you talking about music concrete?
I believe so, I don't know much about music concrete... I'm just
getting exposed to Stockhausen and the like, that's the area I'm
It's pretty fascinating.
Not necessarily entertaining to listen to, but I think it's important
that it's out there.
You know, entertainment has never really been the issue anyway, right;
it's about whether it's worth doing, and whether it's worth listening
too, whether you are in excruciating pain or whatever, the fact that
you're sitting there, and you're not going away, and you're interested
in what's going to happen next I think is a valid reason for making it.
I have the same attitude for films. [I was] watching Henry: A Portrait of
a Serial Killer, and just sitting there and thinking, "Wow I'm not enjoying this at all, but this is fucking great." It's just the fact that it has an
effect on you, and you're interested and fascinated by it, even if you're
not enjoying it. This idea that you have to enjoy things for them to be
worthwhile is kind of... it's not a very good criteria, I think.
That being said about films, it seems that soundtracks nowadays
are just compilations of songs that are funded by the movie company, or on a label that is associated with a movie company. But
there are seldom composers that do soundtracks
anymore. Ennio Morricone comes to mind. Are there
any composers who have inspired you?
Oh yeah, you named one of them. My favorite is probably
Bernard Herrmann, he did all the Hitchcock stuff.
Amazing, just the best stuff you ever heard. He did Psycho.
I've always imagined that people who make electronically-based music are somewhat technical, and
I'm wondering how that relates to home tech. Do
you have any power tools?
The thing is that I'm not very technical to start off with. I use what I
need to do what I want. I'm not really into kit. My studio is really
quite sparse, especially because I'm not using synthesizers anyway.
Actually, I have no use for power tools either. I'm a pretty DIY guy.
I admitted that to myself a long time ago, and I'm living with my
broken-down shelves, my wobbly seats. I'm all about trying to learn
something inside and out, and trying to get the most out of it and
moving on. Rather than thinking, "Well I've got this great new thing,
what the fuck do I do with this?"
Do you bother with magazines like Mix, to find out what the
newest toy on the market is?
Every now and again. The thing that has really gotten me excited is
the Variphase processor. Have you seen that Roland thing? I don't
really use it as a sampler, but it is a kind of sampler that has a different way of coding the samples. It's just a time stretch machine,
but it does the thing that I've always wanted to do since I was 17,
straight away. Which is just to play all the samples on a keyboard.
But say, you can start the sample on this key and finish it on that
key. That's what I find with equipment, it never does anything new,
it only ever makes what you want to do simpler and simpler. You
never find a piece of kit that makes you go, "Wow, that does something completely new." It's always just making your life easier,
which is great.
And in closing, Amon Tobin, if asked to do a duet with Eminem,
would you do it?
Wow, oh Jesus. Fuck yeah I reckon!
What about Elton John?
Elton John I draw the line [at] you know. Maybe I should draw the
line at Eminem. I don't know. • ,:-,'
How To Moke It In The World Of Rock:
(weights ond measures
Unlocks the forbidden Secrets!
On my lunch break, after work, or evervfcrt the middle of the night, .
my dad has a habit of calling me up and talking about how to make
it in today's world. Working a poverty-line record store job, freelancing as a music reporter, and learning how to play drums on the
sly isn't exactly his idea of me hitting it big. Yes sir, no matter what
side of the industry you work in, making it in the world of rock is
tough. I can only imagine what it's like for kids who decide to take
their weekend jam practiee&.out of the garage. Rock star dreams are
shared by millions, but only a few of 'em make it. If only there was
some sorta' plan... some sort of map pointing the way to the land of
glitter and glam. Yeah, that's the ticket. Then all oi us guitar wielding,
Well fear no more! Ottawa post rockers Weights and Measures
day parties for the neighbours kids! Just for DiSCORDER readers"
like yourselves, they've thrown together a special four-step guide to
making it in rocks-ville.
Weights and Measures fomied.back in the summer of 1998 when
guitarist.Kevin Jagernauth, bassist Sanur Khan, and drummer
Jeremy Cara (Samir ami Jeremy are members of the band Kepler),
came together to bring Ottawa and the world some of the best. Their
it's loaded with high-tension melodies where guitar, bass, and drums
either fall into synchronized melodies or crazed rhythmic free-for-
alls. Punkers like Shellac or even smarty-pants like Don Caballero
ain't got nothing on this band, that's lor sure.
Their guide to rock ain't bad either. It's all aj^out guitars?, ladies'
and the stock mar-kat_Y_eah. They've got it all figured out.
(with a little help from Lia)
1) The Market Dictates All
Got some artsy-fartsy vision that you're just playing music for the
love of music? Ditch that romantic notion, my friends. It's all about
the cash.
"When we first got together, we all decided it was best we try
for the big stupid loud rock band," says Khan. "At the time it
seemed to be a good way to make a lot of money, and that's turned
out not to be the case."
Khan would like everyone to note that while Weights and
Measures has earned plenty of critical respect, they have yet to make
a dime from their music.
"That's really disappointing to me, actually," says Khan during
an interview from his Ottawa home. He-even admits that Weights
and Measures feel they have exhausted their current style and fans
should expect something new and exciting on their upcoming EP,
slated for release later-this summer.
"I dunno if it's gonna be drastically changed, but something is
gonna b.e different about our band in the future," he says.
Khan's also quick to point out that it's important to develop a
snappy business plan and execute it quickly! Khan admits this is
one area where Weights and Measures slacked.
"We were hoping to link with the high-tech stocks, assuming
there would be good synchronic itv between Weights and Measures
and the economic realities of the world," says Khan. "Now we're all
going to shit. I mean, we're all fucked..."
You snooze, you loose.
Although Khan admits there's still a chance for Weights to show
upon the DOW. "We haven't gone public yet," he says. "We're still
waiting on our IPO."
2) None of These Hippie-Dippie Lyrics 4) Hai
Heck, let's face it. Everyone seems to have something to say these
days. So it's a nice refreshing change when a hand like Weights and
Measures knows the importance of a good drum beat here and an
excellent guitar twang there.
When it comes to deciding if there's more important things
about your band than angst-ridden poetry, Khan says the answer is
"Vocals interfere with our ability to do rock moves. Kevin used
to sing for a couple of shows in a few songs and I thought he was
really good!" says Khan. "But he thought it interfered with his chord
selection...and his moves."
Khan doesn't doubt that guitar and hip swingin' action has
earned the band much of the fame it has today. Besides, executing
guitar riffs like Yngwie Malmsteen never went out of style is an
asset often overlooked by novice rocksters.
3) Big Publicity Stunts
Do something,., anything. Just make sure you did it with larger-
than-life style. It's all about the right person standing up to take
For Weights and Measures, that chance came with a friendly
neighbourhood'magazine called Vice.
"The Vice article is the shtick we did," says Khan. "It was just a
publicity stunt ahd Vice is, yeah, whatever."
What Khan is referring to is the article where they affectionately dubbed themselvesas "The Pak Attack." or that Jagernauth is one
of the only 'brown' guitarists in the history of rock since
Soundgarden's Kim Thayil.
"Everything about this band is a joke," says Khan. "We're just
trying to be funny in any way possible... be it at our own expense or
Either way, the shtick paid off.
"We were trying to find someone to put out our record and uh,
that's actually how; a lot of people first heard of our band," says
Now they're signed to Montreal's Matlock Records, home to the
likes of the Wooden Stars, North of America, and The Plan. Need I
Plenty of Other Things to Do
Now and again, we all have to think realistically. Even for the most
talented of superstars, rock 'n' roll takes time to develop. Therefore,
it's important to have plenty of hobbies. After all, idle hands are the
devil's playthings!
The boys of Weights and Measures have taken heed to this little
life rule and have developed plenty of other side projects. Khan and
Gara are members of Ottawa's slow-core rock band, Kepler. A four-
member band that boasts a dark and unsettling post-rock sound
(which, by the way, does include vocals), Kepler is just starting to
gain some much-deserved recognition.
"Kevin was actually playing in a band called Prisons Come
Home," says Khan. "We just all knew each other from the local punk
scene and that's how things started."
There's also Snailhouse, a project fronted by Mike Feuerstack of
the Wooden Stars and backed up by Khan and Gara. Expect this
sound to be a departure from all things Weights and Measurey.
Snailhouse is an eerie blend of pop melodies and vocals which only
the likes of Nick Drake could replicate.
"We're figuring if one band doesn't make it big, one of the others will!" says Khan.
That's what I call planning!
So there you have it. Rockstardom is but a leap and a bound (or two)
away! No longer do aspiring rockers need to sport those tight, leopard-print package-displaying pants that the likes of Steven Tyler
made famous. Nah, all you really need to be is a squishy little AV
kid with a bad attitude. •
Weights and Measures with North Of America
Friday, May H • The Marine Club
• Vancouver, TBA
bu lip kiessling „^Hk
AT LARGE Entertainment & CiTR present 101.9 ri«i
The Grand view Legion * 2205 Commercial Drive
$12 adv. @ Scratch, Zulu, Noize. All Ages Door 7:OOpm/Show 7:30|
The Starfish Room • 1055 Ho-
AT LARGE Entertainment & CiTR present
101.9    fM
The Starfish Room* 1055 Homer Street
$10 adv. @ Scratch, Zulu, Highlife, Noize. Early Show Door 7:00pm/Show 7:30pm
AT LARGE Entertainment & HOUSE OF BLUES present
, The Commodore Ballroom * Granville Street
MONDAY MAY 7, 2001   The Ice House • Victoria B.C.
*^$12 adv. @ Ditch, Lyle's Place, & The Icehouse. Door 9:30pm/Show 10:00pm
AT LARGE Entertainment, ATOMIQUE & EXCLAIM! present
$15adv.©Ditch,Lyle's Place, & Vertigo.Door 9:30pm/Show 10:00pm Vertigo • Victoria B.C
WEDNESDAY MAY 23, 2001  The Starfish Room
EC 13 OR Plus
TIX @ Scratch, Zulu, Highlife
GlieStS     Noize.Door 9:00pm/Show 9:30pm
FRIDAY JUNE 8, 2001 The Starfish Room
$15 adv. @ Scratch, Zulu, Highlife, Noize. Door 9:00pm/Show 9:30pm
tlie tfcttlltwt project
debut cd on sale now!
"the dragon's courtyard"
available in record stores! also available online at:
mp3.com/theanathemaproject four diary
March 2001
When intei nationally renowned comedian—"The World's Funnyman"—Neil Hamburger asked us to go
on tour with him we had lo leap al this ivondrous travel opportunity! We even had to take time off work.
