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Discorder CITR-FM (Radio station : Vancouver, B.C.) Apr 1, 1995

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PWN ASSISTANT
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GUIDED BY VOICES ° Alien Lanes (by April 7) $9.87 LP/cass $14.92 CD
ARCHERS OF L0AF» Vee Vet $9.87 LP/cass$ 14.92 CD
SMOG  ■ Wild   Love $9.87 LP $14.92 CD
HELIUM    "   Dirt   of   Luck. $9.87   LP/cass   $14.92   CD
HARVEY SID FISHER Astrology Songs $13.81 CD
NARDWUAR'S SX00KUM CHIEF POWERED TEEN ZIT ROCK    $9.21 LP and CD
BUTTHOLE SURFERS ■ Hole Truth and Nothing Butt $15.79 CD
PAVEMENT • Rattled by the Rush $3.94 7" $7.90 CD
RAILROADjERK ■ OneTrack Mind $9.87LP/cass$l4.92CD
WINGTIP SLOAT * Chewyfoot 4899 LP $13.81 CD
That's right, the §€^T€;K]
ePO-grciNKIAWIKg bowling team have]
been crowned champs ofthe 1994/95
Vancouver Underground League. Hats
|off to Mekhor, Rookie, Vic, Tawny,
I Peeper, and the Dinkster for their
Inspiring play. As If that wasn't enough,
Melchor also scooped the league high
average and league high triple awards.
Table tennis anyone?  Friday April 21
Starfish Room
<^S^ Tickets at **^^>
Track & Zulu Only!
Sunday-, April 23
Town Pump
Tickets only $10
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MONDAY, APRIL 24
1   DOORS: 8:00PM • SH0WTIME:10:00PM
W3f&K
JOE
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fromWAustralia PAUL KELLY
TUESDAY, APRIL 25  %
'       Orpheum Theatre
I
with guests
ARCHERS OF LOAF
and
BEATNIK FILMSTARS
friday, may 5
commodore
«l!ji!||j-^ TICKETS ONLY $12
TICKETS ALSO AT TRACK
tickets Only $ 12 a! Track and Zulu Only!
n        e   v   e    n    i    n
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crimson
Robert Fripp   Adrian Belew
Trey Gunn Tony Levin
Pat Mastelotto     Bill Bruford
Wednesday
June 21
orpheum theatre
I i
Electric Lunch
■FT"
TOM JONES, August 4, Queen Elizabeth Theatre. JOE JACKSON, KING CRIMSON, and TOM JONES eligible for American Express®
Front of the Line® Hotline. For choice seating call: 280-2639. Eligible for Membership Rewards™ call: 1-800-668-2639 • '
CANADA'S LARGEST AND BEST KNOWN RECORD STORES
MIKE
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Mad Season Is:
Layne Staley
Vocals, Guitar
Mike McCready
Electric and Acoustic
Guitars
John Baker
Saunders
Electric Bass
Barrett Martin
Drums, Percussion,
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pnw&fr
PEARL JAM - Vitally   £XZ"Z-
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These titles:
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SPONGE - Rotting Pinotci
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Canada
Dear Discorder,
We would like to extend our
thanks for your time and effort
in making the Ken Jensen Memorial - Fire Prevention/
Awareness Benefit such a
great success. The benefit at
the Commodore was wonderful; the event sold out, everything ran smoothly and on
ti me, egos were conspicuously
absent, and all the bands
sounded terrific. It was a great
show of support and very
comforting to Curt and Elizabeth Jensen, who had a really
good time and were truly
touched by the amount of effort put into the tribute to their
son. The New York Theater
benefit was also great with
approximately 240 in attendance. Other benefit shows
were produced in Regina,
Portland, Tacoma and Seattle.
There will be a benefit and
auction (with items donated
by assorted record labels and
bands) in Toronto on April
14th and 15th.
In total, about $13,000
was raised. This money will
be used to repay Ken's surviving roommates and
D.O.A. for losses incurred in
the fire. The remainder will
be used to purchase smoke
detectorsand batteries, which
will be distributed through
the Carnegie Center and
through the Neighborhood
House Society of GreaterVan-
couver. In addition, we have
started a lobbying campaign
to ensure property owners
are aware of their legal responsibility to install smoke
detectors in rental accommodations. Hopefully, this will
help in preventing any more
unnecessary tragedies.
Thanks again,
Jay Scott
Laurie Mercer
Ingrid Severson
Joe Keithley
Dear Discorder,
Please try to help me. I have
recently moved from Van/
UBC/lsland to New Hazelton,
BC on the mighty Skeena River.
The people, the scenery, & life
ingeneral is cool. yet...except
for the occasional pleasurable
sonic experiences with CBC
waves (when the radioat home
can ride them), I am stuck with
country radio. Nownooffence
to any of you Blood on the
Saddle types, but country is
the shits on the waves around
these mountains. Discorder
magazine, even though it's
not audible, would be like a
shot of Jack Daniels in this
watered down American beer
music radio I hear lately. Could
you send it to me?!
Subdude,
Bruce
P.S. The ironic thing is that the
station locally isfound at 101.9
on the dial. Scary!
Hey Airhead!
I am a long time reader of
your rag, and I always like
your reviews on local bands.
If it weren't for you, many
local acts would go unnoticed.
And although the local scene
is great (i.e. Good Horsey,
Bum), I still haven't heard a
band that measures up to
Brooklyn's Babe the Blue Ox,
although   because   I   am
CHIPMUNKSiSayiRRELS
1
nnLfl^^Nif-^^fl-g
fQftatffcfta^iafta^^
pLAit-4   OU>
■UKU\rlm
underaged, I
haven't been able to get
into that many shows. Ah
well, maybe in five years I
will be able to make an informed opinion.
Moving on, back in January a man (maybe) by the
name of R C. Johnson wrote
a letter to you people calling
down Grant Lawrence. He is
a moron. In the long time I
have read 7", I've heard
' Grant Lawrence call down
bands because of the quality of the music, not age.
Grant Lawrence's column is
my favorite part of this most
awesome 'zine
My Best,
Devon Saintsbury
P.S. .1 realize Mr. Lawrence
has already defended himself, but I had to get that off
my chest.
P.S.S. Whatever happened
to Everything's DuckyS
Yikes! This makes two
month's in a row that Grant
has received positive feedback. He must be losing his
touch...As for Everything's
Ducky, Mr. Blaine Thurier,
the comic's scribe, tottled
off to Japan a few months
ago (more like a couple of
years now) and hasn't been
heard from since. Bye bye.
LIFE WITH THE FAMILY
ENNDYE
I'D LIKE TO THANK YOU.
ENNPYE READERS. YOU
CANT IMAGINE THE LOVELY
LIFE I'M LEADING, DELICIOUS
AS FRESH BREAD AND NOT
ANOTHER SOUL AROUND
FOR MILES. SNOW GIVES
OFF PERFUME, BIRDS
SOUND ALARMS, LITTLE INDOOR FLIES PINCH ME - OR
IS IT THE FOX-GLOVES ON
MY ARMS? FAIRIES THAT
DON'T EXIST STRING ARMS
TOGETHER LIKE NECKLACES, TUMBLING VEGETABLES AND CHIPPED PLATES
OFF MY SHELVES FOR TO
HANG THERE LIKE FRUIT
BATS. CLEVERLY, I VE G LUED
DOWN THE POTATOES. AN
OWL KEEPS ME COMPANY
WITH ME IN A SLIPSHOD
WAY, LEAVING CRUNCHY
BONE PELLETS TO SWEEP
OUT IN THE MORNING,
WATCHING ME SLEEP WITH
HIS BACKWARDS HEAD.
THIS MORNING AS I COLLECTED WATER THE WET
FIELDS CLUNG HARDER
THAN BRAMBLES TO ME
LEGS! MY LITTLE DOOR IS
FASTENED TIGHT, OVERGROWN WITH IVY, SO I GO IN
ANDOVERTHEWINDOWSILL
WHERE THE RAIN HAS
BEATEN AND THE WALL HAS
WEPT FROM ITS PUNISHING
WAYS. THE HOUSE CRAWLS.
FINE-EYED TOADS WARM
ON PAVING STONES. STEL-
LAR'S JAY NESTS IN CELLAR'S HAY. MUCH AS I HATE
TO DRINK PLAIN WATER, THIS
SPRING TASTES OF NOTHING BUT COLDEARTH. COME
ANYTIMETOVISITBUTDONT
BRING COLIN FIRTH.
? \^&zm^ FRIDAY
for TOUR O/Ofc INW
HE PENTHOUSE
-r—^±019 Seymour st.\ iiKf.miJtiJ
aie sawyer
Looks like this month Dale's
gonna be doing a solo gig in
order to maintain the hallowed
tradition that is Vancouver Special. Mr. Sean Raggett has been
hit with a crippling burden of
scholastic headaches, so we've
given him the month off (without
pay, of course) so he can attend
to his academic woes. Unfortunately, I'm not as cool as Sean
I have no dirt For ya: i
iendin
-ele.
ool
upcoming all-ages gigs, no who's-
boinking-who. Instead, it's just
cassettes, tapes, demos, et alii,
ads infinitum et nauseum. So for
those of you unaccustomed to life
in the local recording underground, you'd best grab a snor-
(with apologies to the Grip)!
Actually, the first thing I
should get out of the way is some
kind of cursory explanation as to
my general philosophy as to the
demo reviews found in this column. I, as the humble yet omnipotent Demo Director for CiTR, listen attentively to the hundreds of
that a
;nt to the
tion every year. I take some ot
those tapes (it doesn't matter to
me whether or not the submitting
artistes consider them to be
'demos' or 'Cassette Releases')
and tidily sum them up in print
within the confines of my allotted
column space. Here's where the
debate lies: should this be an opportunity to vent my splenic or-
relative merits of the
gano
.rthe
mply looking at a forum for exposing people to the
existence of these tapes and informing them as to what to expect from the music contained
therein? I tend to opt for the latter; however, others may argue
that the role of the critic is to point
out which music is 'good' and to
warn people away from anything
that is 'crap'. However, I have
concluded lhat this notion best applies when the commercial aspects of the product in question
play a significant role in its presentation and availability to the
general public. For example, a
critic might be justified when
pointing out that a given movie,
CD, or book released under the
auspices of a large corporation
is not worth the cold cash required to purchase the item in
question. Here the critic's blade
has the edge of consumer advocacy and is a well-needed component of present-day music industry scripture. But that is not the
situation here, where much of the
not for sale and so does not represent an attempt to capture your
limited financial resources. As
well, since dozens of tapes are
sent in to CiTR every month, it is
quite possible to ignore the bad
ones and stick to discussing those
that seem to have had some
thought put into their conception
and realization. Anyway, I've
gone on for a few hundred words
enough wingeing and on with the
By the way, if you want your
cassette reviewed or played on
the air, just send it in by post. That
isn't the only way to do it, ihough.
One fellow named Peter simply
walked up to Nardwuar at a recent CiTR orgy (er, party) and
gave him o 4-song demo by the
Antecendents, his band. He is
from Coquitlam, and was once
in a band called Brother
Roundmoulfi. Crunchy guitar pop
with these kind of grunted vocals.
The songs are short and catchy
and would probably sound good
on CiTR. That's intended as a
compliment. At least it shows
they're    getting    us    out    in
I enjoy listening to the 3-song
tape by Joey, last name Novak.
The bio notes lhat she has played
in punk and 'plowbilly' bands in
Saskatoon and Vancouver, which
to me shows a certain amount of
integrity. She has a beautiful
voice and the songs take advantage of this by allowing her rich
melodies and larger-than-life refrains. Producer/guitarist Glen
Stace sticks with the roots and
gives the material a country-rock,
"lue Rodeoid Iwang. The first
"Toxic
Blush",
(  like
Cherry Blossom candy bar, but I
like "I've Learned" more, with its
clearly-phrased verse and explosive chorus describing love as an
intellectual adventure of discov-
i of'em, but'Celestial Magenta have me suspicious (not
seriously, though) that it's a reformation of Death in the Family-era
Dishrags on cassette. Monika,
Carlo, and Linda have a strong
debut 4-song tape on their hands.
"Asleep" has a hypnotic but rising chorus whereas the first tune,
"Wonder Why", has a classic
punk/60's melody weaving
throughout. Heavy gigging
makes this new trio quite visible
on the local scene, so you know
what I mean when I say shit or
gel off the pot.
Speaking of that classic punk
ethos, that's precisely what you
gel with the three songs on Von
Klutz's first solo tape. Johnny
Von Klutz is the ex-bass player for
the sorely-missed Spores, ex-
medical research technician, expatriate Brit, and present-day father and Pender Island resident.
Doing everything by hisself, except where what I think is one of
his kids chips in, it's evident that
the London Spirit of '76 has never
vacated the Von Klutz mortal coil.
This ain't no rehash of days gone
by, however. The soaring country-surf twang of "Lap of Luxury"'s
lead guitar is fresh as anything
around today. Basically, Mr. Von
Klutz has called upon his considerable punk experience to generate a little anarchy, 1995 style.
Well, I guess my review of
their Prime Time Freak cassette
wasn't enough for Gloriosa, because I've just received word
they've broken up. The word
came in the form of a 4-song
demo from Bono-Fly, representing
the first project to arise Phoenixlike from the ashes of Tami/
Gloriosa. Great song titles here
("Headspace",  "Echii
"Sis
and
"Isabella Rosselini") and the i
sic itself strives admirably for the
same degree of cleverness. The
jangly songs that typified Tami/
Gloriosa are nowhere to found,
replaced instead with a barren,
minimalist edge. This guy's in no
rut, and it's refreshing to hear
someone inject some creative expression into the guitar/bass/
drums format. Thumbs up.
Budget Rock Showcase
sure sound like a vile clan of rock-
ers on iheir 1 O-song self-tilled cassette. Political Correctness is not
the emphasis wilh these guys; I'd
say their mission is to use controversial lyrics and butt-kicking rock
songs to knock a few bricks oul
of the PC intellectual wall. "Booby
Tube" is a good example, as are
"Cockrock" and "Cockfull o'
Cum"; I wish I could include some
quotes du paroles but, frankly, the
recording quality precludes deciphering of most of what's going
on. Musically, they try their hand
at jokey punk a la My Dog Popper or the Mr. T. Experience, bul
I find I can do my most credible
Beavis 'n' Butthead impersonation when they're lampooning
cock rock itself. It's been a long
time since I rock-and-rolled.
Joy Buzzer have produced
a solid first tape in their self-titled
three-song demo. The first cut,
"Mine", is an uptempo mosh-
soundtrack where the vocalist
sounds like the Larry Wallis'
evil(er) twin. He still sounds like
rhaton the next one, "Suffer", but
the music itself moves away from
a Pink Fairies vibe to a tortuous
skacore shuffle. It's really not a
bad song at all, and I wish there
was room for both songs lo be
regularly rotated on CiTR's
playlist. Alas, because of the
sheer volume of magnetic ribbon
sent in to the station, only one
song from each demo can be included on the playlist, and at the
time of writing I am still flipping
Joy Buz
dible '
ing s
to (a)
and (b) sh<
:allh by appi
is to flip        '
:kels
I gotta commend More
Socks for having the foresight lo
include a bribe with their 6-song
even if it's something as minor as,
such as in this case, a Dairy
Queen coin allowing the redeemer either a free sundae or
40<t off any Royal Treat. I don't
know if I have the stomach for
those items (or if others would
have the stomach for me after I
break out after ingesting those
goodies), but at least it's more insightful than Joy Buzzer, who expect me to come up with my own
coin for Ripping. Great demo -
it's so "basement" it sounds like
it was actually recorded underneath the foundation - with creative use of song structures and
lyrics. "Bender" winds its course
without much in the way of repeats, making it a sort of metal
rhapsody in pus-yellow. There's
even a bonus cover of "Cars",
although it was refilled "Only
Numan" wilh tacit apologies to
the Human League.
Finally, let's have a look at
what 1994 Shindig winners
Meow! are up to wilh their latest recording, a 6-song demo
called (what else?) Meow!.
Seems like they're already bored
with their old sound, although
boredom itself, in the form of a
disaffected ennui communicated
through the vocals, is still a characteristic of the Meow! style.
"Cat's Meow" and "Cat's Bath"
are much faster and raunchier
than anything on their first tape.
The Cramps-like lurch of "Nancy
Song" makes me think it would
be a live highlight, even though
it's actually one of their longer
songs. The only tune that seems
relatively unchanged, except for
clearer vocals due to the improved fidelity of the recording
(was there any call for that? damn
audiophile snobs), is "Boy Groupies", despite the fact that I've
heard 5th- or 6lh-hand that the
band wants the version presently
on the playlist (from the old demo)
switched to the new, improved,
eat-your-heart-out-Pink-Floyd version on this tape. There's just no
pleasing those musician types...
Well Ihere you have it for another month. Support your local
scene, go and see some gigs, pay
if you have to, get some demos
off the bands, listen to them if you
have to, blah, blah, blah. I'll be
out there, too, in the shit, as it
were. I'll be the one flipping Dairy
Queen tokens i
CD LAUNCH • MARCH 31
With Special Guests MEOW
At the SOHO CAFE 1144 Homer Street, Vancouver
_l THE MCRACKINS
Who arc you and what do you
do?
Bil McRackin plays guitar and
sings, Pil McRackin plays bass
and sings, and the newest addition, our brother, the barnyard
dog, Spot, is on drums and one
liners. (He's half Dalmatian,
half human.)
Describe your sound in 24
words or less.
Bubble-punk, buzzsuw, rip
roarin', three chord drone a la
Ramones, Candyass schlock
rock, wimp pop big bop, industrial metal porn-core, power
glam sneeze snore. Whoops,
that's 25 words. Please don't
punish us.
The McRackins came out of
nowhere...well, not really. We
heard that some McRackins
members were involved in
Vancouver glam bands.
C'mon, be honest...
To be honest, wc were all involved in I. A. glam hands. The
McRackins are 2/3 Theatre of
Pain era Motley Crue and 1/3
Poison. And if you describe
glam as wearing make-up, then
yes, Mr. Man, that would make
The McRackins the undisputed
kings of glam, would il not?
So, what did come first?
Well, honestly, we don't really
have a clue. We think it was the
chicken, but il could have been
the egg, it all depends on who
you talk to. But we leave that
question open in hope that
someone can give us hard evidence supporting one or the
other
Now that Tommy the Chicken
has left the band and been replaced by Spot the Do**, isn't
the whole chicken and egg
schtick sort of lost?
No way, we're still eggs and always will be. but now we have
a sort of security guard for the
Hen Hut so lhal, like in our
song, we don'l get "Robbed"
again Good old Spoi. lie's the
best guard dog there is
Have you ever been mistaken
for the Rankin Family? How
about Furnaceface?
No, but we do get mistaken for
that Van Dyke family on a regular basis. And believe it or not
we collectively get mistaken for
Tim Allen from Home Improvement even more so And how
aboul Furnaceface, we'd like to
meet them and challenge them
to a game of Operation. And just
for Ihe record, we wouldn't
mind kickin' Harry Rankin's
miserable sorry ass.
Will you ever, like Kiss, become unmasked and ditch the
chicken and egg trip?
Nah, why should we? It's
worked so far. Like the old saying goes, 'Why fix something
if it isn't broken!' And if we did
unmask, it probably wouldn't be
the same. Wc gel away with a
lot of stuff because no one really knows who we arc, and it
. like
What's better - KFC, Brownies or Churches?
Definitely not KFC, they're the
reason Tommy is no longer wilh
us anymore. But wait a minute,
what kind of question is that
anyway - you honestly think we
would eat our own kind? We are
not cannibals.
What's the first gig you ever
Bil: Air Supply with my dad at
the Orpheum in Vancouver
sometime in the '70s. They influenced a generation!
Pil: Billy Idol at the War Memorial Gym at IIBC.
Spot: Kiss at the Coliseum on
the Dynasty tour
How many demo tapes did
you send out? How many responses did you get?
We sent out around 70 tapes and
gui responses from maybe ten
of those. Bul when you see that
would be real cool to maybe
have a label put out a 7" or
something, then Mel at Shred
der offers to put out a whole CD
and do a video, etc. It just blew
us away that someone liked our
songs as much as we do, and
believes in us.
How do you know the White
Trash Debutantes? Have you
ever had a sexual encounter
with a member of the White-
Trash Debutantes?
We mel the Debutantes at last
year's Music West conference.
We have since played with them
again at the Town Pump and frequently talk to Ginger Coyote
on the phone. She's really cool.
We hope to play with the them
again at Music West '95. As far
closest Ihing to that with them
is they're always pinching us
and rubbing our heads, and one
time (iinger whipped us.
Do you get a better sonic result from smashing guitars or
jumping up and down on
them?
The sonic possibilities from
smashing and jumping up and
down on your guitars are endless, but the actual justification
of doing it is still a mystery to
us. We don't know why we do
it, really. We just do. All the excitement of the moment just
makes us crazy and it just seems
to happen. We seem to have
Timex guitars, they take a
lickin' and keep on tickin'. But
seriously kids, don't try this at
home, the damage you can
cause is just mind blowing!
Can true love be found at the
end of a 1-900 call?
Due to the fact that this information could incriminate us, we
have decided not to comment on
the subject.
What's the most important
thing we should know about
your band?
Thai ill six months time the en-
somett
ling by us, it really looks
lire human race will succumb to
pretty good. Wc are very pleased
our hypnotic effect and worship
with the response, we were jusl
us like the gods that we are. But
hoping to get even
seriously, we are a 'real' band
^__      one response. It just
and we mean business, so come
1      shows you, if you get
on, have a heart and give us a
off your butt and re
gig that pays more than five
ally put some effort
bucks.
into what you believe
j      in. things can really
Discography:
J    ^
happen.
Eggs in Space - 20 song demo
(Ridge Records - out of print);
i    1
Were you surprised
Impact Music compilation one
V 1
that        Shredder
song); Closet Rock compilation
w 1
Records, original
one song); What Came First?
A
home    of    newly
Shredder Records): split LP
signed Geffen art
with White  Trash Debutantes
|         1
ists   Jawbreaker,
(Heller Skelter); split 7" with
picked you up?
Fighting Cause (Last Resort
Totally surprised. We
Records); 'Get Crackin'" 7"
were   thinking    it
(Wallabies Records): Stiff Pole
Records compilation (four
songs); Spinnin' the Chamber
compilation two songs - Last
Resort Records); Wade Free
Everywhere compilation (two
songs - Schtuff); Homeless
Benefit compilation (one song
- Looney Tunes); Kiss Tribute
7" (one song - Black Coffee).
The McRackins can he contacted at:
The Hen Hut
237-117 St.
Delta, BC
V4C6B6
Who are you and what do you
do?
Dave: We are Nick. Dave and
Jorge.
Nick: We play guitar, drums,
Jorge: We are a beat' group and
we make music to dance and
Nick: Are we not human?
Jorge: No, we are Minstrels! For
yesterday and today, tomorrow
and always.
Describe your sound.
Jorge: We sing in both official
languages with a sound deeply
influenced by early sixties pop
rock. We love vocal harmonies
and stylish surfy guitar solos.
Our favourite musical period
extends from 1954 to 1966 and
although we're open to other
influences, the core of our sound
has been orbiting at those altitudes for all our past recordings.
Where and when did the band
form?
Quebec: In Quebec City 1986.
We used to go to St. Charles
Gamier, one of those old style
boys' schools. We were fed up
with hanging around with guys
only and wearing silly school
uniforms, so we got the band together and started playing local
dances and weddings with our
garage sounds.
Dave: Eventually we met Sue
Foley. She was only 19 or so and
was already louring the whole
continent. She came to Quebec
and we spent about two weeks
of very 'educational' partying.
That was in the simmer of '88.
and by the end of the year we
opened for Buckwheat Zydeco,
who introduced us to our first
agent ever. We toured a lot in
'89 and Come Out to Play was
released in early '90.
Why did you decide to relocate to Vancouver? Has the
transition been difficult?
Nick: Well, we tired of touring
surrounded by snow, ice and
cold weather, which effects your
personality after a while. And
we are Minstrels, which means
traveling musician. The
Gruesomes told us the west
coast rules, so we thought why
not, that could be
a thrill. Unfortunately we missed
the last earthquake, but we
hope to be there
for the next big
Jorge: As f
difficult, yes i
was 1 think an
important chang
of difficulty, bul that's
why you give
yourself the challenge in Ihe first
place If it's too
easy it gets boring.
Coming here was
really fun. We love
the West.
The Minstrels used to sing in
French, and now you sing in
English - correct? Did you
have to write all new songs or
were your songs easy to translate?
Dave: Not correct, The Minstrels always sang in both official languages and we never
translate songs. It just doesn't
seem to work that way 'cause
music and words come at the
Jorge: Peter Zotsky from CBC
Morningside asked me what
exactly makes me choose between one or the other language.
It's a question a lot of people ask
me; well, I don't really choose,
it comes in one or the other, it's
not a conscious choice like,
'Hey, today I'm doing two in
English and three in French.'
What's the best thing about
French Canada?
Nick: One of the coolest things
is that there are a lot of cool
French bands that go to Quebec.
But I think the best thing is
'poutine': french fries with
gravy sauce and melted cheese.
Dave: Montreal is a really cool
town to check out in the summer. Lotsa life, lotsa parties
The night clubs are open later.
you can buy beer at a corner
man. people are really happy!
What's the best thing about
English Canada?
Nick: Well, for me the best thing
is that I don't really know it. I
mean, every day I meet different people, I go to new places,
learn weird expressions and,
most important, I learn how to
charm English girls. You might
find it funny, but there's a real
difference. I like the fact that we
can easily go to California from
here and that there's no big cold
winter. It's way less stressful.
Dave: British Columbia. No
joke, overall it's the best place
in the country. If we could just
keep those clubs open a bit
longer, this place would be up
there! There is also an actual
music scene here, which is a
good thing to have
Do you have any good Mitsou
stories?
Jorge: Her first single was really cool and different from the
turgid crap on Quebec's
airwaves. To tell you the truth, I
used some of her ideas in Saint
Laurent Des Pins, like the end
on "Les Grands Mechants
Loups" and the bass line for
"Les Enfants Gates". Later, I
saw her at the John Lee Hooker
show at the Spectrum and it re-
lly
thought Mitsou and John
Lec.No! But she really liked it.
I bet she's much more than what
we know from the media. We
were on the same flight when
we came to Vancouver for the
Juno awards in '91. All the
Quebecois were staying at the
Hotel Vancouver. We met
Nardwuar and I noticed [him
with Mitsou], I don't know what
he did to her. but I don't see her
that
fO   April1995 HELL
time...Thanks Nardwuar!
Where did you meet Jonathan
Richmond?
Dave: Jorge and I met Jonathan
at Club Soda in Montreal in
May of '89. Ruben Fogel makes
him play his club once a year
and we're all big Jonathan fans,
so we drove down from Quebec
City to see his show. At the end
of his performance he just sat
down by the side of the stage
and we casually started chatting
with him. At the time, The Minstrels were in the making of
Come Out To Play and we told
him we'd send him a copy.
Jorge: He really dug it and invited us to play on numerous occasions, like last week at the
Starfish Room and at the Backstage in Seattle. It's always a
great pleasure and privilege to
play with such an amazing human being.
Nick: The first time I met him it
was in a small gold mining town
in northern California. He was
waiting for us in an old saloon
on Main Street called the Nevada Club. I felt I was in a movie
with the coolest character I've
ever seen.
Did you really tour France
with the Stray Cats?
George: It was 1992 and our
video "Les Enfants Gates" was
on high rotation on Musique
Plus. French promoter Francois
Pinard came to Quebec for Les
Francofolies Music Festival to
introduce the French band
Niagara, err...doesn't sound
very French, right'.' Anyways, he
had seen our video on TV and
ended up at the show. 1 Ie talked
to our agent about us playing in
France opening for the Rita
Mitsouka tour. That fell
through, 'cause instead of touring they went for detox in Switzerland, so at the last minute we
landed the Stray Cats bill. They
have a huge following in the
EEC, but we only played in
France "cause we didn't have a
release in the other countries at
that point. But we got to spend
two weeks in Paris. It was a fantastic experience. Europe is
great, I love it. If only they could
leave the baby fish alone.
What are the ex-Minstrels
Dave: In the ex-files we have:
A) Craig Bennicke: After God
told him that the Devil was in
our band, he gave his life to Jesus and his new Rickenbaeker
12 string guitar to TV preacher
Robert Til ton.
B) Andrew McNeil: One day on
tour Andrew went to the bathroom. We heard a blood curling
scream and when we ran in the
to find out what had happened,
he was gone...
C) Greg Watson: Just moved to
Vancouver from Kingston, Ontario. Plays with the Fiends.
D) Victor Michel: Still writes
songs for the Minstrels and
works with us in the studio. Also
plays with Sugar Candy Moun-
Discography:
1990: Come Out To Play (What
Wave Records)
1991: Single (Anaba Music)
1992: Si-Laurent Des Pins
(Anaba Music)
1995: Ev'ry Which Way (Anaba
Pacific)
The Minstrels can he contacted
at:
Anaba Pacific
331-309 West Cordova St.
Vancouver, BC
V6B 1E5
THE MYSTWONS
Who are you and what do you
do in your band?
Schatzie Boneslide: guitar, bass,
percussion, whoops *n' hollers,
excessive drinking.
Mr. Fist: guitar, organ, bass,
sound FX, sexual deviancy.
Jimmy Suede: drums, percussion, skin flute, drug testing.
Describe your sound in 25
words or less.
Imagine an exotic tropical island with smoky lounges and
sequined altars or damp gravestones at night echoing manic
carnivals. It's Vegas trash surfin'
on a hillbilly rocket!
Are there any progressive surf
Boneslide: I didn't know there
was such a thing.
Fist: Most of the bands I've
heard are only interested in nostalgia and revivalism, which is
all about looking backward.
Dick Dale still looks forward,
but he seems to be ihe excep-
Are you a wordless band?
Fist: I assume you're referring
to "vocals". Most of the time.
it there and e
good singers o
fewer who don't make me
when 1 hear what they ha\
say. I like "found" voices. 'I
are much easier to manipt
and they don't have egos.
Boneslide: We haven't found a
vocalist with enough balls.
Is surf music the gateway to
the si
Fist: Well, that depends upon
what/whose soul you're talking
about. The term "surf is limited. It takes more than one ingredient to make a tasty meal.
Ah roads lead to Rome.
Boneslide: I think the drive-thru
window is the gateway to the
soul.
What is the connection between The Mysterons and the
organ?
Boneslide: Whose organ are you
talking about?
Fist: The electric organ is based
upon the acoustic pipe organ
which, in turn, has it's roots in
the pan pipe or flute. The pan
pipe is traditionally associated
with the Greek god of the same
name. To the Greeks, Pan was
the great creator of All and was
considered beyond comprehension (a very 'mysterious' character). Modern Western traditions have corrupted Pan into
the familiar image of the Devil,
yet he has maintained that same
'mysterious' quality. The organ
has a long tradition of association with religion, insanity and
immorality (i.e. Vincent Price as
The Abominable Dr. Phibes).
What good's a church without
an organ?
Have you ever bought a
record at a church swap
meet? If so, what was it?
Fist: I buy a lot of records at
church run thrift stores. One of
my favourites is Yodelling
Praises Unto the Lord by Princess Ramona. It features such
classic cuts as "Jesus Put a Yodel in my Soul" and "This Motor Home is in God's Hands".
The liner hot*
Ramona is a na
but the cover sh
native looking v
a very cheap in
i  thai
clai
e Amei
Boneslide: I got the complel
Village People collection.
Suede: I gol the Lips Inc. col
lection for a buck in a bargaii
What movie would your music be a good soundtrack to?
Fist: That movie doesn't exist
yet. Perhaps some Viva Las
Vegas/Roustabout/Night of the
Living Dead crossbreed would
be appropriate.
Boneslide: Any movie with Ron
>uld b
What do you do better,
Actually, our uue forte is
but that's supposed to be
cret. so don't tell anyone.
Do tweeting birds put you in
touch with your creator?
Fist: Tweeting birds make me
want to fire up the ol' BBQ.
Is the apocalypse inevitable
Can you give us any advice a
to how to avoid it?
Boneslide: Yes. Move I
Vegas.
Fist: Fuck the apocalyp*
just a publicity stunt.
thing we should know about
your band?
The disease is spreading. Nothing you do can stop it. WE ARE
THE MYSTERONS! WE ARE
YOUR MASTERS! YOU
MUST OBEY!
The Mysterons can be coi
at:
#200-1220 Cardero St.
Vancouver, BC
V6G2H7
uled
What's the most important
Are you a pathetic little
weenie with no friends?
~3&r
-J YES! I am a pathetic little weenie.
So send me a t-shirt!
Colour (AH sizes XL)
□Kelly Green     □Forest Green
□Navy Blue       □Black
□Burgundy
Name	
<4
U4
Km
ho
hu
//  E£g£5BEga LCOM E T
WERLD
'erk's FirstClass BBS 604 731 70(
\ Windows, Command Line UserS
nl http://www.nettwerk.com/
ttwerk@mindlink.bc.ca byVinceYeh
Mention the word
"FUNK" and, in
variably, one conjures up the sound of music
accentuated with heavy back
beats, groovy bass lines, and
syncopated guitar twangs.
However, funk music can not
be complete without a soaring horn section, and Maceo
Parker has been the center of
the funk revolution in the area
of horn playing. Ever since
he left James Brown's band
in 1 984, Maceo has brought
his saxophone playing into
the limelight with remarkable
recordings such as Roots Revisited and Life on Planet
Groove. On his latest recording, Southern Exposure, he
adds some New Orleans flavour to his dynamic evolution
of instrumental funk. I spoke
to Maceo in the lounge at the
Commodore Ballroom after
his two hour long concert,
which was extremely well received by a roomful of dancing funkateers.
Well, Maceo, first of all,
thank you for showing
us a good time.
Maceo: (laughing) It's a
pleasure.
During the concert you
invited members of the
audience to rap and
dance on stage with the
band. Were you surprised by how talented
some of the audience
members are?
No, I'm not surprised. I think
what we're witnessing
throughout the world now - it
seems that everybody can
feel the funk, everybody can
feel the music, everybody
can feel the rhythm. Everyone
wants to party and everybody wants to have fun.
How did you decide to
work with Rebirth Brass
Band?