We would be traveling through Tl states in the goodol' U.S. of A. bringing tlie gift of music, love, and
laughter to the Midwest and the East Coast. Neil's record label, Drag City, was doing all the work to set up the
shoivs, and all we had to do was provide the entertainment! Our act is very portable: all of the music is on a CD,
hence the "Canned" in Canned Hamm. No heavy gear, no meddlesome roadies, no muss, no fuss! Just 100 percent
Pro/Am showmanship! Canned Hamm and Neil Hamburger go very well together because we can all be easily
packed into one shiny tclute reuhil car. A car ivith a faulty steering ratio, a car that can provide audiences everywhere
with a scrapbook of near-glamorous floorshoiv memories to last a lifetime! A car that is good on gas mileage!
trouble sleeping tonight. In the middle of nowhere
we found a Goodwill where we bought some nice
coloured purses (on sale!) to give our Karaoke
Ladies on stage each night! Neil suggested that I
put my phone number in every purse; I don't
think I will, I'm shy. Bloomington is the home of
John Cougar Mellencamp ne John Cougar ne John
Mellencamp who apparently, according to one
audience member, is an asshole who smokes four
packs of cigarettes a day! Packed show. I fell in
love with the Karaoke Lady Mary. She was a nice
girl but 1 didn't get to talk to her much because she
was really busy playing darts.
March 7th: Chicago
Neil wasn't playing Chicago. Neither were we
until our good pals/dynamic entertainers (new
album out soon) Bobby Conn and Monica Boubou
put us up at their home and even cleaned up their
basement so that we could play for 14 of their
friends! We gave beer and cookies to the audience.
It was much like the neighbourhood shows I used
to play when I was seven years old. At every
Canned Hamm show we choose a member of the
audience to be our Karaoke Lady. For the uninitiated, what we do is bring the Lady onstage and
worship her by dancing and singing a special
Karaoke Lady song to her. Tonight's Karaoke
Lady was Virginia. Bobby Conn has a song named
after her on his LUlovesssongs EP that she even raps
on! I fell in love with her, but she left
shortly after the show
and didn't come with
us    to    the    24-hour
Korean restaurant. Jake
Austen, of the world's
greatest   music   mag,
Roctober,   came   along,
though, and he is going
to play one of our songs
on his Saturday afternoon
cable access Dance Party
TV show "Chic-A-Go Go."
Kids are going to dance to
one of our songs! I just hope
Of Sex," because that one is inappropriate
for children.
March 8th: Milwaukee
Neil Hamburger showed up with the rental car to
take us to the brewery town of Milwaukee.
Tonight's Karaoke Lady is named Betty. She said
something to the effect of, "If I had a few more
beers in me...." Mostly guys and couples at the
show. I didn't get to talk to any girls, anyways
because a lot of drunk fellas were surrounding me
and asking me about the quality of Canadian beer
and other product-related questions. I think they
worked for the brewery there. We stayed at the
Baymont Inn. I was awoken at 7am by people
wallpapering in the hall... Apparently they are
working all hours to make the inn a better looking
place for the customer! I fell in love with the girl
doing the wallpapering, but she was so into her
work that she didn't even know I existed.
March 9th: Iowa City
I fell in love with the Karaoke Lady, Margaret, but
she left rather quickly after the show. People seem
to be enjoying the act so far, and I think opening
up for Neil works really well in a magical way. By
magical I don't mean witchcraft, I mean special.
March 10th: Bloomington,
On the road today Neil told us about these people
he knows who work in crime, and they have this
infrared camera that they took to a hotel.
Apparently all sorts of weird stuff shows up when
it's aimed at the bed sheets! I ,1111 going to have
March 11th: Oberlin, Ohio
A college town and it was a college
show packed full of young, fresh,
good-looking faces! This one gal
briefly looked at me before the
how. I wanted her to be the
<araoke Lady and you know
what? Her friend volunteered
her and she was our Karaoke
Lady! Her name was Ry and
she invited us out to karaoke
after the show. She gave me
directions but they were faulty
Canned Hamm with Karaoke   *°v* th* Place'
»   j    t»    •    ™     ,. Besides, Neil was
Lady Ry in Oberlin dnving  and   he
wanted to go back
to the hotel to be alone. That's how he unwinds
after a show even if there's encores like there was
March 12th: Pittsburgh
Our day off. We drove around looking at houses.
We stopped to look at a nice purple and green
one. Neil said, "The girl who lives in this house is
the kind of girl who'll ruin your life. She probably
collects Pez dispensers." Neil is so bitter, but he
seems to be speaking from experience, and I
could only silently nod in agreement.
March 13th: Pittsburgh
Big Hamm had an odd dream that we were playing an elementary school assembly and I was
making the kids wear oxygen masks, and he was
controlling the tanks. The thing is, he didn't know
how much oxygen to give them, then he woke up.
The venue tonight was a dump.
Back at the hotel after the show we watched
VHl's "Behind The Music" with The Doobie
Brothers. Apparently some of the Brothers had an
odd disease called "Drug Addiction." I hope it's
not contagious. Thank God, Canned Hamm isn't a
rock band because I'd hate to catch such a terrible
March 14th: Philadelphia,
I got sooooooo drunk! Those premium free pours
from the bartender were out of hand! The venue
looks like a well kept Vegas showroom! Perfect
for us! It went over so well that the owner wants
Bv Little Hamm of Canned Hamm
us back for a whole week! I received a marriage
proposal from a girl named Michelle. I should
probably accept (if she emails me) because my
looks are starting to fade. If the act gets huge
maybe I can afford cosmetic surgery and
enhancements, but marriage is the next best thing
to that. And maybe I can get US Citizenship so I
can leave my home and all the horrible, painful
ghosts that continue to haunt me.
March 15th: Washington, DC
We stopped by the White House and it was
creepy. I think they were recording everything
that we were saying. Maybe even everything that
we were thinking! I was so spooked by this town
that I begged Neil to drive us an extra hour out of
Washington to a hotel after the show. He had no
problem staying out of town because the hotels
are cheaper and that means less money is spent
from our merchandise sales!
March 16th: New York City
We had already made it in Oberlin, so we figured
New York would be a breeze! It was! We played
three shows at the Knitting Factory: at 8, 10, and
12 at night. This made us get very smelly. There
were three Karaoke Ladies tonight! I didn't fall in
love with them too much because I'm still thinking
about that marriage proposal back in Philly. It
might be good therapy for me to settle down.
Sound guys love us on this tour because all we
reallv need for set up are microphones and the
band is on the CD where it belongs. No bad tun-
March 17th: New York City,
day off
I kept telling everyone I met at all the shops and
cafes that I was a tourist. I think somebody ripped
me off for 40 bucks. All that US money looks the
same! There's no colours to tell the bills apart!
How can you tell them apart?
March 18th: Hoboken, New
Only 10 people showed up for our last tour date.
The sound guy said that it was because The Sopranos
was on TV. Apparently, Hoboken really loves that
show. Our Karaoke Lady, Valerie, was visiting from
Texas. I'd like to go to Texas someday Neil was very
sick, but he delivered one of his best shows of the
tour! He even reworked a joke to
Lil' Hamm with Karaoke
Lady Meg in NYC
Canned Hamm with Karaoke
Lady Erica in Hoboken
make it about us instead of Jesus Christ. The joke
was, "Why did Canned Hamm turn water into
wine? Because they're alcoholics!" We're really
going to miss that guy!
March 20th: Vancouver, Canada
Today on my first day back at work everyone
mocked my mayo application on the sandwiches.
I got so upset that I yelled, "I'll show you all! One
day I'm going to be a famous entertainer!" I just
hope that they don't knock the 20 minutes that I
spent after that in the staff washroom off of my
paycheck. •
spring with  a  new ^      m_/'   BL
try dreadlocks!
mom mi
■ um mm nan
^im&umm A LUNA RED
The Death Birds
(Global Symphonic)
When I was eight years old a
red-haired brat told me, over a
table filled with arithmetic
equations, about a bomb that
could blow up "the entire
world." I didn't get a good
night's sleep for five years. By
the time my terror ended, it was
1991, and people were saying
that there was "no chance" that
Cold War shivers would ever
again have the opportunity to
creep up my spine. Well, thanks
to Mr. Bush, we're back on the
nuclear death march again. And
frankly, I've had so many fainting spells and suicide dreams in
my short lifetime that I am
almost—finally—numb to the
I interpret The Death Birds
as a half-disbelieving reaction
o  this
gia. Almost all the songs on this
seven-song album deal, in some
way, with the spectre of flesh
burns and radiation sickness.
Appropriately enough for a
band concerned with a ghost of
the Cold War, A Luna Red does
of numerous '80s electro-panic
bands, Skinny Puppy being the
most blatant. On the title track,
co-vocalist Erica Neumann
sounds eerily like Xmal
Deustschland's Anja Huwe. A
Luna Red's mimickry might be
offensive—or just laughable—if
they weren't so good at capturing fear and indignation in bass
creep and synthesizer squeal.
And they seem, after all, to
genuinely take an interest
in the poetics of destruction.
"Marching drums ring/ air raid
"Malaria." "We refuse to believe
it's even happening today."
Hilarity Manque
The Night Is Advancing
(Drag City)
I love to sleep. This album has
helped me sleep a whole bunch
of times, and I'm thankful. It
hasn't bored me to the point of
slumber but soothed and carried me there. Like how a pixie
might hold my hand and guide
me to float out the window,
sending me off to a world of flying beds and tooth fairies, a
place where dreams are pleasant and always feel like they're
real. Ali Roberts' toilet-paper
soft voice, the chant-sounding
backup vocals, the dreamy rep
etition of the guitars and percussion section's quiet restraint
all work together to produce the
perfect soundtrack to the company of the softest mattress and
warmest bedcovers. This album
20 april 2001
is a masterpiece of tranquillity,
and I'm going to keep using it
to further develop my love of
Jason T
Vie Red Thread
Since seeing Arab Strap play at
CMJ in the fall, I have been on
pins and needles anticipating
this new album. Plulophobia
ruled, but we won't go into
that. Elephant Shoe went largely
unnoticed around here, largely
due to its delayed release and
hard-to-find status. Back in the
big leagues with Matador, the
Strap is ready to spill more guts
all over the place, and I'm more
than happy to trail after with
the mop bucket. Discussing the
Strap's work with a friend, we
questioned whether we'd take
notice of all this ranting and
raving if it were in plain old
English. Something about
Aiden Moffatt's scruffy Scottish
accent makes his dirty stories
just that bit more listenable.
Said friend also questioned the
band's musical abilities, but I
disagree with that criticism.
While the sounds may be sparse
at times, when they get going,
they really bust it out. And
those sparse bits? Pure gold. The
Red Thread is a beautiful record.
My one concern is the authenticity of the stories. Is Aiden
struggling for material yet? The
last two albums have been legit,
calling up ghosts and goblins of
relationships past—can things
still be going so rough for a
star? This album sounds legit,
but we'll have to see how long
Aiden can play the sad misguided sir to his sexual demons.
I'm in for the long haul.