To work with Rebirth was a
suggestion from the producer, a guy by the name of
Stephen Minor. We were in
New Orleans to do Southern
Exposure and he knew Rebirth was there, so he just
said hey, why don't we have
those guys come down. We'll
listen to them, try some
things, hear the words of it,
like that. And that's how the
Rebirth became part of Southern Exposure.
New Orleans music is
very unique. How do
you distinguish their
kind of funk with other
types?
The way I see it, it's almost
like preparing food. You're
going to make some spicey,
some not so spicey; some
hot, some not so hot. But it
could be the same food, it's
just prepared differently. It's
the same thing with music or
the New Orleans approach
to funk, or funky music, or
any music as far as that matters. The New Orleans way
was the way that I wanted for
Southern Exposure, and
that's the reason we decided
to go there. It was different,
it's almost a parade sort of
cadence that the drummer
has when he plays, and I like
that. That was the approach
that I wanted to use for Southern Exposure.
Rhythmically speaking,
how is the drum in a
marching band so different from the drum in
other kinds of bands?
Well, it's different because
you have, say with the Rebirth people, you got one cat
playing brass cymbals, you
got another guy playing the
snare drum, you got another
guy playing the bass drum,
so it's going to be three of
you and that's going to mean
you got three brains working,
it's going to make it different
because the access and all
that stuff are going to be different. When you have one
guy playing the stick, just because it's New Orleans style
it's just different.  It's almost
ft
• *
"Everybody
wants to
party and
everybody
wants to
have funl"
* •
like a parade sound and cadence, like when you march
down the street. Chi-cha-cha-
cha-chi-cha-cha-cha. That's the
way it's played.
Marching.
Yeah,   marching,   exactly.
That's the way it's different
from, say, somebody playing
from North Carolina or
maybe New York.
Everyone knows that
you worked with James
Brown for a long time,
but you also contributed
substantially to George
Clinton's music. How did
you and George first
hook up?
Well, George had made a
name for himself a while
back and he had a lot of followers. He sort of knew of me
through Bootsy (Collins) and
Bootsy worked with James
Brown for awhile, but not the
same time I was there. It
came a time when it was just
common for me to work with
James Brown, but during a
time when I was away from
James, Bootsy told George
that I was away and he just
thought, 'Hey, you know, if
we got Maceo and Fred
(Wesley), maybe they can
contribute their side of funk.
And it worked. I'm very
proud of the time that I spent
with George Clinton and
Bootsy.
How do you see George
and James differently in
terms of their styles?
James is like a polished
Mercedes, just washed and
cleaned and shined and
waxed and all of that. Ready
to go and ready to be
showcased. George is like a
'57 Chevy: it's vintage, it's a
classic, but it's a '57. And it
may not necessarily come
from out of the car wash, you
know, but it's going to get
you there and it'll be funky
and that's the way George
is. He has his own style, his
own approach, and he
doesn't care too much about
the polished side of it. He just
wants to be good and funky
and that's what he is.
Seems like the Parliament is much looser.
Exactly. Exactly.
So, when you -were with
James Brown, did you
come up with all the
horn lines, or does he
do that?
No, no, I didn't go over all
the horn lines. When I was
first hired I used to come up
with baritone lines. He gave
me the freedom to play what
I liked, to play what I wanted
for baritone. But as a section
he would sort of dictate the
horn lines [to us]. That became customary a lot of times
with James Brown-he would
just dictate a lot of the horns.
And not only the horns part,
he'd try to come up with what
the guitar should sound like,
what the drummer should do,
this kind of thing.
So he sort of composes
everything.
Exactly.
You cover a Winan's
song on your last album. Do you like contemporary gospel?
I like all music. From time to
time, I listen to a lot of gospel music. That's the kind of
music I listened to as a child,
as I was coming up as a teenager. I was brought up in the
church, and any time I'm
thinking of home and my family, my mother and father, I
listen to gospel music. I like
all that music
Who's your favourite
gospel singer?
It was James Cleaver, probably still is. I like James
Cleaver, I think probably
'cause my father did. I love
to hear Aretha sing gospel,
James Cleaver was the
first one to put in all
these complicated arrangements in gospel
music...
Yeah, yeah. Al Green did a
gospel album that I liked,
Aretha did one that I liked,
but I think that if I had to
choose it's probably James
Cleaver. And the Dixie Hummingbirds and Mighty
Clouds of Joy were all pretty
cool.
On your album, how do
you decide what songs
you want to put on it?
You cover a -wide array
of songs, like Curtis
Mayfield and Joe
Zawinul.
Whatever feels good to me.
Whatever feels good, what-
ever's comfortable, that's
how I choose.
How do you like working with new artists,
like De la Soul or Deee-
lite, people like that?
There was a time when we
looked for that kind of stuff
to do - outside work. And
while we were at that stage
it was very interesting to do
that, to get other ideas, to see
how other people do it. Now
we're a lot busier and we
don't have a lot of time Jo do
outside stuff, so we have to
kind of shy away from that.
There's not enough time.
We're to a point now where
we wish we could do more
work, but we just can't.
What's your take on
sampling in music?
I don't like sampling. I think
it's better that the artist or the
producer or whoever else is
putting the music together just
have the people come in and
actually play. I don't like sampling, I think that's stealing.
What's next for you?
Are you going to
record?
Yeah, we're just beginning to
come up with ideas for recording. The next project is
going be a funky album, a
CD aimed for the younger
set, the younger crowd, you
know, sort of like we had
here [at the Commodore].
We're going to do some rap
stuff and maybe some hiphop
stuff rather than the heavy
jazz and all that. Then we'll
continue touring throughout
the world and maybe we can
open up some new avenues,
maybe go to China, somewhere like that. Someplace
where we haven't been. This
is what we're looking forward to.
/3 $g&&m town   recently   to   promote   his   Latest   film   Dance
e    Outside,    Canada's   premiere    rock'n'roll    road
movie   maker spoke with Oiscorder 's resident  film
guru   Tania   Bolskaya   about   his   first   non-road
movie,,   the state of Canadian  independent  film,
and   the   most   expensive   movies   ever   made...
interview by,
tania bolskaya
acDonald
I am here with Bruce McDonald, Canadian independent film auteur. Hello...
Hi. That's a very impressive kind of phrase - autuer.
Well, ifs just one of those pat phrases you have
when you talk about films a lot. So, you're Canadian, you're independent - is there a reeling of togetherness within the Canadian independent film
scene? A willingness to share?
There has to be, because so often you have really scant resources. So you knock heads every once in a while to talk
about how you could share your knowledge, your history of
how to get something done. You just trade stuff, and that's
how things get done. It's quite handy - maybe it's become a
little too incestuous, but that's why it's great that there are new
people coming out on the scene.
You started as a film editor. Did you go to school to
learn how to edit?
Yeah. Well, they didn't really teach me how to edit in school.
I remember seeing a lot of films, which I thought was great
because I basically grew up on horror movies and Clint
Eastwood movies - the Sergio Leone movies I really loved
And when I went to film school I realized, 'Oh, there's films
from Spain, France, Italy, Norway, really hardcore experimental
stuff really great impressionistic just wild drug films. That was
the best thing about film school, that it taught me that, well,
there are no rules. But I really learned editing trying out experiments on my friends' films.
How did you hook up with Atom Egoyan and start
editing his films?
He was one of those test cases, originally, 'cause he knew less
than me about cutting. He didn't know now to work a splicer
or anything. He was coming to film through his writing; he
wrote some little stage plays in university and stuff. So my
friend Peter [Metier], who is also a filmmaker, he would shoot
and Atom would direct his film, and I would cut them. Then
we'd sort of switch places and I would help Peter cut his film,
Atom might help with the writing, then Peter would shoot my
film. So it was sort of like being in a band or something, everybody doing double duty on each other's stuff.
Your latest film, Dance Me Outside, is a much more
mainstream film. It would be much more accessible
to somebody like my dad than Highway 61 or
Roadkill. Is that a reflection of you learning your
craft even more, the literary source that you took
the film from, or the fact that Norman Jewison and
Cineplex are executive producers of your film?
All those things in a way The nature of the story is about a
community; specifically, it's about these teenage boys who are
just trying to get it together with their girlfriends trying to keep
them on at least somewhat of a path. But because it is about a
community rather than a roadtrip, I think that people like your
dad, or my grandmother, would like the film because it's not
just an isolated teenage adventure. It's more that they're
plugged into this community.
Why did you choose this particular project to follow up Highway 611
I wanted to do something radically different from what I'd
done before. I think the more that I can challenge myself and
challenge different subject matters, or different ways of working, I think it makes me grow into an artist of some sort. I like
the fact that it was about Indians, teenage kids, but it was a
comedy. It wasn't some polemic, earnest political tract or something that was issue driven, or symbol driven. It's about people. When it comes down to it, it's about birth, death, love -
very elemental things.
Also what attracted me to the project was the women in this
story. The movie is told more through the eyes of this young
man, but the story is about how the women in his life - his
girlfriend, his girlfriend's friends, his mother, this older woman
- his confidant, she's kind of like a medicine women - it's about
ment of society that is no doubt going to criticize
you for being a white man telling a predominately
native story?
Oh I hope I get shit. Jesus, if I don't I'll think there's something
wrong with people. I mean, to me the colour of somebody s
skin doesn't matter too much, but tor some people it is a big
issue. I hope I can get into a dialogue with them, I hope that
they can publish letters to the editor I hope that they can get
their voices heard, because that's what its all about. This film
is about acting as a catalyst to raise some issues about love,
about justice, about what s going on in 'our home and native
land'. If the movie can act as a catalyst and create new dialogue and get some people angry, excellent, that's what I'm
hoping for.
When you were filming, did you ever have to stop
yourself from second-guessing yourself: How is this
going to look to the audience? Am I depicting these
People as too soft or too hard?
was sure of the track we were going on, but a lot of the
people around me would say,
don t think you should do this
film,  you being an Angl<
Saxon guy and all.' Or they
would say,  'I don't think
"Oh I hope I get shit. Jesus, if I don't
I'll think there's something wrong with
people."
affect hirr
lake hm
how thes
little bit.
My only hope with this film, if there's any sort of political
agenda, is that, hopefully, your dad and kias from West Vancouver or Scarborough can fall in love with these characters,
and maybe the next time they read the paper they're just a
little bit more open or sympathetic to whats going down in
this country. In the end, if it's not motivated by love then it's
really not worth doing. I ended up falling in love with this
place and with these actors, who I think are just fantastic.
They're all young actors of varying degrees of experience, but
I learned a lot from them.
Are you willing to take any criticism from the seg-
these teenage guys should
be seen drinking beer in
this movie. I think we want
to put up a more positive
role-model for the youth of
this nation'. I would consider it tor a
minute, and then just keep on going. But I did have to deal
with a lot of this anxiety, and a lot of it came from white people more than Indian people. I don't know if the white people
think that they've sort of adopted these people as their pet
project, but in my book a human being is a human being. To
draw any picture of somebody you need to show a bit or the
bad and a bit of the good, and not try to have people become
symbols of some ideal. It was more about trying to portray
f4   April 1995 some sort of semi-realistic characters, and in the end I just listened to my guts and did
what I wanted. And I had a
lot of input from a great
cast, and the community
that we shot in. Both the
chiefs and the band councils were really supportive
and totally into the whole
idea, so that was really encouraging as well.
This film had a budget of
around $2 million and
Highway 61 was about $ 1
million. Do you feel twice
the pressure to make sure
this film pays off at the box
office?
No. To me, anything over $ 100 is completely
abstract. People talk about having money but
really most people don't have it, they just nave
pieces of paper and ideas about wealth. You
hope that your investors will make their money
back so they'll give you more money again
the next time, but really, nobody knows if it's
going to make a lot of money. And I mean,
$2 million is nothing, it's a drop in the bucket.
The average American film is twenty, twenty
five million dollars, so most films that you see
on the screen spend at least twice, three times
the budget we had for production just on promotion. They'll spend rive million dollars just
promoting the movie.
You know what I just learned the other
day that really made me laugh was
that Heaven's Gate, the biggest bomb
of all time, cost $36 million. And that's
compared to what? $100 million for
the rlintstones?
Well, in 1977 dollars or whenever it was
made, so maybe it would be double or triple
that now. Apparently, if you worked it all out
in terms of what the dollar was worth in the
"The best thing about film
school is that it taught you
that, well, there are no rules."
] fifties or whenever
/as compared
>w, the most ex-
pensive film ever
made was Cleopatra, with
Elizabeth Taylor. At the time it was
made it was like $20 million or something
and that was in the late fifties or early sixties.
If you translate those dollars into today's it
actually turns out to be $210 million.
I guess for the two egos it purchased
it was worth it.
But actually, Dance Me Outside did cost $200
million -1 forget to add in my salary.
Speaking of hyped salaries, you took
the film to Sundance JFilm Festival],
down there in Utah. Did you feel like
a Canadian, provincial kind of guy
wandering around with all these
American filmmakers? Especially in
today's market where indie Amencan
is going big.
It's going big, but the surprising thing was that
the Canadian films for the most part were
hands above the American independent stuff
in terms of the production values,what they
were about and what they were trying to do.
The Canadian films went off really well; the
people were knocked out. The interesting thing
is that there were over 300 feature length films
screened for preselection for Sundance, and
they only picked, I think, eighteen films, eight
een independent American films, and they
picked ten Canadian films. So, it's pretty good
odds. Head to head, we're just clobbering
them.
Do you think there's a place in Hollywood for independent Canadian directors?
Oh God, it's a piece of cake dealing with those
If you want to waltz down there and
make a movie with a $10 million
budget...
Oh yeah. It's not a problem. It's not that difficult to walk down there and get that money to
make a film. It's just a matter of [having] a
saleable idea, like Richard Linklater with his
new movie [Before Sunrise}. You know, two
big names and a pretty good story. As a Canadian independent, if you can put something
like that together it can be done. Or if you
want to direct American shlock, that can be
done too. But what Atom and a number of
people in Canada have been trying to do is
tell their own stories and now we're starting
to figure out the marketplace. Maybe the next
movies, to get that five or ten million dollars,
maybe youll start to see more 'stars' in Canadian films. Hollywood is an option, for sure,
or we might go to Paris or Berlin to get our
money. In terms of its financing possibilities
and its star system, film seems to be much more
international than it was twenty years ago
Would you ever consider hiring name
actors? I mean, there are hardly any
Canadian name actors who haven't
gone American...
Oh yeah. Someone like Gary Oldman would
be fantastic to work with, and Drew Barrymore
would be a riot. There are some great Canadian actors that I would like to work with, but
people don't know their names as well as they
do the American actors. But yeah, you want
to mix it up a bit. I want to work with really
talented, dedicated people. There's a lot of
great talent in the States. Actually, we've been
doing some casting out in Vancouver for our
new project and we saw some amazing actors here. I hate to say this about Toronto, but
the Vancouver casting session was much more
exciting than Toronto.
So what do you have on your plate
next?
A couple things. One is a film called Yummy
Fur: The Adventures of Ed the Happy Clown,
and that's based on the comic book of the
same name by a guy named Chester Brown.
We're raisin' the loot right now, and that's going pretty well. Another project which I'm excited about is based on a chronicle of a band
called Hardcore Logo, a Vancouver band that
waspretty popular in its day in the early eighties. Michael Turner has written a book about
the band called Hardcore Logo, and we're
going to shoot the band. They're doing a little
reunion tour, starting in Vancouver ana going
to Calgary, Regina, Winnepeg - the classic
Western tour. So we're going toT*>e here April,
gearing up for the Hardcore Logo Tour '95.
Your definitely going to be known as
a road movie maker after that.
Oh yeah But Harcore Logo will sort of to finish off the trilogy. This should put the cap on
the road movie thing.
For more information contact the Sony Music Online computer BBS at 1.416.391.191
GIRl
IN RECORD STORES
NOW
ts nzggomgz "We don't always
do what we like.
Sometimes we do
what we don't
lik^Tchuse it's
some&Mng that
you have to do."
lyiiiiir
ROYAL TRUX WAS BORN IN 1987 AMDIST THE INFAMOUS AND
notorious career of Pussy Galore. NeiL Hagerty and Jennifer
Herrema's first collaboration, entitled "Fix it", appeared
on the Pussy Galore album Right Now, and during'Neil's
disappearance from that band, the first eponymously titled Royal
Trux album appeared. Drag City Records was formed around their
second release, Twin Infinitives, an album that is as dense and
difficult as it is rewarding. A second eponymous album followed,
recorded for a mere $150, and in 1993 Cats and Dogs was released,
indicating the band's move towards a fuller and more conventional sound. Royal Trux's latest release, Thank You, finds them
signed to corporate spectre Virgin Records and operating as a
full band rather than just as the sole expression of its enigmatic   founders.
We called Royal Trux at their Virginia home and spoke with
Neil Hagerty. Talking to him left us with the impression that he
could only express half of what he was thinking, that he was
jumping around from idea to idea due to the limitations of language. Neil seemed to be the kind of person for whom language is
not   a   wide   enough   means   to   express   his   ideas.
-mHHHHI
y»wi#r
interview by tester & siobhan
Discorder: What is Royal Trux?
Neil: It's the name of our band.
But isn't it more than that? You said Royal Trux was a ride, a trip.
When did I say that?