Some Dusty
beautiful songs in vour sky- But
this Birdie presents heart-
sounds for you from your CD
player. Former Dolly Mixture
leading lady Deborah Wykes
and ex-East Village Paul Kelly
are well-known artists who
used to play as members of St.
Etienne's support band. So
their sound is very similar to St.
Deborah's singing voice is
full of tenderness and Paul's
sounds are filled with softness.
When their warmth are in harmony, glittering sound magic
will catch and hold your heart.
Their sounds are totally mellow.
Not only guitar but also piano,
wind and harmonica are played
effectively and those relaxing
sounds unconsciously touch us
(with strings arranged by Sean
O'Hagan of the High Llamas).
Their first full-length album
Some Dusty was released at the
end of the summer of 2000. But
it still brings me fresh impression, so I cannot give up playing this disc. On the contrary, it
is sweet for coming springtime.
So their sounds are immortality.
We have to wash the clothes,
clean up messy rooms, and
change nail colour. There are
many stupid daily tasks, but if
you are with Birdie, everything
will be fun. Spend your relax
time with Birdie songs and get
an eyeful of brilliant world from
the sky.
Miki Hirano
We'll Have a Time
(Magic Marker)
I can feel it, but it's so gentle it's
really more like sitting in one of
those jet-powered hot tubs than
an earthquake.
Somewhere not too far
away (New Westminister), a
telephone pole is falling over.
Somewhere a bit farther away
(Olympia), windows are shattering. Somewhere even farther
than that (Portland), some kid
in his college dorm room is
being awakened by the agreeable rocking of his bed and
decides not to skip his first
class. It's true, the ground is
moving and somewhere under
ground, not too deep below the
surface, there's a revolution...
girl style. No no, sit down
Kathleen. You too, Alison and
Corin. Yes, I see you back there,
don't even think about it.
Today's Northwest is all about
girls these days. Sure, Chicks
on Speed, Sleater-Kinney, Le
Tigre, and the re-formed
Bratmobile are all stiil alive and
kicking, but that's not where the
revolution's at, not since 1992.
These days, the girl-pop ol
Mirah, The Crabs, Get the Hell
out of the Way of the Volcano,
and Dear Nora is what's quietly
leading the riot. That said, I love
this album. Most people compare Dear Nora to The Aislers
Set, and I'd say that's a pretty
fair comparison except that, on
this, their first full-length, Dear
Nora have far and away
eclipsed those adorable pop
heroes they used to open for. I
can tell you that Dear Nora
plays cuddly indie-pop to perfection on this album, and I
hope I'm being perfectly clear
when I tell you that you should
buy it, but words can't really
convey how good this album is.
I can only tell you what kind of
really good album this is. It's
one of those albums that's wonderfully lo-fi in all the right
places (it was recorded in
Aislers frontwoman Amy
Linton's basement) while being
as clear as an album that relies
on catchy hooks and clever
changes needs to be. All the
songs are short, endearingly
sung just off-key, and memorable. Just think, that could be
you being gently rocked by
Dear Nora.
godfrey j. Leung, esq.
Lungs for the Race
(Secretly Canadian)
One of the ugliest words in the
English language—to me, anyway—is not really a proper
word at all. It's an abbreviation
that music writers use liberally
when trying to pin down a certain quality found in a great
deal of underground music.
This word (five letters, two syllables, starts with an 'i') has a
lot of baggage. It's an adjective
but is more often than not used
makes me think of skin problems, badly chosen clothing,
and reverent but apathetic
patience—the kind of patience
that incites a person to sit cross-
legged on a cold, dirty floor for
three hours waiting for the
band to play.
Havergal courts this word
and the identity it seems to
demand in a way that is almost
frightening. Their aesthetic
winks at it. Their vocals
embody it. Their trancey, over-
effected guitar jams—anthemi-
cally quiet, as if that weren't a
total oxymoron—are insufferably true to form. That said, I
quite like this CD. Just don't
make me say that word.
Hilarity Manque
Angel Youth
(Bad Taste)
This is a fine release from
Sweden that evokes the more
playful moments of Sigur Ros,
and it also manages to achieve
a dramatic intensity that isn't
overbearing. The boldness of
this smart pop matches the
wide-eyed brashness of the
band name. For some, this very
brashness may repel some, but
I don't think they'll really care.
The instrumentation is fantastic with things like old cranky
Hammond organs hooked up to
Leslie speakers matched up
with crisp and bright guitar
lines. And that's not all— there
are also strings, Rhodes pianos,
and even glockenspiels.
Sometimes, when you have so
many sounds going on, you're
tempted to just make the whole
album a sonic novelty, but they
keep things honest and smart.
Their arrangements are done
with respect to the songwriting
craft and to the discipline
involved in making a good
melody. Any band that can rock
with keyboards without seeming like they came from two
decades ago gets my approval.
Samuel Kim
(Thrill Jockey)
Did I almost pee my pants
when I heard there was a copy
of the new album floating
around at work? You bet! I also
squealed with joy and nearly
lost my head to the delighted
reverie of chaotic sound squig-
gles and dreamy men on control    knobs.    Heading,   once
Mouse on Mars are the ones to
watch in this digital day.
"Actionist Respoke" took
some getting used to. I'm not a
big fan of vocals on MoM's
tracks, but I came to appreciate
where it all leads. Good thing,
as there are other tracks with
lyrics; some, like "Presence,"
seem to aim their focus more on
the lyricism than the sonic
sounds. A new direction,
Most of this album treads
familiar sweet-glitch territory,
spewing warped transitions
which remain undanceable and
aurally tickly. Mouse on Mars
seems to have decided to get as
goofy as they wanna be, and the
result is a very fun, highly listenable album. We can forgive
them their silly vocal outings,
no? If not, then you'd better
skip track eight, when they
decide to go techno-reggae-tas-
tic. Hee hee. Koln uber Alles!
Julie C.
I have had this record for two
days. I have listened to it six
times. It is like a seed in my
stomach. It is growing in me.
Nina Nastasia is none of the
following kinds of singers: "I
can't really sing, so let's put a
bunch of shitty effects on my
vocals;" "I can't really sing, but
it doesn't matter 'cause boy, am
I good looking;" "I can't really
sing, but man, am I sad, oh so
sad, listen to me cry and sing
about myself because I'm the
than your
call maren for advertising rates
822.3017 ext. 3710.7183 (cel)
may issue booking deadline: april 18th only one who matters," "I can't
really sing, so let's get the producer to play a bunch of cool
drum machines and spooky
keyboards;" "I can kind of sing,
but my songs blow, so let's mix
it so all you can hear is my in-
tune-but-boring-as-hell voice;"
"I can't really sing, but Jesus,
am I angry, listen to me scream
and yelp like fucking cats."
Nastasia's songs are beautiful. Her voice is effortless, but it
is not isolated. If I turn it up
loud enough, there is an orchestra in my ear (Albini's doing).
The CD insert is not a lyrics
sheet. It's a story book. She
sings of Jimmy Rose, the heroin
addicted tattoo artist, of sandboxes and storms. The package
is made of wine stained textured paper, hand letter pressed
with silver ink, and there is a
photo print of Nastasia in a
polka dot dress. Dogs sounds as
lovely as it looks.
Christa Min
Mathing Moonlight
(Spectra Mobile)
Somewhere between the planets of Air, The Gentle People,
and Mazzy Starr, there is a tiny
little planet called Novasonic
Down Hyperspace. On planet
NDH there are plenty of
vocoder-enhanced vocals,
cheesy '70s piano-synths, guitar
strums, and male crooners.
These elements don't necessarily compose a bad sound; they
have been known to produce
groovy, funky music. But
apparently the people of NDH
have an affinity for gratuitously sappy and inanely repetitive
musical stylings.
This-CD, entitled Mathing
Moonlight, did make my bus
ride to UBC on a sunny spring
morning slightly more enjoyable; however, it failed to really
elicit the emotional response I
get when I know I've got a live
one. Plus, I couldn't tell if it was
the music or the weather that
was perking up my spirits. Too
many slow guitar progressions,
repeating bars, and blah blah
blah lyrics made me anxiously
want to flip through to the next
track. This CD tediously searches for the point, but never gets
to it. While there are moments,
mere seconds, of musical bliss,
they are too few and far
between to even make one complete track, much less an album.
Sleepy Little Sailor
During the recent onslaught of
Oh Susanna media coverage,
I've done my best to keep my
head down and ignore what
everyone else was saying. Like
a lot of campus radio and indie
types, I have a contrary nature.
If I hear that the songs on Sleepy
Little Sailor are more personal
than on the other two CDs, all I
want is to say is that they're not.
e else says this one's
better produced, I want to say
it's owr-produced. If someone
says this one is the best of the
three, I have to try not to like it,
even though I have been an Oh
Susanna fan since the days even
before she had a CD.
But I did hear snippets of
the other reviews, in spite of my
efforts, and now I have to admit
that I agree with most of what
I've heard. This is a very good
CD. It is well-produced. And
there are fewer murder and outlaw songs on Sleepy Little Sailor.
In fact the ratio of songs of
death and violence to every
other kind of song, which was
probably six to one on the first
CD, has flipped over to something like one to 11 on this one.
That's not to say that Sleepy
Little Sailor isn't wrenching. In
fact, horrible as the title track
from Johnstown (the second CD)
much as "River Blue," from this
CD does, although its lyrics
carefully pull back from any
explicit unpleasantness. It's
chilling to hear Suzie singing
from the point of view of a
whore-killer ("Johnstown"), but
when she sings less directly
about the horrors of an
unspeakable childhood, and the
feelings that came afterward, it
just feels truer, and the more
powerful for it.
Perhaps most surprising of
all are the love-gone-bad songs.
Were all the old songs about
bullets and armed enemies
metaphors for what we have
here? Little stories of heartbreak
so real that the singer resorts to
biblical language, lifts images
from fairy tales and age-old folk
songs, and describes physical
Suzie also seems to be
singing with more confidence
this time around, and that's saying a lot. She's closer to the mic,
she's singing more intimately,
and her voice comes through
sweeter and more pure than
ever. (There are even hints of
the recent, bluegrass-reviving,
Dolly Parton here, and I mean
this is in the best possible way.)
On "Sleepy Little Sailor" and
"River Blue," the songs with the
most lovely melodies, this
makes for a near-perfect melding of performance and
songcrafting. On "Kings Road,"
SLS's very catchy (and autobiographical) pop entry, the cleverly twisted lyrics put a fresh spin
on an old story, while her voice
removes all doubt as to its
No one else should try to
sing an Oh Susanna song, but
the opposite certainly isn't true.
Suzie Ungerleider is such a fine
interpreter and singer of songs
that, given the right promotion,
every radio station in the world
would play her covers—just listen to her rendition of Otis
Redding's "Dreams to
Remember." That she also
writes her own songs, and that
so many of them are so damned
fine, well, that's just the world's
very good luck.