In the numerable interviews that you gave.
Ahhh, I must have had a lot of coffee or somethinq. I mean, whatever, did you
■/""N get that film?
The What is Royal Trux? video? Yeah.
^ 'Cause that's a joke, it's like, just a band. These days you need a justification just
to play music so you have to make up a lot of crap.
j^ Are you bothered by people constantly talking about your
deconstructionist take on the Rolling Stones?
It's better then saying that we aped them   At least for my own ego, so people
realize we are not mindless rock.
You actually got* to meet Keith Richards didn't you?
Yeah, I met him briefly. He just comes off totally real, which is admirable. He's
.. just this British guy who undertook making millions of dollars playing American
blues music. And it's so preposterous, he has that air about him. It's so ridiculous,
^ he constantly has an amazed look on his face. He can't believe all the stuff that
is going on around him. It was really weird I pulled out a cigarette and the
hhm* minute he saw an unlit cigarette he whipped out a lighter. He would light every-
™J one's cigarettes for them.
^% He was a gentleman.
Yeah, he was, he was very polite. He's got this Britishness about him, but he
Vsw*^ looks like some god awful bum from New Orleans.
What's the function of a full band in
Royal Trux?
Well, now we've trimmed down from five
members to four. Everybody in the band has
their job to do and you can't mess with the
other person. The idea is to have a band
where everybody is equal. I think with a lot
bands it's usually just one person. I mean, we
[Neil and Jennifer] write the songs and that's
the only concept of the band, basically. It's
like this is the band in which we write the
songs and not the band that dresses up like
martians. And that's it. We had this other guy
who was playing percussion, but his was a
light contribution and he wasn't carrying his
weight as an equal member, so instead of
changing around to accommodate him, we
jettisoned him. Jennifer and me, we've always
been equal - that's why it's always been the
two of us. It's been hard to get people into it,
because they're always third or fourth members   The function of the band, to me, is a
G-—nmmmsmmsapmfmmmmmmmmmmmmm
metaphor for different social arrangements. That's when it really works well. In jazz a lot of the times it's really equal, but in
rock it's generally hierarchical. We don't want to be like that.
In your live shows do you strive for spontaneity?
Do you try to fuck things up a bit?
No, it just happens. That's the way we write the songs, where
everything is sorta planned out. But once we're on stage everything just kinda goes, it's sorta like striving for spontaneity is
an oxymoron
But you're free to move around within the songs.
It's weird, we just did a TV show in England and it was live
and not lip synch. They were talking about it like it was a
good thing, how they let you play live, and I was like, 'Oh
man, we'd much rather lip synch.' It's so much easier because
all that matters is how you look. And that's the important thing
on TV, especially in pop music in England. They couldn't believe I said that, but the truth is we couldn't have done it because our music is so...what's on the record would be almost
impossible for us to play along with perfectly. The beats move
around a lot in the songs.
It seems to me that Royal Trux does have an aesthetic of sorts, though it's not the same, and ifs not
consistent.
It's not consistent in terms of how we present ourselves. Materially, it's really inside, the things we like and don't like. But
that's not all that generates the things we do. We don't always
do what we like. Sometimes we do what we don't like 'cause
it's something that you have to do.
In a lot of the songs you do the words aren't completely distinguishable, you can catch phrases here
and there. Is that a desired effect?
Well no, it's a process. All the songs are written so we can
sing them from the paper with an acoustic guitar and feel
comfortable with it. Then Jennifer takes it over, and when she's
singing she starts changing the song. She phrases it differently
and sometimes she changes words to fit the music as it changes
during rehearsals. But at some point it has got to seem real. I
mean, when you hear "1 8 and Life", the Skid Row song, the
desired effect of that song is to project a real face and to touch
this mass. We like to work the other way, to let a mass communication concept touch us inside. It's all external input. We
don't have a desire to project - the concept feeds into us, and
then we take it and it just turns into music. But it's two levels,
and that's why we did covers, like the Peel Sessions. We did
the theme from MASH for the first one, and we cut out a verse
'cause it seemed stupid. We both sing, and that's real cool too
'cause the lines feed off each other and are interweaved in
different ways. But we're not trying to be purposely obscure.
It's really frustrating - to use "18 and Life" again, that song
seems so direct, but really in the end it leaves me so empty
We have an aesthetic based on that contradiction: When you
look at it closely, if it's a person talking to you it's hollow, yet it
f6   April 1995 feels so good.
The -words function to propel the music along.
Yeah, and yet that guy Sebastian Bach can lean forward and just say them with
such conviction! Jennifer has a lot of conviction in her voice. I try to, in the tone of
my voice, [but] I rely on that contradiction more. I don't quite believe in what I'm
saying. That's why she's the lead singer, because that voice is supposed to be
stronger. But in the end our songs on paper, the acoustic demo versions of the
songs, all make sense. They're not about trying to reach out, they're about what's
reaching in to us from the outside.
So you're internalizing?
Yeah, what is possible to internalize. Like, I was on this plane and these guys
were getting drunk and they were hassling the stewardess. It was really annoying, yet I felt like a wimp. Everybody who flies coach, it's like a manly thing to do
'cause it's sort of dangerous or something. So, I don't know, I might write a song
about that, but it won t have anything to do with the actual situation. It's just that
feeling. Rather than saying when you're eighteen it's like a jail sentence, yeah
that's a great idea, let's write a song about that and speak for all those people -
we would never want to do that. But people are always thinking about us as
being willfully obscure.
It was (producer) David Briggs' idea to record you guys live, wasn't
it? And it was your first time doing it?
I think so, but in a lot of ways all our stuff is live, even though it happened at
different times. David totally controlled the recording process. We were there, but
after a while we got so bored because he was moving all the knobs and we left.
We came back and heard it and it just sounded like us. It was great.
Why did you call the album Thank You?
It's this story. We went to get our car fixed and when you pay, you gotta pick it
up, get the keys, and you don't see anybody. Then you go into the car and they
have this little card in the visor and it says 'Thank you' in these nice letters. So it
was kind of detached, like when they put all these stickers over everything - 'We
sincerely apologize for any inconvenience'. Super polite corporate fakeness.
Or when you rent a video and there's a happy face that says 'Be
kind Rewind'.
Exactly. And then if you don't they charge you. It's the 'Have a nice day' deal.
What's the song the "Sewers of Mars" about?
It's about vulnerability to spiritualism and superstition and lottery. If someone's
from the sewer, if this person is so low, they're from the sewers of mars. It's
something that happened to me: I met this person, his wife died of cancer, a
prolonged, protracted disease. And then this woman, she was a medium, she
glommed on to him. I went to their house to party with them and he had this cane
in the corner that his wife had left from when she left the hospital and finally
passed away. So when I got wasted, I picked it up and he got really hurt. I guess
it mentions that.
Do you see any bands around that have been influenced by Royal
Trux?
No, not yet. There's a problem with our earlier records, it gives people the wrong
idea: Do a lot of drugs and you too can do this. **"*
It seems that you dismiss your earlier albums.
Yeah, I guess. In terms of putting out a record, you go through all this stuff and
everyone asks you about it, so the thing that is good for me to do is to dismiss
those records and concentrate on this record. 'Cause I'm really just promoting this
record. That is the truth of the matter; it's the only thing that matters. The reason is,
I don't want anybody to gel the idea that we demand that you know our complete
library. You only have to get this record because you like this record. I've been
going out of my way to try to dispel all this arty bogus myths that harbour around
us generally. We've always just wanted to be a band that makes interesting
records that you can keep without them dying on you.
Who's Yin Jim that you mentioned on Twin Infinitives, in "Yin Jim
Versus the Vomit Creatures"?
It's a psychic detective thing based on an Algernon Blackwood character named
John Silencer. I'm really into comic books.
Are you into '20s pulp fiction?
I justlike a good tale. That ["Yin Jim Versus the Vomit Creatures"! was just an
idea, his assistant is the bones of a dead coyote, the Indian spirit, the scavenger
spirit, and he reanimates the bones of a dead coyote. It's a cool cartoon image.
It's about one of his adventures. Again, there's an actual story behind it, but I just
made a bunch of sounds. And everyone's like, 'Oh yeah, you're so weird.'
That's great that there's a whole scenario built up.
I wanted to make a movie out of it, but movies are really expensive to make. I was
shocked. Koretzky at Drag City [Records], I'm waiting until he can give me $20,000
to do a gunk version of it, mostly computer animation and live interaction. But
that's probably way down the line. The music guys are always doing that, flopping like crazy in movies. Did you see that Perry Farell movie?
No.
God! I didn't see it either, but I saw it on the video stands and I read a review of
it. It sounds really stupid. It's all about drug addiction - it's a street movie. All the
record company people are street this, street that, the kids this, and kids that.
"For us this is really stupid. I hate
making stupid ass videos. I hate
videos. I don't even watch MTV."
I guess they're worried about their cred or something
like that.
Oh yeah! They're all humpbacks. We're going on tour and we're
taking a bus and they were like, 'You guys have to tour in a van
'cause you gotta be indie,' and we're like 'Excuse me, but we've
been doing that since '85. Now we can afford it, so please! Every
two bit country band in the fucking universe takes a bus on tour the
first time they get to go out.' But it's [the label's] credibility that's at
stake - 'We don't want to be known as the label that spoiled this
perfect thing' - and it's not the issue at all.
Can you conceive of Royal Trux become really popular?
Oh yeah
And you have no problems with that?
No. We're going to tour all the time. Bands need to do that, to
compete basically. That's probably why I dismissed the other records,
because we were not competing. Now I see the Billboard chart as
competition. That's more my approach to the record, 'cause then I
can look back at my other records and say I've already explored
dark corners of the psyche. I just want to reach a wide audience
through these products. [But] for us this is really stupid. I hate making
stupid ass videos. I hate videos. I don't even watch MTV. They saia^
'Well you have to!', so I was like, 'We'll do a five record set only on
vinyl exploring the harmonics of C and G.' But I don't want to pull
that kind of thing. I hate it when popular artists do that kind of thing,
because it ruins people's enjoyment for the artist's own sake. It seems
like a cruel thing to do. That's why I love Madonna, she never does
that. Her idea or art is movies. She knows her job.
Can you see Royal Trux existing in ten years?
Yeah, forever, 'til we die.
That's a beautiful thought.
And sell a lot of records. We're just going to do this commercial
phase for a while.
Do you perceive yourselves, as being in a commercial
phase?
Oh yeah, the minute we signed. Before we made records for a very
limited audience. Maybe some people got suckered in because of
the press or hype or whatever rumour, but, now that we're on a
major label, people expect to get what they want in the record store.
They don't want to be ripped off. People really do work hard for
their money. So now what we do, I can't really describe it, but it's
something like a bubble bath or something nice. A nice car or what-
mmmm
Mim:m0
Do you feel that you are dealing with a fickle a-jdience?
Yes. No. Fickle? Yes. I think audiences are very fickle  It takes a lot to
please them. I think they know what they want.
"So no^Nfhat
we do^kcan't
really chSscribe
it, but iV&some-
thing^Jtfj^e a
bubble bath or
something nice.
A nice car, or
whatever."
fp $m&mm by grant lawrence
"Our,
:onhn
"Paul peed in Dhani's mouth!"
"No he didn't!"
"Ya he did!"
Such is routine conversation for North Vancouver teenage punk rock band d.b.s. Formed in 1992 when the members
were a mere 12 and 13 years old, d.b.s. is made up of four sprightly young punks brimming with cocksure adolescent
confidence. Jesse, 16. sings; Andy and Dhani, both 15, play guitar and bass respectively; Paul, not present at this
interview (something about a detention), is 16 and plays drums.
Though d.b.s. has only been in existence for a relatively short time, the band has gained a certain notoriety in this
town, both for the band members' surprising youth and for their catchy, energized brand of hardcore, most easily
compared to the likes of California's current crop of punks Rancid, Face To Face or Green Day. The band has built up a
steadily growing legion of fans with their many local shows, and now, with local label Nefer Records behind them, they
have been able to release their suitably titled debut CD, Tales From The Crib. (Previous releases consist of two self-
produced and hard to find cassettes. Lighten Up and Catch 22.) - check this!) While the title is an obvious play on
words reflecting the band member's ages, d.b.s. really do emanate a sense of good, honest, juvenile fun (albeit highly
organized). They love to play, love to tour, and all are very excited about their new album and ready to take on the world.
As much as they'd like to be full-time musicians,
all four members of d.b.s. are currently in mid-
swing of their high school careers at Argyle Secondary School in Lynn Valley. They are. to say the
* least, a fashion anomaly in their school's hallways, due mostly to the fact that they change
the color of their hair almost weekly. And though they mostly
seem to despise their high school, they have managed to find a
few positive attributes. According to Jesse, "Agyle's OK 'cause
there's not that many fights there."
"And," adds Paul, "we don't get shit-kicked for being so funny-
looking. It's full of preppies and jocks."
"We have rugby at Argyle," says Jesse, "but they're all scared
of us 'cause they think we're queer!" Fittingly, he happens to
be wearing a shirt with the words THE QUEERS: Fuck you!' written across it in big, bold letters.
"Yeah," scoffs Andy, "they think we're gay and we're gonna
have sex with them or something!"
What with scaring rugby players, releasing records, touring,
appearing on national television and attracting hundreds of peo-
pie to their
shows, on
e wo
uld think th
t d.b.s
would be c
onsid-
ered celebri
ties withi
1 the
microcosm
ofthe
r high scho
b1. Ap-
parently not
as Jesse
exp
dins: "Our t
eacher
don't care
about
d.b.s. In fac
t. it seem
S no
one at our
school
:ares about
d.b.s.
They don't t
ake us se
IOUS
y, and then
they'll
read an int
erview
like this or
they'll si
on Much Music a
nd  have  a
reality
In 1995
unk rock
isb
g business,
and bar
as like Ore
tn Day
andtheOffs
prinq are
able
to make lot
ofmor
ey from the
ir own
music without having
to m
aketooman
y comp
omises. So
if the
punk rock rr
oola trai
too
ted for d.b.
. to cli
mb aboard.
would
the four students consider dropping out of high school?
"Oh my god," sputters Dhani, visibly shocked at the i
suggestion. "My dad would kill me if I didn't finish high sch
With the mention of Ohani's father, I bring up another i
esting aspect of the d.b.s. machine: Often at their shows,
sees a handful of d.b.s. dads off to the side of the stage,
ing the band unload or set up.
"Ours dads help us out all the time!" boasts Andy. "In
they're building a practice space for us right now!"
good marks all my life, but now I'm doing something good that's
actually working out really well and my parents are proud of me.
Like, if Mame (Oamien - president of Nefer Records) calls up
and says 'I want d.b.s. to go on tour for spring break', my dad
will call the other parents to see if it's OK."
Like a permission-slip type of thing?
"Yep, we al! have to get permission."
As well as building a practice space and helping out at shows,
the d.b.s. dads also fix electrical problems with the band's equipment, take photographs, and have in the past lent money for the
purchase of guitars. But that's as far as it goes: when I ask if
things wil! ever get into Partridge Family territory with the dads
getting up on stage and singing with their sons, the suggestion
is met with gales of laughter. "Not yet, but maybe soon!"
Performing live, d.b.s. are a fast, extremely tight, explosive
ball of teen angst. They put on a competent show, being able to
deliver song after song while pogoing up and down and sporting
a sloppy grin or a raised middle finger. Visually, they stand out
from other young bands for the fact that they all wear matching
striped t-shirts, a trait they are quite proud of. "We think our
shirts are totally cool!" says Dhani. "We got them at Zellers. We
were in a battle of the bands and we thought it'd make for a
good presentation if we all wore the same shirts."
so we thought we'd need something really special to win over
the judges," Jesse adds.
"We were going to dress as women..."
"...but we thouqht they'd think that was sexy... or sexist? Or
something..."
"...and we thought they'd take marks off for that..."
"...so****we wore the shirts and won the contest!"
The first place prize from the competition was 15 hours of
free recording time at the hallowed Profile Recording Studio,
time which d.b.s. used to create their album 7a/es From The Crib.
Recorded under the paternal producing eye of punk veteran Cecil
English (producer of, among others. D.O.A. and NoMeansNo). Tales
From The Crib is, according to Jesse, "the best sounding punk
rock album ever. Anyone who takes it home, I guarantee you,
it'll sound better than any other punk rock album that's ever
come out of anywhere! It's called Tales From The Crib and it's
— got twenty songs on there. It's a play on our age and it's a play
on how hardcore we are coming from North Van. 'Cause you know,
the 'crib' is like the 'hood'."
Huh?
"C'mon! It's like the home-boy term for house," explains Andy.
"It's like, 'Yo, come crash at my crib! Word up!'"
Sensing my hep deficiency. Dhani comes to my rescue and
gets the conversation back to the subject of the recording session and Cecil English. "We learned a lot working with Cecil
English on our album." he says. "I've learned more about music
from Cecil than I've ever learned before."
"Cecil also tells some of the best stories you'll ever hear."
adds a giddy Andy. "But I don't know if we should talk about
tha..."
"I know one," interrupts Jesse. "Cecil likes to tell the story
about the time him and Art Bergman were at a party and it got
busted by the cops, so they ran down the stairs onto the street,
right into a cop car! So then Cecil decides to kick the shit outta
the cop car! He ended up breaking his ankle doing it, 'cause he
thought he was wearing army boots, but he was wearing sneakers!"