Janis McKenzie
Super Sound
(Emperor Norton)
Super Sound is the debut of this
Finnish trio made up of DJ
Slow, Ja-Jazz, and James
Spectrum. Their varied backgrounds combine to create Pepe
Deluxe. Super Sound is their
first full-length effort, a collaboration encouraged by a successful appearance on the
Return of the DJ compilation
released by Bomb Records.
Heaping doses of samples with
pace and stylistic changes gives
the recording a fairly frenetic
quality reminiscent of the work
of UK group Bentley Rhythm
Super Sound drifts effortlessly
from music style to different
music style, the many samples
blended expertly to obscure the
line between original and new
material. "Three Times a
Player" uses a beat heavy hip
hop treatment and is a deceptively muscular intro to their
CD. Thick, chunky blues samples give "Everybody Pass Me
By" its Deep South allure—a bit
reminiscent of Moby's latest
release. "La Femme" and
"Where is Mr. Fabulous" venture into the realm of suave '60s
Francophone pop in quite a
charming way. The silliest track
for its sheer hyperactivity must
be "Super Sound," which piles
layer upon layer of samples to
produce a wonderful musical
bouillabaisse. Two particular
favorites are "Woman in Blue"
and its re-mix "Woman in
Black," both which use a haunting sample of an old blues
recording. The vocal sample is
expertly woven into the melody
and heightens the sorrow and
heartache in her voice. Super
Sound is good, clean, sampling
Today's Empire, Tomorrow's
(G7 Welcoming Committee)
In a Recent Exclaim interview,
Propagandhi member Chris
Hannah said, "We're putting
out this record, it's going to kill
and there's a good chance
nobody is going to recognize it
because we live in such a
fucked up, shitty culture."
Death by boredom? Death by
Bad Music? I DON'T RECOGNIZE IT! This album is fucking
horrible. I think the world
would be a better place if
Propagandhi stopped making
music this second. This album
is devoid of anything remotely
good Propagandhi ever had. As
far as the politics go, I can think
of many better ways to get
informed than dumbed down
lyrics from some hockey players in Winnipeg regurgitating
Noam Chomsky and Mumia
Abu-Jamal. I know they have
good intentions, but this album
is just inexcusably bad. The best
thing about this album is that it
isn't marked as a promo, hence
I'll get more money when I
trade it in. If you are looking for
good political hardcore, please
do yourself a favour and look
at the Ebullition Records catalog.
Jay Douillard
Today's Empire, Tomorrow's
(G7 Welcoming Committee)
After a hiatus of almost five
years, Propagandhi are back
with a much anticipated
release. And let me tell you that
Today's Empire, Tomorroio's Ashes
is well worth the wait. Let's face
it, Propagandhi have developed
quite the following during their
career, and this CD is going to
succeed regardless of quality.
But it's actually, without much
exaggeration, really really good!
This work presents a
more evolved, punk rock
Propagandhi. Their music is
definitely more hardcore than
their previous releases, yet
there's evidence of experimentation here and there. The music
is definitely interesting, something which unfortunately
rarely happens with hardcore
punk rock nowadays. Their
lyrical genius is very much the
same as it's always been: politically minded, sharp, explicit,
and intelligent.
Reading the liner notes is just
as interesting as listening to the
music. Most importantly: their
songs actually mean something,
they are more than political
buzzwords   howled    into   a
Scream of Consciousness
At the Wheels of Steel
With the recent craze of mix
CDs covering the market, it's
important to make something
that stands out from the rest. DJ
Dimitry (of Deee-lite  fame)
and Gayle San give us releases
to join the masses.
Dimitry's release rarely
stays with one genre and usually stays only several minutes on
one track. He keeps things
interesting by switching up the
tracks often, but in doing so,
makes it hard for the listener to
pick up what he's trying to do
with his set. There's something
for everyone: some dark house,
break beat, electro-like rhythms,
and other stuff all thrown in for
fun. It's almost as if he's just
rushing through his record piles
saying, "Hey, this is great... and
yeah, this one too!" There are
some pretty interesting surprises throughout: Ursula Rucker,
Insider and Julee Cruise (?!),
Luke Slater, and yes, a remix of
Deee-lite's "What is Love?"
Might not be serious enough for
"purists," but it's fun, and it
keeps you occupied which is
what a lot of mixes don't do.
Gayle San doesn't cross
genres often, and stays with
what she knows best.
Throughout the disc, she showcases the dark techno style that
she enjoys, and in fact, she puts
two of her own tracks on to the
disc. There are nice cuts by
Random Logic, Headroom, Jeff
Mills, and Jay Denham. San
isn't into brief slices but rather
takes time to let the tracks lock
on to a groove, and she'll just
keep it there. That's not for
everyone, I know, and it definitely doesn't make for good
listening; but I could imagine
this being a good set at a club,
and 1 would walk away from
the night fairly pleased. In the
end, though, I'm not partial to
DJs who play it safe and stick to
one genre for the whole night.
So while San's choice of artists
seems impressive, you might
find me ducking away to look
for that DJ Dimitry mix CD I
threw away.
Samuel Kim
Gop 1st Minee
It's synth-spazz without the
posey hairdos! XBXRX makes
me think of Behead the
Prophet No Lord Shall Live
getting down with The
Boredoms in a heavily guarded
psychology laboratory. Gop 1st
Minee, while an excellent record
on its own terms, is also great
for passive-agressive i
Hilarity Manque
DJ   PROFILE: colin macdonald
sire you sairt&m? mimic Sundays, 9am-12pm
Record played most often on your show:
My co-host Jennifer and I don't repeat material very much, but we both have played a fair amount
of Louis Andriessen's work. I'm also partial to tracks from Michael Nyman's The Draughtman 's
Contract as a fine way to start the day.
Record you would save in a fire:
My current fave is Michael Gordon's Trance. After four years of listening to it, I'm finally figuring
out how the music works.
Record that should burn in hell:
All records should burn in hell! Recordings aren't music! Go to
a live concert! (I hope I don't lose my cushy radio gig over this...)
Worst band (composer or whatever) you like:
Now, now, I don't want to be negative here. It's all a matter of
personal taste, so if I like someone, so what? Some people think
that Philip Glass is starting to lose it and go too populist, but I
still like him, yes?
Last record you bought:
ROSA: Death of a Composer, by Louis Andriessen, libretto by
Peter Greenaway. A great opera for people who love sexual
depravity and murder.
First record you bought:
The memory's a little unclear, so it's a toss-up between Simon
and Garfunkel's Greatest Hits, and the Police's Synchronicity. I
remember that the Andy Summers tune "Mother" scared the
shit out of me, and I always had to fast forward through it.
Musician you would most like to marry:
There's a wonderful trend of Classical musicians letting their sexuality show, and Canadian cellist
Shauna Rolston is at the top of the list for me. Well, also the sexy redhead who plays bass with Hole.
Favourite show on CiTR:
I'm a bit of a comic fan, so I really dig Robin's show Onomatopoeia. I also like listening to classical
Indian music on Sunday nights on Geetanjali.
Strangest phone call received while on-air
Nobody ever calls. Is anyone listening? Hello? Anyone? •
Friday, February 23
Langley Civic Center
Langley. Well, I should have
known better. Rock concerts in
Langley start right, and I mean
right, after dinner. Okay, so I
was a little late. I didn't get to
see Glasshead or Ocean3 and
apparently they both had a
great show, but I did get to
stand in the gigantic confusing
line, and I did get to sample a
delicious vegetable platter from
the curling rink diner.
That said, the show I did
catch was good. Not great, not
bad, just good. I arrived in the
sea of prepubescent youngsters
squished shoulder-to-shoulder
to witness the first of two Mr.
Plow sets. I thought his set was
fun. It was typical Plow as he
belted out classic acoustic punk
anthems. I guess the audience
wasn't expecting such a vulgar
act and responded with a
bizarre mix of confusion and
disbelief. When they finally
came around to the fact that Mr.
Plow was singing about the joys
of incest, they started throwing
things. Plow did not budge and
continued until Complete was
ready to go.
Before Complete took the
stage I hit the merch tables
where I found some great values. I walked out of that place
with four disc and countless
stickers for under $20!
I was new to Complete. I'd
heard their stuff on CiTR, and
for some reason I thought they
were heavy (I know, the CD
isn't heavy). Complete played
an energetic, melodic punk set.
The highlight was when their
sponsor, Speedy's Skate Shop,
threw skateboards into the
crowd and Jon went on the mic
to try to bring order to the
chaos. Hilarious. Complete was
tuning up for a cross-Canada
tour, and everything was tight. 1
did enjoy this Spawner Records
band: they were catchy and the
audience responded well to
their radio-friendly brand of
punk. 1 will definitely try to
catch these guys again when
they return from their tour.
At this point I was really
hot, and they were all sold out
of water. What a drag.
Mr. Plow did another set
while the crew did a stage
change. 1 loved his Mr. T
Experience cover of "Hitler's
Girlfriend." Still,  the bottles
What can I say about Gob?
They were mighty swell and
kids loved it. They played all
22 april 2001
their hits in preparation for
their west-coast tour. The Dr.
Dre cover of "They Forgot
About Dre" was classic, and of
course they played their monster cover of The Rolling
Stones classic "Paint it Black." I
got to make the metal sign
(which was fun) just before they
tore into "Self-appointed
Leader" which is my favourite
Gob tune. They have great presence (whatever that means),
and the kids really look up to
these guys. It was great to see
them at home, even if that home
is a drippy wooden hall in the
middle of Langley.
When asked about her new
hairstyle on the set of
Spiderman, Kirsten Dunst
responded: "I like it, its kind of
I enjoyed the show, Mr.
Plow was great, and Complete
was fun. Gob delivered another
energetic if somewhat carbon-
copied performance, and I am
sorry for not catching Ocean3
and Glasshead.
Jeremy Baker
Thursday, March 1
Starfish Room
The night began with a forgettable performance by Ani Kyd,
who was playing with only an
electric guitar. Her mildly abrasive set was only mildly obnoxious, and thankfully short. She
was followed by The Country
Teasers, who, despite the indifferent response by the Willis-
dedicated crowd, put on a show
nothing short of superb. A fascinatingly charismatic lead
singer and some twistedly
hilarious lyrics brilliantly
warped their gritty, inebriated
take on old-school country-
tinged rock.
Next came the 6'5", 3501b.
chronic schizophrenic cult
leader that is Wesley Willis.
The fact that someone whose
songs all share one tune, played
on a keyboard behind sound
effects and off-key singing,
could sell out the Starfish Room
is some indication of the popularity that Willis enjoys. And
why not? Regardless of whether
fans are laughing at him or
have some appreciation for the
artistic value of his music, Willis
is as alternative as it gets.
During his 90 minute set the
songs he sang were utterly raw
expressions of emotion through
which he very simply told the
world what he thinks. Wesley
Willis is outsider art that one
either understands or disregards. Laughing or not, his fans
are onto something unique and
inimitable. Rock over London,
Tuesday, March 6
Richard's On Richards
I first saw the All Stars on a hot
summer night at the Pic last
year. Despite the challenges of
that  room  and  crowd,  they
turned out a killer set. Fast forward less than a year: they now
have a substantial amount of
critical acclaim around their
Shaking Hands With Shorty CD, a
Grammy nomination, famous
friends, and a growing fan base.
That and a big ol' tour bus
parked outside Dick's.
John Ford opened to a half-
full house. Four songwriters in
a four-piece band—now there's
a recipe for disaster. Thankfully,
they haven't exploded to
smithereens yet, but without a
doubt Rich Hope owns this
band. As soon as he steps up to
the mic to perform his own
compositions like "Ocean," the
quality of the band and the
attention of the audience takes
off into the stratosphere. This
band seems to be going through
a Wilco or Old 97's "we can't
decide whether we dig pop or
country better" phase. Some
advice: don't try out new material at a gig like this until you've
really, really rehearsed those
tricky 2 and 3-part harmonies.
Yowch! But their twangy material still rules, and there are few
other local bands who can rawk
as hard as JF. It was a very nice
touch to cover "Sway" from
The Rolling Stones' notorious
Sticky Fingers album (the
Dickinson brothers' dad played
on that album). Was a pity that
Rich's acerbic comments about
local audience support for John
Ford whistled over the heads of
the predominantly dot-
bomber/grow-opper    crowd.
North Mississippi All-Stars:
two geeky white brothers on
guitar and drums, and one
mean-lookin' black dude on
bass. Three guys, one BIG
sound. Blues stripped back to
the bare floor. Not that poofy
Jim Byrnes-style blues, not that
Ray shit, but Real... Delta...
Blues, which meant a lot of pure
gospel was thrown in, something completely lost on the
heathen tokin'/smokin'/drinkin'
crowd. That, or they were too
It was clear from the first
song that these guys possess
not just amazing, intuitive and
organic technical skills on their
instruments, but they play with
an intensity and passion more
often seen in bands twice their
age. Hot, sweaty, drivin' tunes
that made time stand still. Or
fly by. Or something. I staggered out of there not quite
knowing what hit me. These
guys are gonna be big, and
deservedly so.
Val Cormier
Sunday, March 11
Vancouver East Cultural
It may seem unlikely that a
young musician in his thirties
should have a 10-year career
retrospective, but if you are at
all familiar with the work of
Cam Wilson, it's suddenly not
that surprising. Cam has been
active as a performer and composer in Vancouver since the
late '80s, as a member of the
VSO and the piano trio Joe Trio,
and with the assistance of The
Little Chamber Music Series
That Could, brought together a
program of new pieces and old
With a quick glance at some
of the titles, it was clear that this
wasn't going to be your average
evening of chamber music.
Sure, we had the standard lineup of orchestral strings and
winds, but what were we to
expect from names like "House
of the Rising Sun Variaions,"
"Addams Family Opus 111,"
and "While My Spanish Guitar
Gently Weeps on the Set of a
Spaghetti Western"? Wilson is
a humourist as well as a pluralist, a post-modern composer
who freely admits to collecting
melodies heard on TV, on the
radio, and from pop music,
using the recognizable tunes as
explorations into the combined
history   of   Western   concert
"House of the Rising Sun
Variaions," for piano trio, was a
set of 10 variations on the well-
known traditional melody. The
first variation, subtitled
"Faure," started innocently
enough in the style of its namesake, a bit of French
Romanticism, but this was just
to draw us in. Subsequent variations moved through Jack
Daniels, Piano Strum,
Charleston, Clint Eastwood,
and Old Sea Captain to name a
few, crossing the musical gamut
of honky-tonk, boogie-woogie,
spaghetti western, neo-classi-
cism, and sea shanty.
The "Addams Family Opus
111?" showed a further dimension of Wilson's skill as an
arranger and composer. Wilson
took the opening motive of
Beethoven's last piano sonata,
the theme of The Addams
Family TV show, through them
together in the blender, added a
quote from Grieg's "Peer
Gynt," and crossed the line
from whimsical to truly surreal.
A single movement set of variations, the music briskly changed
style and reference with precision and agility, making me
think of the mercurial writing
that Carl Stalling did for Warner
Brothers in the '40s and '50s.
The ensemble expanded to
chamber orchestra dimensions
for the "Carnival of the Animals
that Saint-Safins Never Got
Around to Writing." With
poems by Kelly Cook and narration by Rosalind Beale-Dala
and Evelyn Thatcher, this piece
picked up where Camille Saint-
Saens left off, and created a
musical homage to some other
members of the animal kingdom, namely the Skunk, the
Amoeba, the Canada Goose, the
Ugly Duckling, the Lawyer,
and the all-too-recognizable
Energizer Bunny. Part musical
in-joke, part social satire, neither the text nor the music
threatened to take itself seriously, and despite the obvious craft
in Wilson's orchestrations, the
piece would have benefited
from some trimming—some
jokes wear a bit thin on multiple tellings.
The second half opened
with another set of variations
(Wilson's favourite form), this
time on the tune of the Turtles
song "Happy Together." More
fast metric and stylistic transitions through sambas, Celtic
jigs, Ellington swing,
Brahmsian counterpoint, and
Mahlerian passion, the real hero
of this piece was conductor
Wallace Leung, who did a
remarkable job of holding the
musicians together through all
of the madness. This was followed by "While My Spanish
Guitar Gently Weeps on the Set
of a Spaghetti Western," an
arrangement of George
Harrison's    tune    from    the
-.:.•/'.""•"•/   'S,^ri ]i~. C
Mondays - 20Hz- Breakbeats
Tuesday - AUTOMATIC - Drum & Bass
Wednesday-THE FUNKTION- Funk
Thursday-X-RAY- Underground
House & Techno
Friday - THE CLUB - Sexy House
Saturday- DEEPEN- Deep House
455 Abbott Street
Vancouver B.C.
Tel: 688-7777
Hours of Operation:
Monday to Saturday
9:30 pm to 2:30 am Rock n' Roll
www.indiepool. com / theoldnpper
designlotus.com Beatles' White Album, in the
style of Ennio Morricone. A
beautifully nostalgic English
horn solo played by Tony
Nickels brought to mind the
image of Harrison facing off in
a gun duel with The Man With
No Name, and was pure magic.
The centrepiece of the concert was the premiere of a song-
cycle called "Playground
Rhymes for Grownups," setting
the poetry of Bill Richardson.
This piece was commissioned to
replace a work that was originally set to the poetry of Dr.
Seuss (hence the title of the concert), for which Wilson couldn't
negotiate the rights, so another
childlike theme was chosen.
The text is a charming depiction
of adult life in Lotus Land, peppered with shopping, leaky
condos, stock markets, body
modification, and prescription
drugs. Wilson's eclectic setting
of each poem proved a particular challenge for soprano
Rosalind Beale-Dala, who had
to negotiate a gamut of singing
styles and characters that
ranged from childish sing-song,
to sultry jazz singer, to contemporary operatic, often within
the same song. Beale-Dala was
very strong in the role, and
brought a charming exuberance
to this world of adult toys seen
through a younger mind's eye.
Wilson's talent lies in giving us music that is popular and
recognizable, but treating it
with the craft and care of a traditional composer of classical
music. Much as Bartok did
with his own Hungarian folk-
melodies, Cam Wilson uses the
music of our time as a springboard for his own lighthearted
musical expressions. He does
much to break down the barrier
between "high" and "low" art,
taking the elitist sheen off of the
Classical music experience, and
he showed his true colours during the encore performance of
Queen's "Bohemian Rhapsody,"
as he rocked out on Brian May's
guitar solo, played on electric
violin.  I can't wait for his 20-
Thursday, March 15
Croatian Cultural Centre
Another fine Sno-Jam lineup at
the swankiest all-ages airplane
hangar in town. Of course, no
show at the ol' Triple-C Ranch
would be complete without me
missing     the     first     band.
Nicotine,  a   pop-punk  band
from   Japan,    inspired    only
shrugs from anyone I asked
them about. I'm sure they were
Fat Wreck's newest entry is
Zero Down. Their Kevin Nash
look-alike vocalist used to play
bass in Strung Out, which
might explain Zero Down's
striking similarity to that band's
first couple of albums.
Apparently only their third
show ever, they fared well—
Great Fat Wreck-issue music.
Terrible lyrics though, I must
Death By Stereo is one of
those great bands that defies
description. Running the gamut
of hardcore, metal, and plain
old punk rock, these guys just
exude energy and aggression
with every note. A fantastic live
performance—I might compare
them to Dilinger Four or Kid
Dynamite, partly because I
can't tell any of their songs
apart either.
One could think that Sno-
Jam has a Can-con requirement,
as Montreal's mediocre ska-
punksters The Planet Smashers
get on the bill year after year
without fail. Maybe there's a
ska-con requirement. They did
play "Pierce Me," however, the
one song of theirs I like.
Sick of it All is not my
favourite band. I own all of one
EP from a decade ago, and lo
and behold, they went and
played "Injustice System." Now
a Fat band too, the venerable
Noo Yawk fawsome played
enough fast old stuff mixed in
with their plodding new stuff to
more than hold my interest. A
rather long set, too, which
makes that guy's voice even
Lastly came AFI. Though
they didn't play long, they are a
great band to see. Davey Havok
is convinced he is Danzig
reborn, and what the fuck, he
pretty much is—seeing AFI is as
close as you can get these days
to seeing The Misfits. A few
new songs from the so-so new
album, a few old sing-along
favourites, a couple each from
Black Sails and Shut Your Mouth,
and that was about it. Not quite
a half-hour set and Sno-Jam
Another rousing success. Here's
to more great punk bands coming to town courtesy of next
year's tour. I said PUNK bands,
Stomp Records!
Trevor Fielding
Friday, March 16
SFU Theatre
Visiting a foreign country for
the first time places strange
demands on you, kind of prods
you to think about where you
came from, mostly because they
speak a different language
there. Rock is my native tongue,
a scion of the greater Heavy language group marked by its telltale percussive bursts and lack
of real-world referents. While I
can say things like, "I'll have
300 grams of prosciutto, please"
in a few other musical languages, I speak with a thick
Prog-punk accent, and really
still translate the world into
ingrained schemas of Rock anyway. Electroacoustic is a very
different   musical   language,
with equally different performance practices, in part because
its medium, reference and thematic flow is explicitly that of
worldly sound. Sure, Meat
Loaf's Bat out of Hell had a guitar track that sounded like the
giant hog that shot him out of
Hades, but who knew? What I
brought to this event and what
it brought to me are thus quite
indistinguishable, so I gotta call
'em like I see 'em.