Obviously, a great union was made when d.b.s. and Cecil English came together for Tales From The Crib, and the proof is in
the pudding. With twenty tracks clocking in at just under forty
minutes. Tales From The Crib is filled with fast and furious bursts
of cherubic punk rock which, lyrically, deal with anything and
everything from the cute chicky-chick in history class to the end
ofthe world as we know it.
"Our music is very diverse, subject-wise," says Jesse. "We
have songs about cute girls and we have songs about the violence at the 7-11 in Lynn Valley."
"We have three songs about our 7-11 situation." explains Andy.
"We're from the hard streets of Lynn Valley. North Vancouver,
where there's a lot of urban violence around the 7-11."
"It's been happening for a long time" continues Jesse. "My
mom used to be in the Smiling Crabs. Anyone from Lynn Valley
would remember the Smiling Crabs. It was in the '60s, they'd go
down to the drive-in movie and beat the shit out of everybody!"
"We've got lots of songs about all the racist and homophobic
fucks that live in North Van. Like, everyone who goes to our high
school is white - well, there's Asians, too - but basically there's
about two black people in our school and that's leads to some
pretty narrow-minded people. That's what our song "Racist
School" is all about. Another song, "Snowball", is going to be
made into a video and it's about drugs. "Snowball" isn't an antidrug song, it's more the truth about drugs. It's basically about
getting addicted to drugs and how your life turns into a snowball, getting bigger and bigger and worse and worse. The more
you do, the harder it is to quit and the worse your life is going to
get. You end up losing everything if you can't control yourself.
It's about heroin, really."
We're Prom the hard streets of
Lynn Valley, North Vancouver
where there's alot oF urban
violence around the J-]}."
seemingly happy-go-lucky te
that kind of substance abusi
"No!" says Dhani. "It's
acid babies and hippies."
But according to Jesse. "
all c
, I wonder if d.b.s. is witness to
: their h.gh school.
t a bunch of potheads. A lot of
me ofthe rich kids think they're
Crystal?
"Crystal meth!"
Seeing the blank look on my face, Jesse once again translates the band's urban street lingo. "It's some sort of new wave
drug. People think they're hardcore cause they're paying a hundred dollars a gram. It's sounds like a waste of money to me."
With the conversation now turned onto the subject of drugs.
I ask the band about another subject I can never quite get a
straight answer on: Straight-edge, a controversial lifestyle often adopted by young hardcore fans, d.b.s., please help this out-
of-it guy and tell me what straight-edge is all about!
Seemingly exasperated, Dhani fills me in. "OK, I'll explain
this one to you without being mean to anybody. Straight-edge is
someone who doesn't do drugs and doesn't have sex."
And does this include any of the members of d.b.s.?
"NO!!!"
"There's a difference from being straight-edge and being
clean and sober," Jesse explains. "We may not do drugs or drink,
but we don't label ourselves with that and we don't preach it to
anyone. Those are our personal decisions."
Some hardcore bands have a rule that they will only play all-
ages shows, and one would think that d.b.s. would automatically fall into this category since they are all still well underage. But by some miracle, d.b.s. have actually been able to play
in bars like the Starfish Room and the Old American and have
no qualms about doing both all-ages and licensed shows. "We
prefer all-ages show." says Jesse, "but sometimes we play in
bars 'cause there aren't any other shows to play. Bars are nice
to play every once in awhile, but most of the time we try to play
all-ages so our friends can come. All-ages shows are more fun
and more people dance, but we don't make any rules. We're not
PC or nothing like that."
It seems like d.b.s. have been playing around town constantly
for the past few years, but. when prodded, one show stands out
in their minds more than any other: "The Rancid show!"
"The Rancid show was up there," says Dhani. "It was awesome. Hanging out with Rancid after the show was the best."
"Rancid liked us even before they heard us." continues Jesse.
"I brought my organ that night and Tim Armstrong (Rancid lead
singer/guitarist) said his favourite Bad Religion album was the
one with all the keyboards on it. And Lars (other singer/guitarist) was a funny guy. Every time we told him about how our parents drive us to gigs he'd say, 'That is so punk'."
While the Rancid show may be the highlight of their career
thus far. d.b.s. are more than willing to talk about some of the
wild occurrences that have taken place at all of the other crazed
punk shows they've played, including their recent gig with the
Oayglo Abortions.
"This guy climbed up on the monitors to stage dive." recalls
Andy, "and they were really wobbly and he fell back off the stage
and landed on his head. We didn't think anything of it at the
time - people picked him up - but I talked to the guy after the
show and he had lost his mind! He couldn't remember who he
was, or where he was! It was fantastic!"
"We also met someone with three nipples at that show!"
Jesse says. "It was this really big fat old guy who was really
stoned. All of the sudden he started screaming. 'I'VE GOTTHREE
NIPPLES! I'VE GOTTHREE NIPPLES!' and he pulled up his shirt,
and he's got one, two, three nipples, sure enough!"
"One time we were playing the American on Main St. and
there's this crazy French guy," says Andy, continuing in a thick
French accent: "'I love zee punk rock!' he says. We were sitting
in the van with my dad about to go home after the gig and he
came up to the van with a joint saying, 'Do you smoke ppttt? Do
you smoke ppttt?' And you know, I'm like, 'Oh. no no. You know.
ing). but there is also the fact that there has already been a
relatively successful southern American band who used the very
same letters, albeit in a slightly different set-up: The dB's (pronounced "dee beez") had several albums out in the '80s and
were often considered the REM. that didn't. The four members
of our d.b.s. are already well aware of this fact and are duly
concerned, but they're not losing any sleep over the name-game.
"We know about that other band, and yes, we're worried about
it. but we just have to make sure people spell it right: little d,
little b little s. with periods in between each letter."
Has d.b.s. talked to a lawyer?
"Yes, we have talked to a lawyer about it. But the main reason we have a lawyer is because we legally can't sign a contract (with Nefer Records) because we're underage. Our parents
can't sign for us either because they can't fulfill the contract.
Like, my dad can't record our songs, right?"
Right. So. for the time being, d.b.s. will let Nefer and "the
lawyer" deal with any such legal problems. In the meantime,
the band will be embarking on their first tour away from home,
a ten day jaunt (during Argyle's spring break) down the west coast
of the USA with fellow Vancouver punkers Gob.
"Yep," says Andy, "we'll all be in the same van headin' down
the coast! That is if Dhani's dad will let us."
"He will!" insists   Dhani. "But my dad wants one adult to go
"Seattle. Portland. San Francisco. Los Angeles and Disneyland!"
"Ooo, Disneyland's the best place in the world! Space Mountain - best ride ever made."
"Disneyland story!" announces Andy. "One time I was on a
family vacation to Disneyland back when I was a little headbanger
kid. My t-shirt said "Heavy Metal Up Your Ass" and Disneyland
wouldn't let me in! They made me take it off and wear a stupid
Mickey Mouse shirt! Fuck!"
Despite the fact that they're starting their touring career in
the US, d.b.s. plan to tour Canada this summer and. unlike some
local hardcore bands, they do believe in the scene, the bands,
and the kids in this country. In fact, they are quick to rattle off
lots of Canadian bands they love, such as the Stand GT,
Sparkmarker, Gus. Submission Hold, Ten Days Late. Strain, and
the Dunderheads (who's demo Jesse has recently finished producing), d.b.s. also love the 'zine-scene, citing Warm An Fuzzy
and Jerk as their favourites, the latter especially for asking questions like "Do you eat cum?". Not to be out done, and to keep up
with the times. I present the exact same sicko question to the
band: Oo d.b.s. eat cum?
"It's not a regular part of my diet," giggles Dhani.
"But." admits Jesse, barely able to control his hysterics. "I
think we've all been curious enough to take a little taste every
parents and everything,  right?  So he's says,  'Oh zorree,  I   zot
you smoked pttt!'"
"That's another thing," Jesse points out. "We make it a policy
not to drink before or during a show, 'cause we'd suck pretty
bad probably. We wouldn't have the energy."
"Drinking and stuff at shows is...not that great." admits
Dhani. "People think you're a drunken fool."
"...it can spoil a night pretty badly..."
"But if d.b.s. do drink we don't go around and advertise it or
anything, it's sort of more of a refreshment."
While drinking, playing in bars, and doing huge all-ages shows
may not be a problem for d.b.s., their moniker may prove to be a
thorn in their side the bigger they get. Not only is there the
question of what d.b.s. stands for (The band insists that the letters don't stand for anything and can't be expanded into three
words, but in the liner notes for Tales From The Crib they offer a
free t-shirt to whoever comes up with the best definition. In the
past, fans have suggested Dirty Bum Sucker or Drive By Shoot-
"It's SALTY!" shrieks Andy.
At this point, the interview deteriorc
of toilet talk, with one too many a t<
agers: Still young enough get away w
ronic, d.b.s. laugh, fart and burp their
punk rock, equipped with a new albui
for d.b.s. touring Canada this summi
that, and the summer after that. At
growing, d.b.s. could be around for a
As the kids would say. Oi!!
Nefer Records: 1027 Davie St.,  Suite
Vancouver. BC.  V6E    4L2
-ito j perverted round
■ing so playfully mo-
out into the world of
t will hopefully pave
nore records. Watch 9^    M.k*     HU<f»^^
I first heard Mary Lou Lord on
one of those darned cool Ki
Rock Stars compilations. She
sings a song called
"Camden Town Rain" that is
so beautiful and sincere I listened to
it over and over again until I knew
the words off by heart. Since then,
she has put out a seven inch (also
on KRS) with two rockin' tunes
("Some Jingle Jangle Morning (when
I'm straight)" and "Western Union
Desperate"), accompanied by such
superstars as Donna Dresch, Tobi
Vai, and Kathi from Bikini Kill. More
recently, she has released an eight
song EP that features mostly just herself and her guitar. Can you say Do
It Yourself? It seems Mary Lou taught
herself the definition. I had a chance
to speak with Mary Lou and her tour
driver, Jason (who is also half of Slo-
Mo Records), when they stopped in
Vancouver during their recent tour
with Elliott Smith of Portland's
Heatmiser. It was an pleasant, informal chat, despite the smoke and
noise backstage at the Starfish
Room, and though I had originally
planned to ask Mary Lou about that
whole sordid ordeal with Courtney
Love (see last month's DiSCORDER),
I found her so interesting and cool
that I didn't want to bring gossip and
hatred into the interview. Instead, we
talked about busking, indie rock, the
Olympia scene, and, to start things
off, her tour and the South By Southwest convention.
Mary Lou: Elliott's playing a show
with Tsunami [at South by Southwest]. I'm just gonna bum rush the
sidewalk there. I do a lot of performing in the street, and in the subway.
I prefer it over gigs. There'll be lots
of activity going down, so hopefully
I can drag a few people out to the
street with me that don't usually get
to play acoustic in that kind of a setting. I did it a* the YoYo a GoGo
festival in Olympia last summer. Lint
from Rancid was one of the participators and we had a really great
time. A lot of people saw a different
side of Lint. That spawned an idea
that Lint and I do a 7" single together, so that'll probably be happening in the next month or so.
I actually saw you busking
outside at YoYo a GoGo and I
was so glad I got to see that,
since I didn't see you perform
inside...Anyway, I remember
-wondering if you had a per
manent home or if you were
always moving . . .
ML: It seems like I am, but my permanent home is in Salem with my
parents. Because I move so much
that it's ridiculous to have an apartment. I hang out in Boston for a couple of months and instead of paying rent I'll buy a plane ticket or two.
It's been beneficial because it's a lot
cheaper
and it's
been good
for me to
play by myself and pull
it off. I can
just pick up
my little amp and go wherever I want
and play to different people in different cities. If I had a band it would
a lot more financially difficult. But I
do want to stay put now because
I'm ready to commit to a band.
Where are you going to stay
put?
ML: I think I'm going to either move
to London or stay in Boston. This guy,
Nick Solomon, who basically is this
band called the Bevis Frond, lives
in London. He's sort of like the
"mom" while his wife goes out and
works. He's got a little girl and he
takes care of her while writing songs
all day. He can't really leave, so
what I think I might do is go to London, write some songs with Nick,
come back to Boston, get a band
together and tour. Or record. I don't
know.
"I can just pick up my little amp
and go wherever I want"
Did you spend any time in Olympia?
ML: I did. I lived in Olympia for a
year
Is that how your Kill Rock
Stars 7" came about?
ML: No, I had met Kathleen Hanna
over the phone through a friend of
mine. My friend said, "Talk to
Kathleen, she's in Bikini Kill, just say
hi"   So I was like, "Hi Kathleen, I
don't know you, but hi." Anyway, a
bunch of time went by, and I was at
this really horrible little party in a
suburb of Boston. There "Were about
eight people at the party and everyone was miserable. I was really
drunk and I went up to this girl with
wacky hair and an insane presence.
I started playing with her hair and
she pulled me into the bathroom and
she had a
wig on
and when
she took it
off, she
had these
long beau-
t i f u I
braids. I said, "Well, why do you
wear that?", and she's like, "Cuz it's
fun." I said, "Who are you?", and
she said, "Tinuviel", and I said,
"Where you been, Tinuviel? I never
seen you around", and she said,
"I've been in Olympia." So me in
my pompous drunken state said,
"Oh, Olympia, I know some people
in Olympia." She's like, "Who do
you know?" And I said, "I know
Kathleen from Bikini Kill", and she
said, "Well she's on my record la
bel." I was like, "Oh my god, you're
Kill Rock Stars." So I said I was Mary
Lou and I play in the subway. We
left the party and went to her house
and hung out. We ended up hanging out that whole summer. Then she
moved to Seattle and said, "Mary
Lou, I'm really lonesome for your
voice, will you make me a tape?"
So I made her this tape on a boom
box of just a bunch of songs. She
said that she had played it for Slim
Moon (her label partner) and that
they liked this one song and wanted
to put it on a compilation. They took
it right from the boom box and put it
on the compilation and it's kind of
the song that doesn't really fit in. My
friend Mary and I drove across the
country to visit Tinuviel. We all drove
down to Olympia and met Slim, who
became one of my best friends. He
asked me to move to Olympia because he wanted me to get out of
the subway. He was really concerned about the fact that I was hav-
trouble writing songs, cuz I
would play every day for eight
hours, but I wouldn't write songs. So
I moved, and while I was living
there, I met Kaia who was in
Adickdid at the time. I introduced
Kaia to Donna Dresch and they became Team Dresch . . .
So YOU are responsible for
Team Dresch?!?
ML: Well, Kaia and Donna had been
writing to each other before, but
when I brought Kaia up to Olympia,
I said, "Kaia this is Donna, Donna
this is Kaia", and all of a sudden
light bulbs went off in everyone's
head. And then Jody came in to the
picture, and they were Team Dresch,
basically. It was just so cool, everything overlapped. It was about a
year that I lived in Olympia, so urn,
that was to make a short story very
long!
Here in Vancouver, we're exposed to a lot of northwest
music and a lot of us seem to
idealize Olympia as being this
perfect indie world. Is it as
nurturing and accepting as
we'd like to think, or is it cliquey too, as some have said?
ML: I can't really explain it, but it
means a lot to them to live in Olympia. They're very precious about
20   April 1995 their scene, so I was fortunate that I
was welcome before I got to Olympia. People had already heard some
of my music and I didn't have to
prove anything to be accepted. But
I know a lot of people who have
gotten very frustrated because they
haven't been included in whatever
the hell "scene" they're talking
about. I haven't had a problem, but
I've seen other people shut out by
people involved in bands. Why, I
don't know. If I can learn something
from someone else, I would never
disinclude them - I'm too old for that.
How would you define "indie
rock"?
Jason: I think what separates it from
major label rock is that, number one,
just numbers - you don't sell 5 million records in the indie world. And
two, it's a sense of community, that
whole do it yourself kind of thing.
That DIY punk spirit, whether it's true
old school punk rock or something
completely different. I guess it all
boils down to attitude.
ML: I think that if you hear something and wonder if it's indie rock
or not, a way to tell is if it's not smothered in bullshit - if there's a certain
honesty about it or something that
just doesn't quite fit in. It's hard because it's art and you can only perceive it in an individual way. You
can like what you like, and you
shouldn't have to worry about what
other people say. I don't give a shit.
What is the song "His Indie
World" about?
ML: I kept getting these compilation
tapes from these boys from around
the country. They didn't know each
other, but the tapes all had the same
bands on them. The same songs
even. These tapes would arrive in
the mail, and it was like, "Damn.
There's the Silver Jews again. There's
Butterglory. There's Sebadoh, and
Sentridoh, Doug and Lou and
Calvin." It was really weird, you
know, all those indie boys with their
four tracks, (laughs)
Do you have any favourite
indie boys, or girls?
ML: There's this guy named Ryan
who has this band called Tipili in
Boston. Ryan is my favourite indie
boy. He works at Newbury Comics
and he writes all these great songs
and is addicted to his four track. His
life is an indie world. I guess he was
the person I had in mind when I
wrote the song.
What did you do before you
busked?
ML: I was a disc jockey for four years
when I was thirteen until I was
tee.n. When I started, I wc
asked to cover for a friend who
owned the station while he
went for lunch. I had to do
a show right there, on the
spot. I knew nothing about
music - I knew Jethro Tull,
Cheap Trick, and The Who
- so I was forced to find out
really quick. I had a wacky
show, I was playing BeBop
Deluxe back to back with west
coast pop art experimental band;
I was thirteen, and there would be
these older vinyl geeks calling up
pumping me for questions about the
bands, saying, "I really liked the way
you played such-and-such back to
back with such-and-such." And I'd
belike, "Well, it was under 'W'". I
just started at the A's and went
through them all. I did that for four
years until they brought in playlists
and decided the format was to be a
hardcore station. I refused to play
the music they wanted me to play,
so I would write down that I was
playing hardcore stuff, but still play
the same music I used to. I got
caught, and at this huge station meeting they said I was going to be "let
go". I got so mad and stood up and
said, "You know, you people have
absolutely nothing to do with how
the music get made. If you're gonna
follow playlists like that then you
might as well all be monkeys. I'm
not gonna spin that vinyl, I'm gonna
make what goes on that vinyl." I
went to Berkely for two years with
the intention of majoring in music
production, but I couldn't get into the
major because of all this political red
tape so I moved to London and found
this School of Audio. I was living in
a squat with no heat, so I would take
my homework to the train station and
watch this kid play. One day he
asked me to watch his stuff while he
went to the bathroom. I picked up
his guitar and played the three
chords a friend had taught me, and
someone threw a pound coin into
the case. My calling was born, and
the next day my parents wired me
money and I got a shit guitar and
practiced every day. When I returned to Boston, I was looking for
a job and
in the subway and thought maybe
I'd try it just once. I went home and
got my guitar and never stopped.
Over the course of time, I would meet
journalists and dj's and just people
who picked up on the fact that I was
playing really weird covers. I made
friends when these people would approach me and I knew that they were
thinking, "Oh,
you suck, but you
are playing my
favourite song."
Is it true you
have a
songwriting
deal with
BMG?
ML: Yeah, it's a
publishing deal,
which is weird
cuz at the time I
didn't even know
what publishing
was. I met
Margaret from
BMG through
Slim because
Margaret was interested in signing Bikini Kill.
They didn't do
anything with
her, but, afterwards, Beck
signed a publishing deal with her
I thought it was really cool that she
would be interested in Beck because
his music was pretty much out there,
and I felt that I might like to work
with her cuz she was willing to go
out on a limb with someone like that.
Then it just happened that Beck's
record did really really well and a
lot of people started looking to
Margaret for the next big thing.
_hey wanted to know who else
she was working with, and
she said it was this girl
Mary Lou. And all of a sudden there was a lot of
record label interest. There's
kind of like label frenzy going on right now and I don't
really know what to do. But if
is EP does well enough on Kill
Rock Stars I might just stay with
Do you have any favourite
tour stories, or something
you'd like to add?
Both: Watch out for men with hairy
backs!
ML: We had a really good time yesterday. There was this very big man
with a very hairy back sitting in the
laundromat last night in the window.
It was very funny. We had our pic
ture taken with him: me and Elliott,
with the hairy-back man sitting in the
middle.
And with that, we said goodbye. A
little later that evening, Elliott was
sitting on a stool on stage with his
acoustic guitar, looking quite uncomfortable. His set was painful to watch
because he was so good but so ignored by the audience. The crowd
was obviously just waiting for Mary
Lou to take the stage, and when she
did, it was like a campfire, quiet and
warm. She played all of her recorded songs, as well as covers by
bands such as Big Star, Neil Young,
the Talking Heads, and Morrissey.
No one there was thinking "you
suck", but everyone probably was
thinking "you are playing my favourite song."
Mary Lou Lord Discography:
Stars Kill Rock compilation
Some Jingle Jangle Morning 7"
self-titled EP
to be released - 7" w/ Lint from Rancid
write mary lou @ Kill Rock Stars:
#41 8-1 20 NE State Avenue, Olympia WA 98501
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IN STORES NOW
2/ s^^f?^ 4 COURSES U CAN'T FAIL
Course No. V 101
Course Title: Royal Trux
"Thank You"
Course Oulline:
1. Ray O Vac
2. Fear Strikes Out
3. You're Gonna Lose
| Students will examine fundamental
I concepts of music from the release
'Thank You'. Cutting edge doesn't
^corne close to describing the essence of Royal Trux. Since joining forces in '85, vocalist Jennifer Herrema
and guitarist Neil Hagerty, the core of Royal Trux, have produced a nonstop stream of blues/rock indies. On Thank You, their fifth album and
major label debut, the band takes a dangerous step forward - then again,
this is the first time they've spend more than $600 to make an album.
ROYAL TRUX IN CONCERT
TUESDAY • APRIL 18 • TOWN PUMP
maids of mmm
Course No. V 201
Course Title: Maids of Gravity
Course Outline:
1. 20th Century Zen
2. Only Dreaming
3.. Play Inside
C
^■k, I  Students gain practical hands-
! on experience in the use of the
:  band's self-titled debut. Maids
j  of Gravity prefer to allow the
sonic chips fall where they will.
In the end, the listener is left with orbiting fragments of melody and
psychedelic dissonance that fills the skies like a meteor shower of guitar hooks. Emerging from the thriving underground LA scene, the trio
recorded the album in late 1994 with producer Matt Hyde (Porno for
Pyros), it blends guitar driven experimental rock with catchy memorable
hooks. Their sound takes on an even edgier, more urgent sound live.
Course No. V 301
Course Title: Drywall
"Work The Dumb Oracle''
Course Outline:
1. Highway Song
2. Police Call
3. New Blue Mercedes
I This course will introduce
students to the brilliant release 'Work The Dumb
| Oracle' from Drywall.
Drywall is the latest musical experiment from the fertile imagination of Stan Ridgeway. Raucous, disturbing, yet always entertaining, Work The Dumb Oracle is a dark, wild ride through the
urban underworld, peppered with the penetrating lyrical wit that
makes Ridgeway an utterly unique artist. Highly recommended
for those who have been getting far too much sleep at night.
school of music
Course No. V401
Course Title: Urban Dance Squad
"Persona Non Grata"
Course Outline:
Demagogue
2. No Honestly
3. Selfstyled
This is a refresher course in the
history of Urban Dance Squad.
The bands first two albums established them as rock innovators spawning the cult classsic "Deeper Shade of Soul." Bringing a
fierce array of funk, rock, and hip-hop to their fans, UDS serves up an
even heavier dose of industrial-strength grooves on 'Persona Non
Grata'. From extensive touring around the world with the likes of
Smashing Pumpkins, Iggy Pop, and the Breeders, UDS have already
cemented their reputation as an innovative force in modern rock.
■ HEAR IT NOW ■
To sample the songs in    |;|1M[^,H;Hh*|
the Course Outline call:   7qn.oooo
BB         YOU
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sour
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0280 - 135th St.                          589-7!
41 Yates St.                                   385-11
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Quayle,
Minister
Dan Quayle: 	
of Canada, which just had the, uh, President, uh, Clinton, up there for a, uh, address, and, uh, it's one thing that George Bush
didn't do....Mulroney did not invite him up. But
you now have a new Prime Minister of Canada
(Although the Secret Service did not mind the presence
of our camera, they sure as hell didn't want Mr. Quayle
answering any more "Canadian" questions. Hence, with the.
flip of a G-man's elbow, the encounter ended right there.,
.* * • • *• * * * T • • * • ••. • •." • • .*
■*. **. *••*••*•»*■• * •.
23 m^mm Interesting. Yep, that's about the most innocuous word I can think of to describe the raucous, alcoholic evening on the town I spent with local rockers the
many, an evening that was supposed to involve nothing more than a few quiet
beers and a reasonably professional interview.
UNFORTUNATELY, THF BAND'S BASS PLAYER ANDRF REFT US WAITING FOR OVER AN HOUR, and in that
time the remaining bandmembers and myself got a good atari on what turned out to be more than just a
few beers. A lot more. So be warned, readers, the opinions contained herein are those of some very drunk
punk rockers, the many is Wes, Joe, Andns and Steve. Wes sings, Joe plays guitar, Andre plays bass and
Steve drums. Fixtures on the local club scene for a few years now, the band has one CD out on 3ang0n
rlecords entitled 1 ,-•<-•■ \10riginally released in 1993, LeecWae recently re-released for the second time. "We keep thinking that if we re-release it then someone will finally buy it," quips Wes. "We're going to be releasing a new CD in '9& and
until then, we're gonna re-relea&e the I ,• *< *■< *blbum a couple of more times. We'll remix it a few times, with like dance beats
and stuff."
the many formed about six years ago in Ontario, moving to Vancouver in 1991 to further their career and, somewhat
less nobly perhaps, "for the pot".
"We all talked about it," says Andre, "and it boiled down to Montreal, Toronto or Vancouver. We just wanted to go to
a center so we could see lotsa shows more so than play them. Montreal was a bit too stuffy and divided, with the whole
English and French thing, and Toronto was too close. We kinda wanted to go really really far away and just do band stuff,
so we just tried to find the furthest point and it turned out to be Vancouver, 3600km away."
Although the band was willing to move to one of Canada's major cities, the fact that they probably hadto in order to
get anywhere as a band is something that irks them all. Having grown up in a variety of small towns - Andre, Wes and
Joe in Ontario and Steve in Saskatchewan and Alberta - they have been witness to and later became a part of some of
the hundreds, if not thousands, of smaller scenes that are. scattered all across Canada. According to Andre, bands in
these scenes "get no coverage and get nowhere, basically. These bands tour their asses off and work like crazy, but
there's no publicity to put the bodies in the clubs in the first place. Who's to say that there should be five major centers
and five major music scenes and the rest are scrapped? Some of the best bands in the world come from the smallest
towns that you've never heard of ever in your life."
Maybe so, but, given the geographic realities of this great land of ours, isn't it a bit unrealistic to expect national
coverage ofthe smaller music scenes?
"No, I don't agree with that," says Steve. "I don't buy that at all. If [Much Music] can have two idiots going, 'Oh, here's
the big nickel!' and driving across Canada, I'm sure they could stop here and there and get the local music scene. With
all the media, the satellite that's everywhere, the whole thing, I mean, that's bullshit to say that they couldn't cover
Regina or Saskatoon, 'cause I've lived there and there is a music scene going on there."
PINNING DOWN THE MANYS SOUND AND PUTTING IT INTO words isn't
something that's easy to do, and even the band members themselves are
reduced to spouting hyphenated cliches when asked to describe their music.
As teenagers, Joe, Wes and Andre were all fans of moody British pop groups
such as Joy Division and The Cure, while Steve cruised the prairies listening to the
likes of Death Sentence, Hiisker Dii and Government Issue. Elements of all of these
bands can be heard in the music the many make now, but it seems that when people
pick a band to compare them to that band is invariably Fugazi. While Wes does bear
a vague but oft-noted resemblance to Fugazi front-man Ian McKaye (as well as to
the lead singer of Catwalk), the comparison is spurious at best, as are most such
comparisons. Nonetheless, the many are fans of Fugazi's rnu-
- though not nee- — essarily of the mes-
goes with it. A
particula
I can sing through my asshole
belter than the lead singer of
the Offspring can.
Wes
specially
Fugazi's prohibition on stage-diving. "They're on stage and
they're like, 'No, YOU cannot stage dive.' That's just plain, flat-out fascism: that's
his opinion that he's imposing on you, that he's making you follow. He's saying one
thing and you don't have choice In it."
So do you li)e«age-diving?
"I don't believe in stage diving - period - unless the whole room is into it. You know
when it is and you know when it's not. And there's good ways to stage dive and
there's bad ways to stage dive. It still amazes me when some asshole stage dives
with like a total studded leather coat that could rip your face to shreds if he landed
the wrong way. Jesus Christ, what the fuck is going through your mind, man. I mean,
like you are out of your fucking mind to think that you're going to come out of that
and everyone's going to be okay?!"
Given their abhorrence for flying bodies, I was surprised to find the many are far
more understanding when it comes to the subject of flying tampons, specifically the
tampons that L7 threw into the crowd at the Glastonbury Festival a few years
back. "That's beautiful, man," chirps Wes when I mention the stunt. "It's woman-
"No it's not," I object, "it's foul. It's blood, it's blood, it's soggy, it's blood."
"Oh, I love that..." he says.
"It's disgusting," I counter.
"It's just symbolism," interrupts Andre. "It's the symbolism ofthe thing, ofthe
act. Yes, it's disgusting and I wouldn't want a tampon to land on me. I wouldn't be
happy if it hit me square in the forehead and just stuck there, BUT, the symbolism
ofthe action Is read, is still...like, the people who were there who were hit by the
tampons, I feel sorry for them, because that's just a drag - I could only Imagine it
would be a drag, BUT, on a world-wide scale, that reached everybody - everybody
knows about that concert, you know, and there's a symbolism involved there."
Andre never did explain to me just what I was supposed to read Into the symbolism of throwing used tampons, but it was just as well: not even the women I know like
tion and its related accesories for very long. Instead, we get
uslc, and Wes gives me his opinion of one ofthe many indie
ake it big recently. "I think that I can sing through my asshole
the lead singer from Offspring can. He's terrible, man.
i good singer at all, but he licks, man, he's
fucking terrible."
The door now open, the rest of the
band jump In and get a few things of
their chest regarding the recent popularity of punk rock. Joe is the first to
voice his complaint. "I don't like these
one year wonder bands that get on to
this big explosion scene because they have
one shitless song," he gripes.
"Green Day I can respect somewhat," Steve concedes. "Apart from playing at
Woodstock. That's kind of un-punk rock. I thought the whole early punk thing was like
hate hippies and hippies are full of shit and I hate anything that's peace and love,
and then there they are at Woodstock saying, 'This is anarchy.' I don't know, that
just doesn't go with me. But then again, neither do tight pants"
"I mean, bands that are like fucking 16 year old metal heads for four years now
realize that punk is the way to go are now screaming punk at the top of their lungs,"
says Andre. '"We are so punk, we are so punk!', but I mean, they do not have a clue."
the many have enough of a clue to know a band-wagon when they see one, and
they aren't about to jump aboard. Instead, they will continue to plug away and pay
their dues the old-fashioned way: to collection agencies. "Right before our last gig
at the Starfish I phoned my parents to say hello, 'cause they live in Ontario, and my
dad said, 'Hey, do you know that there's a private detective after your ass?' and I
said, 'Pardon me father?' and he said, "Yeah'. I rent to own my drum set from some
guy in New Zealand and he had phoned my father saying that he's gonna get a
private detective after my ass and when he finds me he's gonna take me to court
and sue me. Whenever a van goes by the front of my house I'm like, 'Oh my God', and
I have to pull back the curtains just to make sure it isn't like Forever Drums written
on the side of it..."
So while other bands may sing about life and death, you guys live it?
"I live it. We live rock and roll. We are a rock and roll band"
to talk about
back to talking about
punk bands
better tha
24 April 1995 I'M REALLY SORRY THAT THIS COLUMN
is so late. Of course, you wouldn't know
that if I didn't tell you, but I can't shake
this big feeling of guilt that I have about
putting it off, and off, and off. It isn't
that I don't like to read zines, and it isn't that I
don't think this is worth my time, but sometimes I can only imagine getting everything
done if every day was March 22, the day
that clocks spring ahead. I've heard that different animals run on a different clock, so if I
was a squirrel my day would run on a 25
hour clock and I could get everything done. It
is a challenge to fit everything into the 24 hour
day, but it is my favourite struggle. If it wasn't,
I would stop, right?
And from that little insight into the world of
Trish, I will smoothly flow into the world of
zines, which, if you think about it, are hand
done glimpses into each author's world.
B.U.H.#1
[5.5 X 8.5; 24 pages)
If you look closely at every zine writer, you'll
find a lonely person who pounds the keys or
moves the pen. That isn't meant as an insult,
but I do feel that it gives a certain insight into
the motivation behind the booklets: This kind
of zine is usually filled with little snippets of
what the writer likes: poetry, music reviews of
favourite albums. Each article aids in establishing a link between the writer and reader
based on what they have in common. Once
established, the author gets what she was looking for: mail (communication). When one considers all of this, it becomes clear why I have
a directory, not a review column. If you identify with the writers, you are going to like their
zine; if you don't, then you won't. It isn't a
matter of good or bad.
As with zine writers, if you look at every
avid zine reader, you will also find a lonely
person, someone in search of a connection.
And that is why, without knowing anything
about this zine, you will send a stamp to this
address: 627 1st St., New Westminister, BC,
Canada V3L2H3.
Geezuz #18
(8.5 X 11; 28 pages)
The theme for this month's Geezuz is tackiness. Of all the articles, I found the one about
the North American obsession with Hawaii
to be the most interesting, but the white trash
cookbook was a little too close to home. Also
included in this month's issue is a piece
about Stryper (the "perfect splicing of North
America's two tackiest institutions, Christianity and Heavy Metal"), more band in-   f
terviews, a series of revealing journal er
tries about manic depression, and an ex
amination of serial killers. Two dollars to:
297-810 W. Broadway, Vancouver, BC,
Canada V5Z 4C9.
Juxtsuppose #2
(5.5 X 8.5; 48 pages)
I have begun to use the expression "rocks my
ass" just a little too much lately, so I'm not
going to use it here. Let's just say it was definitely a sunny and shiny day when the new
issue oi Juxtsuppose floated into my mailbox.