I guess I also speak Train,
one of the surviving subdivisions of the Floating Eerily family. If sheer statistical data have
any bearing on the real world,
I'm judging that many electroacoustic composers are fluent in
Train: seven of the event's ten
pieces were recorded almost
exclusively in Train. If you've
ever had the pleasure of listen-
have competence in), Udell's
"Nollie noseblunt to backside
tailslide" cuts up, stacks up,
slows down, enlarges and elongates the myriad sounds of
skateboarders ripping shit up
here in Vancouver. The sounds
of ollies, grinds, creaking Stacy
Perelta slides and the sudden,
resounding booms of late-night
parking garage sessions filter
into a documentation of a totally hairy speed run: the push
that begins as a good idea turns
into an escalating noise-fear
continuum, the rattling of loose
bolts, wheels wobbling at an
ever-greater frequency, the
whole world shaking and suddenly you're streaming tears
that vaporize as the wind sucks
them off the side of your face.
But it rules. I smiled and
thought about skating.
February 23-March 20
Tart Gallery
The Tart is not your average art
gallery. For one thing, it's at the
back of the original Zulu
Records (1869 West 4th). For
another, the openings aren't elegant affairs full of sombre
black-clad art types who snipe
at each others' work in low
voices, quaff a few glasses of the
free wine, and then leave.
Instead, Tart openings are
packed with cheery black-clad
indie music types who line up
at the bar to pay for big plastic
cups of ale, seem genuinely
glad to see each other, and offer
ing closely to a distant train
approach, you know of its
bright, ghostly squeals, an oscillating icing sugar sheen riding
upon the low, pulsing rumble
that crescendos as it passes.
Train is a beautiful language,
but it becomes less and less
pleasing to the ear with repetition. During these particular
works, I envisioned someone
doing Tai-chi while holding a
circular saw in one hand and an
electric sitar in the other—that's
the pace, that's how they
move—but I couldn't help
wishing for the thunder of
Kung-fu with a giant cedar and
an empty grain silo.
To be fair, there were a few
Train sounds I really enjoyed,
like that arrangement when
bells, which were simultaneously flower buds, suddenly burst
open smoke rings of sound or
when a well-placed edit
increased the intensity in the
train's shift from coming to
going, but these affirmative
moments were unfortunately
rare and fleeting.
However, two pieces
remain as points of reflection:
the obvious standouts of the
composer Stefan Udell and vet-
Barry Truax, pieces written in
languages quite unlike Train.
Recorded entirely in Skate (a
dialect of the Punk region I
Even to the ears of this foreigner, it was clear that Truax's
"Island" (one of three eight-
channel pieces performed this
evening) was the work which
best utilized the capabilities of
octophonic sound. It stood out
in that it spoke a unique Creole
of Beach, Forest, and Sparkle, a
mixture which delivers the kind
of magic realism promised in
the program notes. Truax is an
obvious professional who possesses the technical prowess
and compositional restraint to
produce an intensely real spa-
tiality in sound—here, volume
is a dimensional category, not
one of loudness.
Which gods were present at
this event? It was too dark to
see, but a guy told me that
Dionysus told him that he was
gonna stay at home, kick out
the footrest on the La-Z-Boy
and pour himself a glass of his
own wine, maybe yell at
William F. Buckley on the TV.
This makes sense, both
because of the record store location and the indie music backgrounds of Nicole Steen and
Vicki M., who run the place.
Going to a Tart opening is
something you want to do,
rather than an art-supporting
duty. It's not just that you'll see
old friends—you'll also see lots
of art you actually like and can
probably afford.
This is the Tart's real mission, and Lariats & Petticoats
may be the Tart's most likeable
show yet. The theme is a natural for Vicki and Nicole, who
love pinups, images of empowered women, and (this goes
especially for Vicki) rockabilly
music. On the way to the bulk
of the exhibit, at the back of the
shop, Vicki has put up some of
her own collection of fabulous
vintage cowgirl-themed clothes.
Go down the stairs, and you're
surrounded by images of cowgirls as well as country music
gals, with contributions from 11
female artists.
Nicole has painted stylish,
oversized album covers of
Wanda Jackson, Patsy Cline,
Neko Case (The Virginian, not
the dark Furnace Room Lullaby!),
and even Carolyn Mark. At
2x2" and $400each, almost anyone can own one, and find a
place to hang it. A guitarist herself, she also has paintings of
guitars, and parts of them, decorated with images of sexy
(cow)girls on display. Tart partner Vicki's acrylic paintings,
"Annie Oakley" and "Texas
Guinan," are a little larger and
slightly more expensive, and
feature attractive backgrounds
that ai
i '50s a
boy curtains or bedspreads.
Lisa Petrucci's creations are
something else altogether: cowgirls in the big-eyed '70s cheesy
art tradition are painted onto
rounds of wood and thickly
covered with clear acrylic. (Not
paint this time, but lacquer.)
They're lovely, but at $480 (for
"Kiddie Kowgirl," which is
about 6'x8") and $1080 (for
"Wildcat," around 10'xl8")
they're on the high end of the
Tart price range. Holly Ruth
Anderson also draws from the
1970s big-eyed look, but her
faux-nai've pastel-coloured girls
sell for as little as $150.
Lynn (McDonagh) Werner,
who used to photograph early
Vancouver punk shows, has
several entries here too, exquisite, mainly sunny, shots of a
flawless former Railway Club
staffer named Victoria, some
combined with old fruit crate
labels. (How can that girl, who
according to the photos both
drinks and smokes, look so
damned good? Must be the
cowboy hat.)
There's something for nearly everyone here, except perhaps those black-clad serious
art types. If you don't make it to
the Tart in time for this show,
make sure you see the next one,
and take note of the names of
the talented women from
Lariats & Petticoats: Antonia
Allan, Pilar Alvarez, Holly
Ruth Anderson, Kirsten
Easthope, Angela Fama, Janna
Hurtzig, Vicki M., Blanche
Norton, Lisa Petrucci, Nicole
Steen, and Lynn Werner (nee
McDonagh). With any luck,
you'll be seeing all of them
Jams McKenzie
if you
hang out in shitty little venues, basements, and
in order to witness music no one's ever heard of,
you should write for this magazine.
steve dipo 604.822.3017 ext. 3 or <sdipo@axion.net>
and you too can be mercilessly edited.
24 april 2001 habrm^oi
^NFTtis live.
eimam gpano in las veaas...
$1,000 f.
SHOPPino sppee r
HvJrSjRl'lmOMl^JN  *•»« Fre^eritVten < The B«tar</i
With MUDVAYNE spineshank godhead
Kjuuh The Sky    Tke E-wif onctorf
y « r~j*-r-     PI * a» evenlngaf country &s»ul fl "rKIL L^J   omte possm, the ooiest m«, to zomco* ot c»«t».-Tiim>OtjtUK I
-^"SBW 1^06/^- Sffigf* pThawksley WORKMAN
.ortt«r»«»f™™«£jii '        DAWSON |     )SJ & the WoIvrs I
!#.//*     J^S^'"'   C—-*        I COMMODORE BALLROOM i 1 »»»»H*I ■*•«■«»» RADIO
. witti specialptaEliHIMAMDELL | STARFISH ROOM I
1 APRIL 22f
^   Semisonic
tROM^ the
^{nawcHesters coLoew rviewcowien
k N    m return to Vancouver ^>>
^ y apter His first soLD-out Visit! ^
""SSIDLEWILD"'«        I
^  -. isffo
PURCHASE TICKETS iOSOOO AT hob.ca OR ticketmaster.ca
tfarc& rMl 200!
Fat Wreck fltortfs P.O. Box 193000 San Francisco, CA qjluq   www.t'af.wrecLcom
iV»Y«V«Y«>».m/#V^/tMT///A April Long Vinyl
April Short Vinyl
April Indie Home Jobs
1 oh susanna
2 black halos
3 propagandhi
4 new pornographers
5 ray condo
6 ladytron
7 operation makeout
8 rocket from the crypt
9 Stephen malkmus
10 trail vs. russia
11 big john bates
12 no luck club
13 deadcats
14 buttless chaps
15 moka only
7 joel r.l. phelps
8 ekova
9 v/a
!0 brokeback
11 kings of convenience
12 takako minekawa
13 japancakes
A corn sisters
!5 tram
!6 tortoise
!7 nasty on
!8 arab strap
19 wagon christ
10 download
11 d.o.a.
12 frank black
13 peaches
14 crooked fingers
.5 black box recorder
sleepy little sailor
the violent years
today's empires...
mass romantic
high & wild
group sounds
voodoo bar-b-q
newfangled moments
cathouse blues ep
death country live
road life
things we lost in the fire       kranky
inland empires ep moneyshot
space lullabies...
morse code...
quiet is the new loui
maxi on ep emperor norton
the sleepy strange kindercore
the other women mint
frequently asked questions      jetset
square dog
emperor norton
devil sauce
revel yell
x degrees
thrill jockey
lester bangs ep
the red thread
thrill jockey
ninja tune
something better change sudden death
dog in the sand sonic unyon
teaches of peaches kitty-yo
bring on the snakes warm
the facts of life jetset
J new town an
2 aislers set
3 blow up
4 salteens
5 bs 2000
6 exploders
7 briefs
lals      lose that girl
clouds will clear      s
dead stars, seven sixes
electric power
poor and weird
8 electric frankenstein the perfect c
gun t
9 mac
10 riff.
11 red
12 reserve 34
13 zen guerrila
14 bum/pingu
15 jello biafra
16 tristeza
17 rainer maria
18 maulies
19 dear nora
20 pinkos
^ho says girls can't rod
get uncivilised
the seeker
magic teeth presents
the green wedge
are we people
hell and high water
on holiday with...
make you smile
to my valentine
uicide squeeze
grand royal
rip off
cut and run
magic teeth
alt. tentacles
tiger style
hub city
magic marker
1 triple word score
2 gray's anatomy
3 emerald city
4 nicely nicely
5 victory gin
6 uneven steps
7 tennessee twin
8 nicely nicely
10 panty boy
11 spinoffs
12 sleepy Junes
13 jumpstart
14 mr. plow
15 the radio
16 capozzi park
17 seana and splatter bends
18 bad apple
19 panacea
20 squares elite
postcard frc
too far gone
io chocolate for tyson
4 song demo
i the depths of shame
oh darkness
it's me, not yours
heart X 50' >
sea hag
don't stalk my sister
rock star
cowgirl blues
into the night
travelogue 10.97
life is rough
around the capital
The monthly charts are compiled based on the number of times a CD/LP
("long vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's
playlist was played by our djs during the previous month (ie, "April" charts
reflect airplay over March). Weekly charts can be received via e-mail. Send
mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-
charts" •
9:00AM- 12:00PM   All of
This show presents the most
recent new music from around
the world. Ears open.
Apr.  1: Special guest composer
James B.Maxwell.
Apr. 29: Featued guest composer
Linda Nessel.
3:00PM      Reggae   inna  all
styles and fashion.
3:00-5:00PM Real-cowshit-
caught-in-yer-boots     country.
alt. 5:O0-6:O0PM British pop
SAINT TROPEZ alt. 5:00-
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc.), '60s sound
tracks and lounge. Book your
jet set holiday nowl
QUEER  FM     6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
HELLO INDIA   8:00-9:00PM
Geetanjali   features
:   fro
including classical music, both
Hindustani and Carnatic, popular music from Indian movies,
Ghazals, Bhajans, and also
Quawwalis, etc.
THE     SHOW 10:00PM-
12:00AM Strictly Hip-Hop -
Strictly Underground — Strictly
Vinyl With your hosts Mr.
Rumble, Seanski, and J Swing
on the 1 & 2's.
12:00-2:00AM Time to wind
down? Lay back in the chill-out
room. Trance, house, and special guest DJs with hosts Decter
and Nasty.
FILL-IN 2:00-6:00AM
8:00AM Spanish rock, ska,
techno, and alternative music —
porque no todo en esta vida es
BROWNS 8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
delightsl Tune in and enjoy
each weekly brown plate spe-
lounge, and ambience.
RAPIDLY alt. 11:00-
GIRLFOOD alt. 11:00-
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt is in training for
Olympic party athletics —soon
to be a gold medalist in drinking, drug taking, and reckless
BLACK NOIZE alt. 3:00-
DJ Nat X still sez: "Fuck You, My
5:00PM Who will triumph?
Hardcore/punk from beyond
the grave.
6:00PM Join the sports dept.
for their coverage of the T-Birds
and some other goofiness, giveaways, and gab.
SOUPE DU JOUR alt. 6:00-
7:30PM Feeling a little
French-impaired? Francophone
music from around the globe,
sans Celine Dion.
Movie reviews and criticism.
alt. 6:30-7:30PM
BY THE WAY 7:30-9:00PM
I don't know what I'm up to
anymore. I play lots of odd
German electronix, some 7"s,
and a demo here and there.
Go figure.
12:00AM Vancouver's
longest running prime time jazz
program. Hosted by the ever-
suave Gavin Walker. Features
at 11.
Apr. 2: Trumpeter/composer Eric
Dolphy died young (just 23!)
but he left a small, important
recorded legacy. Tonight his
final date "Booker Little And
Apr. 9: Thelonius Monk Trios. The
giant composer with just bass
and drums...  pure Monkery!
Apr. 16: The great alto saxophonist and his band in concert
in a rare performance,
"Cannonball Adderley In Paris."
Apr. 23: "Jazz Impressions Of
Folk Music," an inspired record
date by the great West Coast
tenor man Harold Lang and his
Quintet. Very rare!
Apr. 30: "Fleur Carnivore," an
exciting live recording by one
of the most unique big bands in
jazz history The Carla Bley Big
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from
the charts but not from our
hearts—thank fucking Christ.
8:00AM Bluegrass,
music and its derivatives with
Arthur and "The Lovely
Andrea" Berman.
WORLD HEAT 8:00-9:30AM
9:30-1 1:30AM Open your
ears and prepare for a shock!
A harmless note may make you
a fan! Hear the menacing
scourge that is Rock and Rolll
Deadlier than the most dangerous
criminal! <3rdxcharm@home.com>
BLUE MONDAY alt. 11:30AM-
1:00PM   Vancouver's     only
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30AM-1:00PM
2:00PM Music and poetry for
6*" |
10  |
I 12™
J Pol :
jgL—j Tl
| 12""
|Wo| [Rfcj
of^Fj i
DJ^J  t
1     PULSES
10,000 VOICES (Tk)
ON AIR       \Z-
LIVE FROM...   ■-
SKA-T'S      L
| Rts |
10 ■
10 '
28 april 2001
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
• Hk= Hans Kloss • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots
• Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world PROM QUEEN 3:30-4:30PM
4:30 (Last Tuesday of each
10,000    VOICES        5:00-
6:00PM Poetry, spoken word,
FLEX   YOUR   HEAD   6:00-
8:00PM Hardcore and punk
rock since 1989.
Radio Ellenikathiko) 8:00-
9:00PM Greek radio.
alt.    10:00PM-12:00AM
alt. 10:00PM-12:00 AM
Phat platter, slim chatter.
6:00AM   Ambient,   ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
HOUR 6:00-7:00AM
7:00-9:00AM   Bringing you
mixo" new ani old mus^live
from the Jungle Room with your
irreverent hosts Jack Velvet
and  Nick The Gr    '
Americana,       Latin
news, and gossip. A real gem!
10:00AM Japanese music
and talk.
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM The
my spirit animal.
Me da I'agita.
3:00PM Zines are dead! Long
live the zine show! Bleek presents the underground press
Jnd the
6:30PM Socio-political, envi-
spoken word with some music
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things. (First
Wednesday of every month.)
9:00PM Indie, new wave,
punk, noise, and other.
FOLK OASIS 9:00- 10:30PM
Roots music for folkies and non-
;, singer-song-
wnters,wonaDeat, alt-country
and more. Not a mirage!
HAR 10:30PM- 12:00 AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
HOUR 12:00-3:00AM
Mix of most depressing,
unheard and unlistenable
melodies, tunes and voices.
8:00- 10:00 AM
SHOW 10:00-11:30AM
Two hours of non-stop children's entertainment including
songs, stories, poems, inte-
views, and special guests with
your host Christina.
1:00PM From Tofino to
Gander, Baffin Island to
Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
SHOW 2:00-3:00PM
Comix comix comix. Oh yeah,
and some music with Robin.
3:00-5:00PM On Hiatus!
Will the ladies return? Stay
LEGALLY HIP alt. 5:00-
5:00-6:00PM Viva la
Velorutionl DJ Helmet Hair and
Chainbreaker Jane give you all
the   bike   news   and   views
around     while     doing      it!
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.
HAIR 7:30-9:00PM The
best in roots rock V roll and
rhythm and blues from 1942-
1962 with your snappily-attired
host Gary Olsen. <ripit-
RADIO     HELL 9:00-
1 1:00PM Local muzak from
9. Live bandz from 10-11.
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
Email requests to <djska_t@hot-
12:00-2:00PM DJ Splice,
A.V. Shack, and Promo bring
you a flipped up, freaked out,
full-on, funktified, sample heavy
beat-lain trip, focusing on anything with breakbeats.
3:30-5:00PM Please keep
on rawkin' in the free world
and have a good breakfast.
Rock on, Nardwuar and
Cleopatra Von Flufflestein.
6:00-9:00PM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba,  bossa,   and  African
kick around
c fro
d the
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
HEAD 12:00-2:00AM
SHOW 2:00-6:00AM
FILL-IN 6:00-8:00AM
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.
8-9AM:   African/World roots.
9AM-12PM: Celtic music and
show; local dem
imports and other rarities.
Gerald Rattlehead, Dwain, and
Metal  Ron  do the  damage.
CODE BLUE 3:00-5:00PM
From backwoods delta low-
down slide to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy, and
8:00PM Extraordinary politi-
make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to hip
hop, from the electric to the
eclectic, host Michael Ingram
goes beyond the call of gospel
and takes soul music to the nth
degree.(Hopefully back end of
PIPEDREAMS alt. 10:00-
1:00 AM
THE RED EYE alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I free
da jazz..." Out.—Guy Smiley
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted by
29 m^umsE FRI MAR 30
deadcats, riff randells@railway club; sarah
harmer@richard's on richard's; hancunl's
birthday@oceanside villa
mome raths, strategy, menya@sugar refinery; the fire
box@sutcliffe park (7pm); saddlesores, mr.
underhill@railway club
jazz vespers feat, catherin mclellan trio@st. andrew's-
wesley (4pm); souls of mischief@sonar; mel c@massey
theatre (new west); the waterboys@commodore; garaj
mahal@richard's on richard's; iron maiden@cobalt
mome raths, strategy, nice nice, greg sinbaldi trio@i-
spy (seattle); hard rock miners@railway club; matchbox
twenty, everclear, lifehouse@pacific coliseum; henry
STING@GRANDVIEW LEGION; gormenghast (art
exhibit)@dv8; diaz trio, angela cheng@playhouse;
willard grant conspiracy, mary lorsen@railway club;
soft boys@richard's on richard's
SHACK@LOTUS; the cinematic salon feat, nettie
wild@sugar refinery (7pm); jad fair, adult rodeo,
capozzi park@starfish room; diamond joe white,
nathan tinkham@railway club; paco de lucia@orpheum
shine, new eden, roscoe p. coltrane@starfish room;
Jonathan inc., jack harlan@railway club; wide mouth
mason, big sugar,choclair,spirit of the west@thunder-
bird stadium; veda hille@vancouver east cultural centre; norine braun and the mood swings@cottage bistro
tim readman@w.i.s.e. hall; puentes bros@starfish room;
the clumsy lovers@railway club; mr. rumble vs. avi
shack@sonar; bill coon trio@o'doul's
the janis figure@piccadilly; the clumsy lovers@railway
club; sibel thrasher@vancouver playhouse; shane mac-
gowan and the popes, the real mckenzies@com-
modore; excess for all@ms. t's cabaret;
superchild@silvertone tavern
jazz vespers feat, the sanctuary all stars@st. andrew's-
wesley (4pm); delirious@pacific coliseum; debbie
davies@the yale
grrrls with guitc
©railway club
lifeforms@dv8; choke, layaway plan, moneen@starfish
room; bob chemist, pepper sands, robert wilson@rail-
way club; the english beat's dave wakeling@richard's on
luther wright and the wrongs@railway club
mike o'neill band, radiogram@railway club; low, daniel-
son famile@starfish room; guy davis@w.i.s.e. hall; sys-
temwide@purple onion cabaret
FRI 13
cryptopsy, candiria, hurt, zuckuss@starfish room; jack
tripper, gg dartray@railway club; living closet@w.i.s.e.
hall; z-trip@sonar; karl denson's tiny universe@com-
modore; pj harvey, u2@gm place; mr. underhill@w.i.s.e.