I have respect for the authors of this publication, but the response that overwhelms me is
awe. I love this zine because it is jammed with
little bits of everything. It is as scattered and
cluttered as my mind, but I didn't do this to my
brain on purpose and I am amazed that anyone could do this deliberately. Sometimes my
awe turns into suspicion and I wonder if it
really is two people doing
this. It would make
more sense if "Billy" and
"Brad" inhabited the same
body - a split personality
would account for the patience and attention to detail that the creation of this
zine must require And you
know, I never have seen
this "Billy" person. Stolen
words, created passages,
amazing cutouts and
comics. Two bucks to:
P.O. Box 30007, Park
Gate P.O., N. Vancouver, BC, Canada V7H
2Y8.
Red Pop Revenge #2
(4.5 X 6; 60 pages)
A friend lent me this and said, "It's a travel
le/tour diary." Great, I thought, sixty pages
of someone ha<
Ninth Wave #4
(6.5X8.5; 70 pages)
A thick music zine from
Toronto, Ninth Wave
is celebrating its first
anniversary Some of the content really wasn't
too appealing to me at first, plus the font is
really goth, and I'm not. But when I put aside
my snotty little Miss Scenester attitude, I really
appreciated some of the stuff in here. These
people go for tea in fancy restaurants, do interviews with Kate Bush and Perfume Tree, and
review interesting books. I found an interesting piece on Mexi
S^ose
ZZ?*A*Z
mjt.
°*f>Mn
UlO/
days of the dead and lots of
cool pictures of people in black. Maybe I'm a
bit more into this goth thing than I thought. If
you want the zine, they do accept VISA. That
is scary, but it will reassure you anti-corporate
types to know that all the writers of this zine
retain their publishing rights. Send $5 to: 80-
669 Queen Street West, Toronto ON, Canada
M6J 1E6.
_ fun without me. Then le
tually sat myself down and
promised to read the
first few pages, at least.
Well,   I  couldn't stop
reading. Chad makes it
clear in the introduction
that this really isn't a tour
diary, it is a city by city
journal of what he discovers about himself and the
people he meets. His writing style is very well suited
to the monologue style of
this zine. In each city, he
finds some realization, and
with a very creative style,
he gives his observations
Send 50 cents and a stamp
to: P.O. Box 5504, Unit B,
Victoria, BC, Canada V8R
6S4
Roaring Fork Digest #6
(4.5 X 6; 6 pages)
My opinion of the author of this zine has
always been that he must be one messed up
kid; only this explains how he could produce
such a fucked zine   This issue is c
coherent than  usual - the sentei
make up an actual story. Don't ask me
for the specifics, after five issues of no
true story, I'm scared to say I really see
What if I'm wrong? We all read
hat we want into anything we pick
up. Anyways, to counterbalance this
new level of coherency, the story i:
in part a description of an acid experience. I think. I can't say for sure,
but that is the beauty of his style: YOU
JUST NEVER KNOW. Send a stamp
to: RR#3, Prince Albert, SK, Canada
S6V5R1
Schtuff #3
(8.5 x 11; 32 pages)
I like the interview with a pro-lifer included in this issue. It isn't very often
that people bother to even talk to pro-
lifers, and I can understand why: there
really isn't much to say. "I think you
are wrong." "Yeah, well, I think you
are wrong." The end. Still, I have to
give the author credit for trying. This
issue also includes a guide to dealing
with record labels, which could come
in handy when the inevitable happens
and I become label-bait Yea, just gotta
get that little "no-band" problem out of
the way and I'm in there! Another
installment of his gig diary Lots of music
reviews. Send two dollars to: 71 10
Westminister St., Powell River, BC,
Canada V8A 1C6.
Skull Gerk Ml
(5.5 X 8.5; 36 pages)
This is a very fast-paced zine with about
a billion things on each page. Comics, band interviews, stolen hints on
how to tell your teen is abusing drugs,
news clippings and stuff about the pope. Cool.
Send a dollar to: P.O. Box 22522, 300
Coxwell Ave., Toronto, ON, M4L 2A0.
Ucky Things # I
(7 X 8; 23 pages)
Some neat articles are included in this zine,
including "Cheap Fun", an interview with the
Astronuts, and an anti-computer schpiel. Send
two stamps or a dollar to: 162 Daly Ave #12,
Ottawa, ON, Canada KIN 6E9.
LIFE GOES FAST. MAYBE THAT IS MORE
true for some, but it definitely is for me.
Another day, another million things to
do. But before I go, I have some sort
of Public Service Announcement to make
Since the demise of Blast Records, it has been
awfully hard to find a central location where
writers can offer their creations. Well, the
boys at Vertical Addiction skate shop are volunteering to be that location. So now we have
the place and it is just up to us to put our
asses in gear If you write a zine, send them
some, or drop by with a bunch. And if you
read zines, go there and expect to find zines
If you don't, kick someone's ass. Seriously, it
is up to us. Vertical Addiction is located at
41 2 Main Street (at Broadway), Vancouver,
BC, V5T 3E2  Or call 872-2999
OUT S00NE& W SOON!
; Mint Records Inc.!
25 BS^SK^ I want everyone reading this column to TAKE
A LONG HARD SUCK ON THE CHEESY
END OF MY DIRTY FUCK-STICK. Not re
ally, but I wanted to say something to
arouse your attention. See, sometimes my
massive insecurities get the best of me and I
just assume that I pour over these
little records in vain. This may .
just look like a bunch of boring old words, but really it's a
fucking plea that you read
these words, acknowledge
some of these great records reviewed herein, find them, and
appreciate them. If you don't,
please partake in the all-capitals
request above
That demanded, let's roll witl
the first slice of 7" rock action fror
Vancouver's latest and coolest
rock'n'roll group The Tonics (if you
don't already know, the Tonics is a
potpourri of Vancouver indie-rock talent, featuring Nick from Bum, Ford "from
D.O.A., Scream from Zumpano, and Sandi
and Jen, the active remnants of Kreviss). The
Tonics' sound is fuzz-tweaked, definitive
rock'n'roll, wavering somewhere in-between
the Mummies and Huggy Bear, depending on
whether the vocals are from the guys or the
girls. Which brings up an interesting point
about the Tonics: they all seem to trade off the
lead singing duty on the vocal numbers, depending on the song, while some songs are
just straight-out instrumentals.
On this debut EP we are refreshed with
four bubbling gassers from the Tonics. There's
the kick-off "Ops and Downs"  (a Raiders'
cover), as well as the obligatory 'party track',
"Comet Caliente", plus two more, "Tilt-A-
Whirl" and "Catalina Del Ray" Generic song
titles yes, but that's probably on purpose. Simply, The Tonics are a great new local band
~" and this is a great new local record to add to
YOUR collection. (The
Tonics/Zap ruder
Records, 74 W.
Cordova St., Vancouver,
BC, V6B 1C9).
From a separate local camp is a new two-
band   record   from
heavies Rusty Nails
and Sludge.  Pack
aged  in a strangi
rubbery cover, thi
Club   Grotesq
Records'  first .
lease   since   th.
Vancouver CD
Rlotion of local bands On this record, Rusty
ails starts off with two heavy punk rod
songs which, at times, verge on Seaweedlike melodies. Unfortunately, a poor recorded representation hinders final delivery. Sludge delve even more into a noisy,
decadent fringe, delivering two more vexatious punk grinders. Some interesting back up
vocals are just about the only virtues that save
these tunes from being a complete mess. A
fairly good effort from Rusty Nails, but Sludge
are just that. (Club Grotesque Records, Box
56057, 1st Ave., Market Place, Vancouver
BC, V5M4S9).
Like polysorphine on a open wound, Girl
Afraid cleanses the punk bacteria and sets
my heart back to the "peace, sister" mode.
Girl Afraid are Ottawa's contribution to the
growing force of soft, ethereal fuzz-pop in the
world scene, much in the same likeness as locals Good Horsey or last month's review-ees
Gaze. This subtle seven inch spins five strummy
songs, showing off influences in everything
from the non-masculine male Pooh Sticks-ish
singing to the ever-present, Velvet Under-
md-patented, lo-fi swirl. Girl
Afraid ain't
altt-J
COOL STUFF
LeviSOI's   Cords   70's clothing
313 cambie street, Vancouver, b.c.
Ph: 669-COOI/669-2665
(Pop-Kid Records, 2-90
Charlotte, Ottawa, ON, KIN 8K2).
Moving on to the next review with nary an
effort of transition, let me say this: In the early
eighties, Elliot was the most famous name in
the world thanks to the work of Henry Thomas,
Steven Spielberg and a handful of nameless
midgets. In 1995, the title of Elliot has been
reduced to a moniker for a terrible, dysfunctional musical unit from Winnipeg. They have
teamed up with fellow Pile O' Bones natives
Banned From Atlantis for a four song
EP that is one hell of a rough listen. Elliot's
two songs are hard cases of caterwauling, aimless, cacophonic bullshit which
managed to waste ten minutes of my life.
Banned From Atlantis fare a bit better on
the flipside, taking a catchier, straight-
ahead punk route while delivering their
Sonic Youth-styled tunes. Negatively noisy,
but a good energy level. ((Fresh Bread, P.O.
Box 3, Winnipeg, MB, R3M 3S3).
Rescuing me once again from music
I dislike is The Surf Trio, a four
some from Portland, Oregon.
Regrouping after several years on
hiatus, the Surf Trio are back with a scorching two song single of premier rock'n'roll fe- ;
ver. The A-side's "Steamer" is a crisp, wild
surf (duh) instrumental, with none of that tinny,
brittle sound so popular with recent underground surf bands. This is a great, loud recording. The B-side continues on a high-note
with an excellent version of the Only Ones'
classic "Another Girl, Another Planet", making this slab a short, snappy, sensational sin-
ale. (Surf Trio/Pin Up Records, 21 34 NE 25th,
Portland, OR, 97212, USA).
From the often overlooked, bare-knuckles
rock scene of Spokane, Washington, emerges
Trench Records with two new releases from
The Flies and Boycott. The Flies' EP is six
songs of amateurish, speedy punk, hovering
in the generic but fun range of '77 punk to
early 80's hardcore and covering the soiled
guidelines set up by the likes of the Damned,
the Dickies or the Dead Boys. The Flies are
obnoxious, snotty, and in your face for the
duration of all six short blasts. Boycott are not
so fun, happening to be an all-woman group
pounding out heavy-duty politico-prog sludge
with an over-the-top "don't fuck with us" attitude. Judging by the photo of Barbie on their
front cover, the band s moniker, their aggressive sound and certain song titles ("Barbie Doll
Death", "Greed"), Boycott seem to be about
the violent rejection of a particular female stereotype. Certainly not the bag I'm in, but many
a furious female may dig. (Trench Records,
508 East Mission #4, Spokane, WA,
99202, USA).
Back on the idealistic fun-track, it's time
for the The Chubbies   new EP She's Your
Daughter, Sam. Simply stated, the Chubbies
are a band high on melody, low on fidelity, with many an undeveloped Rezillos undertone. This cool little record is crammed
f;    with five songs of bashing, strummy, light-
I     hearted punk rock'n'roll, an obvious project
I   of the no-budget variety. The Chubbies literally wear their influences on their sleeve, too,
as the front cover of this 7" features a couple
smooching it up, one sporting a Voodoo Glow
Skulls'  t-shirt,  the other a  Queers'  shirt.
(Kantzalis Records,  1034 W. I St., #173,
Ontario, CA, 91762, USA).
Said Chubbies' choice of clothing brings
me cleanly into my favourite single of the month
by a country fortnight. That's right, runts, it's
The Queers' new four-song smash from Lookout! Records. All four cuts are fucking stellar
stuff, from the Ben Weasel/Joe Queer collaboration "Surf Goddess" (also found on Screeching Weasel's last album), snapping into the
hot-rockin' Gruesomes-esque "Quit talkin'", to
the flip's incredible non-LP mix of the Tommy
James' classic "Mirage" (one of the best pop
songs EVER), and the snotty work-over ofthe
Undertones' hit "Get Over You". All together,
it's another Beach Boys-meets-the Ramones
punk nugget from Joey Ramone's favourite
songwriter, Joe King and the Queers.
For a musical shot of pop-punk
brilliance, get this 7"! (Lookout!, P.O. Box
11374, Berkeley, CA, 94712, USA).
More unpretentious power-pop purity to
close the month on a chirpy note comes from
Japan's version of the Partridge Family, the
very happy, very bouncy, very...good
Sunnychar. Yet another four song seven inch
(bands on a whole seem to be cramming as
many songs as possible on these things) that
showcases way up-beat fun, female sung pop
rock'n'roll, right up there with the super-likes
of the Pussywillows or Heavenly. Superchar's
high-flying harmonies, crunchy guitars and
snappy beats on all four tunes turn this into
another great, must-own record! Long live
worldwide pop music! (Shredder Records 75
Plum Tree Lane, #3, San Raphael, CA
94901, USA).
26 April 1995 bill  go
Honson Brothers. candy bars. America. God Bless
The night finished off with a Her.
super-psyched SNFU, who really A large mint-green hall in
came to rock this evening. SNFU Belltown was the destination, a
was my first non-laser/cannons- pilgrimage to participate in a
in-lhe-Coliseum show and I still celebration of music and dance
hold a great memory of that ex- (and dusty Value Villages). Drop
BETTIE SERVEERT
SILKWORM
Starfish Room
March 26, 1995
Bettie Serveert's debut release
Palomino has been one of my favourites since I heard it, and with
the announcement that Silkworm
was opening, the decision to go
to this show
lake. The First ti
.asyo
/ Silk-
is when they opened for
Sebadoh in 1993. They blew Lou
Barlow and co. away then, and
on this night it looked like they
would do the same to one of the
Netherlands' best exports since
clogs. Brooding as much as they
are rocking, Silkworm make a
craft of their song structures, building and building a song into varying degrees of frenetic energy,
and then gradually letting it waft
away. It's hard to tell how much
the rest of the crowd enjoyed Silkworm's performance, for the
spatterings of applause underlay
the fact that almost everyone was
at the Starfish Room for one reason: Bettie Serveert.
While they played their
jangly, country-tinged rock songs
really well, much like they were
on record, Bettie Serveert left me
a little underwhelmed (if that's ihe
word). Perhaps it was because
cause they didn't seem to interact much with the overflowing
crowd. Maybe on another night
with another opener, Carol Van
Dijk's strong vocals, or the lead
guitarist's Gibson+Turbo
Rat+Marshall stack = sheer bliss
formula would have left me with
a better impression of Bertie.
KEN JENSEN MEMORIAL
Commodore Ballroom
Friday, March 8
First things first about his night of
punk rock: all the bands on the
Unfortunately, I
performar
Commodore just as Mystery Machine were starting to play. I used
to enjoy seeing this band a couple of years ago, but this time
around I found their semi-lethargic pop-punk pretty uneventful on
the whole. It just didn't seem to
pick up and go anywhere, so I
went and sat back down at the
table and waited for the next
band. Backed up by John Wright
on drums, DOA. were up next,
playing next the always energized, classic old-school punk
that they've toured the globe with
for the past years. Following
D.O.A., the very talented Mark
Crirchley of Itch came out to do a
short solo set of classical-based
piano that I understood and enjoyed even more than when the
songs are performed by the
whole band.
As good as the music was up
to this point, the unmistakable
crunch of Mr. Wrong's bass
kicked off the set that was the
highlight of the night for me. For
starters, the reverend Wrong delivered his bass-and-vocals only
sermon while safely hiding behind dark glasses, captain's hat
and his self-celebrated priestly
vestments, making for a pretty
damn intense spectacle. Then off
came the collar and Rob Wright
was joined by brother John for a
few old, rhythm-section only
Nomeansno numbers. Guitarist
Tom Holliston soon completed the
line-up fc
songs
like "Now",  "The Fal
"Victory", but things still
weren't finished yet for these
guys: While Joe Keithley took the
stage to say some kind words
about his friend Ken Jensen,
Nomeansno headed backstage
to lace-up for their set of straight-
ahead, punk-rc
:e, but either I'
r this band has had a
change for rh<
that their sounc
gressively less raw over the years,
and I'm definitely not impressed
with the modern renovations, although I did appreciate some of
their old songs lhat I fell in love
with years ago on the very
dance floor.
Kudos to all the bands for volunteering their time, putting on a
great show and arranging For the
proceeds to be put to the good
use of buying smoke d<
BIKINI KILL
PHRANC
TEAM DRESCH
MARY LOU LORD
Sailors Union Hall
Friday, March 3
Who couldn't get excited about
a road trip to America? Pounding   the   grooves of the  1-5,
southbound to the land of equality, gun-toting lunatics and cheap
ting     your TV di
choke the societal forces which
bind you. Look out, Bob Barker,
this is the white trash revolution.
Ms. Lord began the evening's
blissful transgression with a deftly
sung set of whispering melodies,
casting sweet, hopeful tunes
which hushed the buzzing audi-
Lord's nonchalant stage
presence effectively o
Fully casual vocals over the skipping beat of her acoustic guitar.
Team Dresch were electrifying. Their current LP, Personal
Best, hints at the group's raw,
encircling power. The live show
takes it to another dimension -
glimpses of gender devastation,
of Kaia and
Jody y
(go to page 2° for more!)
i hock.