SAT 14
free coke for supermodels, shrimpmear@ms. t's; tight bros
from way back when, tennessee twin@picadilly; bughouse five@railway club; reggae sunsplash@com-
modore; oliver gannon@cellar jazz cafe; lars frederiksen
and the bastards@croatian cultural center
SUN 15
jazz vespers feat, dee daniels@st. andrew's-wesley
(4pm); keller williams@richard's; djb and crew@cafe
deux soleils; train@starfish room
MON 16
r.a.n.c.h. presents@railway club; garnet rogers@east cultural center; the ploughboys@railway club
TUE 17
sonically induced (music) night@railway club; psychedelic furs, tinfed@commodore
WED 18
GRANNY@LOTUS; fireballs of freedom, new town ani-
mals@picadilly; featherweight, the fits of glory,
geek@railway club; nelly furtado@vogue theatre; just
cause, side 67, the golers, wailing souls@starfish room
zubot and dawson, radiogram, be good
tanyasOrichard's; day shine dark@studebakers; russ bot-
ten trio@ o'douls; staggered crossing@railway club; nelly
FRI 20
the roswells, tammy bentz@railway club; hissyfit@stude-
baker's; the aspen's@maple ridge legion #88; cheek to
cheek@cloverdale legion #66
SAT 21
DUCK@STARFISH ROOM; the salteens, Vancouver
nights@railway club
SUN 22
jazz vespers feat, don hardy, dawn aitken@st. andrew's-
wesley (4pm); ac/dc, slash's snakepit@pacific coliseum; jerry cantrel@piccadilly pub
MON 23
grrrls   with   guitars@railway   club;   ac/dc,   slash's
snakepit@pacific coliseum
nouveau artistes@railway club; superchilr
pub; st. germain@commodore
WED 25
jack assassin@railway club
south@purple onion; mark brownir
©railway club
FRI 27
ray condo and his ricochets@railway club
SAT 28
T'S; gimmicks, backstabbers@picadilly; ray condo and
his ricochets@railway club;
SUN 29
jazz vespers feat, david priest quartet@st. andrew's-wesley (4pm)
Special Events
public dreams society presents the fire
box, a free public performance of fire
art and torch dance and lanterns and
other things that are on Fire, call
257.8195 to register as a participant
in the lantern-building workshop, sut-
cliffe park, Saturday march 31, 7pm.
the standing wave society presents a
night of new music at the cultch  (1895
venabies), Sunday, april  1. works by
nikolai korndorf, george crumb, brian
cherney, and Jacqueline leggatt. show
starts at 8; tickets are $15 through
ticketmaster (280.3311).
the Vancouver record collector's association's semi-annual record sale goes
down   Sunday, april 21   at the Croatian
cultural centre (3250 commercial),
time llam-5pm; admission $2. Oaraj Mahal
Sat. March 31St The Garibaldi Lift Co.
Sun. April 1st Richards on Richards
.  .
Fri. May 11th
The Starfish Room
Tix @ Black Swan, Highlife, Zulu and all Ticketmaster outlets/ charge by phone (604) 280 4444
Tix & More info. @ wmupstreamentertainment.com or call the streamline @ (604) 904 4207
£h 18th
Ivancouvf ttle
Charlie Hunter
Wed. May 23rd
Richards on Richards
Vancouver i lew
Hon ~Srt sL-ulu
Be Gentle With
Me Waim Turtle
Everything's Fine CD
Call them a gem in the rough', call
them the unknown currency', call
them a 'sleeper'... whatever, there's
always a couple of amazing bands
that somehow duck under the radar ot mass popularity, only
to end up something truly special: a cult favorite, who consistently deliver the goods — unaided by hyperbole, freed of
cliche and rigor mortis. Ouch, baby... Welcome home alt-
country mainstays, the WILLARD GRANT CONSPIRACY! Damn
right —Everything's Fine!!
CD 14.98
Confluence CD
There's only one thing more famous
than Arizona's big cacti
ents of that state's Giant Sand!! The
Sands HOWE GELB is a man, a
crazy man, with a penchant for
beautiful ballads that stumble past you like lonely tumble-
weeds. Do you know what I'm taking about? Have you ever
felt that way? There's nothing more lonesome than having a
face speckled with sand, a belly full of booze and the desert
lying before you, naked. Huh? Well, maybe there is something
more lonesome. Stop by and ask HOWE. Enjoy responsibly.
CD 18.98
The Gift CD
Are you in the mood for love? JOHN ZORN is. And what is
his amorous gift, his expression of love? Why, some lounge-
noir-rumba-surf music, downtown New York style. Obviously
informed, even better played; it doesn't get much sweeter
than this Imagine, ZORN that goes down easy, real easy. And,
as usual, old hands join up to make this lascivious and beautifully laidback soundtrack that much better. Featuring the
sultry and talented Marc Ribot, Cyro Baptista, Joey Baron,
Dave Douglas. Greg Conn, and then some. And yes, we
think it's lovely stuff, at times even sexy, if never raunchy,
but please, however, make up your own mind about the
cover art, thanks. By the way, this is the third release in
Tzadik's Music Romance series. Yes, that's right, a
series for those who love music. Nope, you can't go
£ to jail for that.
CD 16.98
Sonic fuzz comes in droves
over the ocean... I'm hearing
the stray electricity of oceanics I
perhaps also fellow Pacific Rim free-psych luminaries Hig
Rise and Acid Mothers Temple. And so like forced bulbs,
KINSKI s debut takes root, with the predisposition to
bloom pedals of high volume ecstatic noise! This we dig.
Interludes CD
leaves a trail of broken
hearts wherever it goes,
whether it takes you for a
walk through a field of bright
red poppies, dancing under the strobe lights in a chic
Exiled on Main Street, NEIL
HAGERTY sets out like a Trux alone [
to steal the mascots of the soft-
touch music industry. Ransom...
to be discussed! Drop point... to
be revealed at a later date. Come with us, we got the Ape-
less self-consciously dynamic than the  sion of Brian Wilson's "Stevie", the wistful "Le Ballade     bored kids, mama snoring like a pig". Show up and w
's soundtracks are more about the   de Saint Etienne" (Madamoiselle Cracknell takes a stab   Qn/IP 1R Oft
Loud, brooding
Godspeed camp,
lateral movements of dense sound shards... you
stuff that peels off the axis' of reception.
CD 18.98
London disco or just staring out your window on a rainy oven blues. Leave them hanging heavy in the skyscrapers -
Sunday afternoon. The many moods of ETIENNE are the new prisons - this is the skeleton of the blues, the anato-
revealed via this Canadian-only release of breezy B-sides my of future ghosts. NEIL'S words: a record made up of "shoe
and radiant rarities. Stand-out tracks include their ver- sounds on a basketball court, boxes getting kicked around by
at singing in French!) and endorphin-releasing Trouser
Enthusiast re-mix of "Lose That Girl". Having said that,    RflNMIE "PRINPF"
you won't find any filler here. As all SAINT ETIENNE fans   DU™1
know, Sarah, Bob and Pete always deliver pure excellence.
CD 14.98
Old Ramon CD
As Pole, Stefan Betke has inspired the style and form of
a particular stream of contemporary electronic music; his     We implore you... expose a nerve. After a couple of
rich, deep, crackly dub has been influential to many like-      beautiful solo albums, Mark Kozelek returns with the
minded producers (not to mention many pale imitators).      sixth RED HOUSE PAINTERS release! A fine, lush listen
In response, Betke has wisely released music by some of    that offers up an emotional testimony to the power of
the best that are digging around the same area on his
label -Scape. Celebrating this spirit of dialogue and
exchange, Betke has remixed a select cadre of producers,
featuring -Scape label-mates Kit Clayton and Jan
Jelinek, as well as material from Matthew Herbert,
Vladislav Delay, Flanger (Burnt Friedman/Atom Heart),
Maus & Stolle and more. Recommended.
Ease Down The
Road CO/IP
Having recently shared the stage
with Sir Johnny Cash, WILL
OLDHAM returns to the comforts of his Kentucky home, to
renew his song craft. Home, to be still, to ramble, to concentrate, to create with friends songs fast approaching the realms
of fragile perfection. In the workshop hang Palace's new
odes to the introspective dramas that animate OLDHAM's um-
the post-modern folk song, Old Ramon is a collection of  verse: songs that start out from the porch and venture into a
emotive ballads that perfectly blend acoustic mstrumen-   world of dark beauty. Recommended!!
tation and the detached cool lyrics of today's post-exis-    pn -jo no    IP Id 08
CD 19.98
Nick Drakes, Scott Walkers, etc., of the contemporary
period. True flowers of this painful world!
CD 16.98
The consensus on innovation: to create "progress"
within a genre, musicians have to nibble on the crumbs
of more nutritious musical feasts. Allow us to present a
piece of auto-cannibalism that disproves this myth of
eclecticism as de facto futurism. Without deviating
much from the basic language of recycled beats and
ragged rhyme flows the Anticon collective (for which
The Giga Single is a budget-price sampler) has managed to take hip-hop above and beyond itself. By using
the broadest possible vocabulary within the available
language, artists such as Sole, Dose One and
Vancouver's own Josh Martinez, have renewed many a
jaded head's interest in rap music. This shit, which is —
by any standards — mad dope, comprises what we
believe "the kids" are detining as "the real ish."
CD 12.98
i Vlore Jsn-^J\eu IfKele
tential protagonist. For heaven's sake, enjoy them today,
as Kozelek, Phelps, Callahan and a few others are the pilincn DV l/DIPF^    f GUIDED BY VOICES"
Isolation Drills CD    •«%,
|_1q™ The sting is on. Our agents are
ready to reveal their true selves -
cnirru ,0 s,led tne cloak of double identity. ',
"UU,n Captain Robert Pollard, we await    g^
FrOm Here On CD v°ur slQn- Operation Isolation
London looks its best at around 3:00 AM. Street clean- lii'is: shed your high school English professor and exercise
ers flush the vacated streets, which dry slowly before an y°ur P°P star man,le ot P°wer t0 crack down on corrupt lyri-
audience of empty milk bottles.. .so serene! Enter cism, butchered riffs, and weak-kneed image. Awaken the
SOUTH, London's new pop darlings, recently touched by captives from their chloroform sleep; undo the mediated ban-
the hands of Mo Wax's James Lavelle. There is a cer- dages tnat cripple our melody senses. Alter-authority. The
tain amount of desolate passion associated with their DJ Rock'n'Roll Hall of Fame is under siege!! Let's melt the Wax
Shadow-meets-Money Mark sounds. Pure early-'90s Museums! Sixteen new songs!!
oceanic rock updated to UNKLE standards. QD 16.98 AVAILABLE APRIL 3™
Recommendation implied.
CD 16.98 AVAILABLE APRIL 6™ now- t/vtuvluy:
\   iCGfrfyr      J/ )        »fie«i«9 Stfnil gft
SWOLLEN MEMBERS- Lady Venom 12" "
SWOLLEN MEMBERS- Front Street 12"
TIM BUCKLEY- Morning Glory Anthology 2CD
LOVE- Forever Changes CD reissued.
OF MONTREAL- Coquelicog Asleep in the Poppies CD/2LP     TIM KINSELLAS- He Sang... CDEP
STEPHEN MALKMUS- Jenny and the Ess-dog CDEP MOKA ONLY- Lime Green CD/2LP
Jf ,,„..,...,ffnl„aJy/r./':<o
MELVINS- Colossus ol Destiny CD
LLOYD COLE- Negatives CD
d.b.s.- Forget Everything You Know CDEP
B. FLEISCHMAN- Sidonie 12"
MANITOBA- Start Breaking My Heart CD/LP
Zulu Records
1972 W 4th Ave
Vancouver. BC
tel 738.3232


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items