■y g°<
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$1 1.99 CD DISFIGURINES
Punk's Dead You're Next
(Rock star Records)
There's been a major change of
tides with bands both local and
abroad. It seems that every
group, no matter how small, is
putting out an album. Just take a
stroll through Sam the Record
Man's "Indie Street" and count
the thirty or so regionally released
CDs - it's mind-boggling. What
would have floundered on a
demo tape five years ago is now
seeing the light on compact disc.
Such is the exact case with
Kamloops pop-punk quartet
Disfigurenes. Finding themselves
with eleven songs, the band decided to record and release this,
their debut CD Punk's Dead
You're Next. But is the
Disfigurenes' music so amateur
that it would have been better off
as a demo? Have they dove into
the world of digital rock V roll
too soon? Nah, for shit's sake,
that's what DIY is about: shoving
your jizz down people's throats
whether they ask for it or not,
'cause some loser kids are bound
to like this, right? Right. With rhe
Disfigurenes album, the tunes are
beginner-stage punk rock in a fun,
naive way. Obvious influences
are anything on Lookout!
Records, plus the usual gamut of
anything    happy-punk.    The
cover of (tie Degrassi High punk
band's - was it the Zit Remedy? -
song which very aptly sums up
this group. The Disfigurenes very
well could BE the Degrassi High
punk band.
Overall, the Disfigurenes
show great initiative and promise on this debut. The guitar may
be a little quiet for a "punk" album, and the drums sound a bit
strange, but the sweet female
vocals come through strongly on
each song, making up for any
youthful musical shortcomings.
This is a cool, unpretentious pop-
punk album from some interior
kids who know what is up.
Grant Lawrence
VARIOUS
Skookum Chief Powered
Teenaged Zit Rawk Angst
(Nardwuar Records)
Covering the genres of pop-punk,
surf, lounge, etc., Skookum
Chief... has so many great songs
by so many different performers
that it's gotta be an early front-
runner for my favourite release of
the year. Some of the highlights
include the quasi-lounge stylings
of Harvey Sid Fisher on
"Mommy" and Joey Cheezee,
wilh his soon-to-be legendary rendition of "What Sweet Child O'
Mine is This?". Other personal favourites include the Evaporators'
"Higgle-Ly Piggle-Ly" - hear the
Evaps on CD ior the very first
time! - and Eric's Trip's cover of
the Guess Who's "If You Don't
Want Me". There are also notable contributions from the New
Bomb Turks, the Smugglers, the
Fallouts, the Tonics and cub, but
there are no bad songs here.
Not only a celebration of music, SIcooJa-m Chief... also contains great moments of Nardwuar
the Human Serviette on radio.
Included here are not only snippets of interviews with Timothy
Leary and Beck, but, on the extended-length compact disc, a 30
minute-long interview/performance with Thee Goblins from an
unidentified AM radio station.
This alone is worth the price of
purchase - mind you, to get the
compact disc and vinyl in one
package for around $10 is a
hard deal to beat, especially
when the content is so good. This
is Zit Rawk Angst for the masses -
check it out.
Brian Wieser
SELECTER
The Happy Album
(Triple X Records)
I  the
vith   r
works, Selector's inspiration stems
from the fight against racial tensions that plague their home, London, and other urban centers
cround Europe. The increasing
frequency of neo-Nazi activities
as a reaction to the assimilation
of immigrants into economically
hardened populations (especially
in Germany and England), combined with a trend in neo-Nazi
skinhead association to ska music, has provided ample fuel to
power the dissension from racism
and violence that is the spine of
Selecter's work.
Selecter's ska rhythms are
smoothed out on this album wilh
a generous weave of jazzy keyboard sounds and dabbles of
ragamuffin style. The result is a
very attractive and original blend
that at times approaches the
"cool" of acid jazz, without ever
compromising the original bouncing dance floor sensibility of ska.
Some really stand up tracks on
this album!
Kuan-Neng Poo
TEAM DRESCH
Personal Best
(Chainsaw/Candyass)
Team Dresch is made up of some
real live superstars, but I have the
feeling that the music these
women hove made together is
better than all the music they've
produced in their respective
bands. If you're a fan of indie
rock bands from rhe Northwest,
you might recognize Jody from
Hazel, Kaia from Adickdid,
Marci from Calamity Jane, and
Donna from everywhere.
Personal Best contains 25 minutes of pure Lesbionic Action.
Even if you don't feel like being
politically and personally empowered, you're gonna - these ten
powerful songs will wind and
twist their way into your head and
heart as fast as you can say yoyo
a gogo. These women are cool,
wacky, and proud of who they
are. And it's not just punk: It's ferociously intelligent and eloquent
songwriting combined with fast,
furious, and thoughtful musician-
Jody and Kaia share rhe job of
singing about love, oppression,
idols and Sinead O'Connor. "I
looked into the distance you said
all I know is what I see sincerity
not guessing at our own human
ity but I'm still driving up and
down 1-5 figuring what's fucked
counting on the difference between underground justice and
handmade luck" sings Jody on
"Fake Fight". Kaia's words are
just as poetic, as on "She's Crushing My Mind": "What I should
have been was way too possible
it's fucked up to think like this and
I'm waiting for her thoughts to kill
me only she's not having o
thought past thinking about why
she was born this way trying not
to forget her face before remembering anyway...".
This album moves and mesmerizes me so much that the olher
day while I was listening to it in
my walkman headphones, I almost missed my bus. And you
know what? I was standing right
at the bus stop. So take my advice: stop reading this mag right
now, go out and buy your own
copy of Personal Best (available
on disc and beautiful shiny 1 2"
vinyl), and most importantly, don't
miss that bus.
miko hoffmon
THE    RUDY    SCHWARTZ
PROJECT
Gunther Packs A Stifty
(Seeland Records)
This is one of those albums that
you get when you've never heard
of the band before, but it just
seems like it would be good. And,
of course, it turns out to be the
most brilliant piece of creative
mass to have crossed your path
since you dropped out of lhat infernal art school. This album is
just the kind of thing that puts us
one step ahead of our parents
It is also probably the only
chance you'll get to hear snorting as part of a jazz scale (in a
song called "Yodelling Satan"),
followed by a jig. Very original,
although it's not all originals. That
which are very original themselves. For example, "The Theme
From the Incredibly Strange Creatures Who Stopped Living and
Became Mixed Up Zombies", or
"Would You FIB on the FBI?"
Much weirder than
Negativland, Zappa, or John
Zorn playing an instore at
WAL-MART, this is opera for
the post-modern age.
GUNS N' WANKERS
For Dancing and listening
(Fat Wreck Records)
It's bestial. It's brash. It's beautiful. Guns n' Wankers are true
masters at making punk music
that means something (and
sounds great, too). Comprised of
ex-SNUFF members and friends,
Guns n' Wankers move along at
amphetamined pace, spilling
thei
t al<
Songs like "Skin Deep"
"Raise Your Glass" der
ideally the lyrical venom evident
in all eight songs on this release
GN'W have a tight approach to
making music - these riffs couldn't
be destroyed with a blowtorch.
It's eloquent noise from smashing
boys. Indeed. I haven't enjoyed
anything this loud in a longtime.
Julie
WAITING FOR GOD
Rapture
(N/A)
The debut release from Vancouver duo Waiting For God, Rapture was produced by Moev's
Tom Ferris and contains three
songs: "1000 Pieces", "Quarter
Inch Thick", and "Sickness Ridden
Soul Machine". Consisting of vocalist Daemon Cadman and
Martin Myers, who skillfully handles the guitar, keyboard and programming tasks, WFG weaves its
musical path around imaginative
synth, driving drum tracks,
crunching guitar riffs, and
Cadman's seductively raging vocal work, which sounds like a
graceful melding of Sinead and
Siouxsie. Fans of Skinny Puppy
and Spahn Ranch will find themselves at home with this duo -
Waiting For God is a band that
will usher us into the apocalyptic
nineties and their release, Rap-
<      golhic good-
'*   ies  that will
whet your ap
petite for more.
Samantha
Calvert
R.K.L
Riches to
Rags
(Epitaph)
After o
low
years. Rich Kids on
LSD  r€
rge with  Riches  to
Rags c
nd,
in their own words,
"We're
bac
k, we're pissed." Not
toomu
chhc
s changed since their
last re
ease
This California five
piece will take you on an intense
romp through eleven high energy,
slightly metallic, hardcore-type
tunes. The musicianship is excellent, in particular the playing of
bassist Joe Raposo. There certainly is no question that these
guys can play. They are extremely
tight and somewhat creative, but
the songs tend to be a bit on the
intricate side for my liking. If only
I was 1 6 years old again..
Fred Derf
THEE SHATNERS
Thee Shatners
(Planet Pimp Records)
'sthe
aim.
rare album from Son Fra
Thee Shatners, a three piece instrumental group who (duh) are
infatuated with the camp of Star
Trek. Thee Shatners wear the uniforms and have many a Trekkie
song title, including "He's Dead
Jim", "Klingon Boarding Party"
and "Stronger Than Kirk". These
and the other nine tunes are all
good rock'n'roll inslrumentals performed well, with a heavy dose
of humour. I must admit that this
earth's across-the-board Star Trek
infatuation could be nearing it's
overdue end, but please make
Following Team Dresch was
Phranc, whose simple and entertaining set of folk excursions was
awkwardly positioned between
two fantastically energetic performers: the just-mentioned Team
Dresch and the evening's girl giants, Bikini Kill. Spitting lyrics of
harrowing honesty, Kathleen
Hanna carried Bikini Kill's set like
a conquering heroine. Upholding
the last vestiges of true punk underground, Bikini Kill represent
much more than girl revolution,
their message devoted to those
too blind to hear anyway. Guitarist Billy plunged Rickenbacker
strings wilh sonic inspiration, and
the entire performance stormed
through previous eras of punk
remembered (a Misfits cover notwithstanding). It's time to listen.
Sean Raggett
CHANGE OF HEART
KING COBB STEELIE
HAYDEN
Hungry Eye
March 3, 1995
For months, if not longer, I've
heard so many good things about
these bands from people that live
a little closer to their home bases
in Ontario. Change of Heart especially, as practically every
band that's from  the Eastern
hinterlands of this nation seems
to idolize them. Curiosity killed
the cat, or so they say, and off I
went to the show.
i arrived a few minutes into
the opening set by Toronto performer Hayden. This solo "acoustic-grunge" (and I mean lhat term
with all of the ugly connotations
it should suggest) guitarist-singer
seems to typify those two unfortunate trends that are taking a hold
in top 40 music these days. Surprise hit me when I found out the
next day that he's just been
signed to Sonic Unyon records
an otherwise very cool label
based in Hamilton - their slogan,
"Smell ya Later", may yet take on
unfortunate connotations. It was
pretty clear that Hayden must
have watched his copy of Pearl
Jam Unplugged way too many
times (more than once, even).
By the time Hayden was mercifully finished, the guest-list
packed audience had grown to
a full house, most looking forward
to Guelph's KCC. A six-piece featuring Iwo guitars, bass, drums
percussion and some ultra-cool
keyboard noises, they were a
tight, proficient collective that kept
the dance floor buzzing, but I
found them to be a little reliant
on the grooves and lacking in the
songs. I thought maybe I could
grow to like them in time, but their
ially tedious perfor
did nolhin
v the i
was to end.
Change of Heart have been
"arena-rockers" for all of a month
or so, having opened for the
Tragically Hip on their recent
Canadian tour, and this was
pretty obvious based on their set.
When the second song started
with a riff straight out of a Stone
Temple Pilots' song, I thought they
were kidding. Five minutes later I
knew they weren't For the remainder of their set, I could only
think bad thoughts of them, questioning whether or not this was
what  Triumph   would   have
sounded like today if they were
still together
A friend of mine who lives
thousands of miles east of here
and considers herself a fan of
KCC and CoH suggested that
Vancouver is too far away from
Toronto to have these myths of
heads. Apparently, few people
east of Saskatchewan would ever
have a bad thing to say about
those two bands. I suppose we
can find out if tfiis is true if years
from now, the rest of the country
is calling Hayden the next great
thing.
29 EKSsEfoga r> for this funny, <
al
bum
As an added bonus, the
record's twelve songs are all
crammed on one side, reserving
all of side two for a bizarre and
hilarious interview with a foul-
mouthed, 80-year old couple
from Santa Cruz who denounce
their deteriorating resort town in
a very humorous delivery. So far
os I can tell the interview has
nothing to do with Star Trek or
Thee Shatners, but it's an added
novelty to a good record none-
Iheless.
Grant Lawrence
THE JAYHAWKS
Tomorrow the Green Grass
(American)
Tomorrow the Green Grass is the
Jayhawks follow-up to Hollywood
Town Hall, continuing in a similar vein of short, twangy, country-tinged songs. These make use
of immaculate harmonies, courtesy of Mark Olson and Gary
Louris, and feature the newest
addition to the group, pianist
Karen Grotberg These tunes,
according to their liner notes, "tell
stories from the inside out...all
sung with rare passion, sometimes like prayer". Strong songs
like "I'd Run Away" and "Nothing Left to Borrow" make the latest release from this group from
Minnesota a very good one.
Fred derF
MORRISSEY
World of...
(Sire)
A disappointing mixture of dribs
and drabs of singles, live tracks
and all three songs from the new
"Boxer" single. This is definitely
marketing gone out of control;
it. "Billy Budd" and "Spring
Heeled Jim", from Moz's last CD,
Vauxhall and I , are included,
much to my puzzlement. The only
reason to get this is the splendid
version of "Moon River";
Morrissey croons in fine form and
the children's eerie voices at the
end harkens back to his Smiths
days fascination with the Moors
murders  Rather than investing in
this best of package, a better idea
would be to pick up either Bona
Drag or Vauxhall and I.
June Scudeler
POSTER CHILDREN
Junior Citizen
(Sire/Reprise/Twintone)
Not having heard more than a
song or two from the Poster Children's previous releases, I can't
exactly make a comparison wilh
Junior's predecessors. I can say,
however, that their new one is
aptly described by the east Asian
cartoon graphics found throughout the CD jacket: the music definitely has a feel lhatwould fit wilh
the Japanese animation feature
of your choice. Not like Matthew
Sweet's "Girlfriend'-era songs
per se, but not so different. A little harder-edged, a little less
poppy, and somewhat less memorable.
This is a well-balanced collec-
songs, from speedy dou-
-.of
like "Revoluti.
Year Zero"), to slower tempo
Unrestinspired ballads. Not all of
the songs are great, though, especially on the latter half of the
CD. I would find it hard to imagine lhat this will be a must-have
for anyone's collection
Japanese cartoons were of
varying quality too - few of them
ng  the
Robotech - but
atch them, you'd be
more entertained than watching
some bland, American, cereal-
box inspired animal running
amok. Comparatively, Junior Citizen would fit in the middle of that
Japanese pack, with an adequate
amount of lhat college rock sound
ch. Enough
tide rhe
erving
3fPav
■r the Archers of Loaf.
PORCH
Porch
(Prawn Song Records)
allyliste,
music of this s.
good or bad
ining whether
will tell you it
is are heavy a
filled with loud distorted guitar
and bass which seems to be the
backbone of the band's music.
The lyrics are all basically shouted
in spoken-word fashion and they
don't offer much enlightenment
A friend of mine commented lhat
Ihey sound like "a weak version
of Drive Like Jehu meets The Jesus Lizard". This CD did not do
much for me, which explains this
short review, but if you like what
I've described about them, check
them out.
sshhh
VARIOUS
Music from and Inspired by
My So Called Life
(Atlantic)
I freely admit it - I'm a teenager
trapped in an adult's body, so,
needless to say, I watched the
weekly angst ridden-ness lhat was
My So Called Life. It wasn't a
happy show: people had problems thai weren't solved neatly by
the end of the show; Angela, the
suringly anxiety-wracked; and
they had great wardrobes.
The CD itself starts off with
Juliana Hatfield (who appeared
on the Christmas episode that
made my eyes water very suspiciously-whata wimp). Her track,
"Make it Home", is very pleasant, but I've had it up to here with
waify women with guitars and the
boys that like them. The rest.of
the CD reads like a who's who of
the dreaded "A" word scene:
Buffalo Tom does "Soda Jerk",
Afghan Whigs do "Fountain and
Fa,rfax", and Archers of Loaf,
Madder of Rose and The
Lemonheads also make appearances. The weirdest inclusions are
a very atypical Sonic Youth song,
wilfi Lee Ranaldo on vocals and
a very muted gui
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SUNDAYS
ARE TOU SERIOUS? MUSIC  81OOAM-
I MOM All of time Is measured by its art
Most broadcasting shuns art for incestuous
market-music. This show presents Ihe most
recent new music from around Die world. Ears
open. Hosled by Paul Steenhu sen and Cam
McKittrick.
THE ROCKERS SHOW *Z-00-3i00PM
Reggae inna all styles and fashion. Mike Cherry
and Peter Williams alternate as hosts.
SOUL CHURCH 3i00-5i00 PM Alternating
Sundays with Brent Argo. Vancouver's only
program devoted entirely to African-Canadian and Alrican-American Gospel music. Your
ed to by everyone. Lots o
*st features, background on
; and great musicfrom musicia
of a-!
LULU'S BACK IN TOWM BiOO-ftOOPM No
cotton or even a cotton poly blend. Vinnie
Carpelli and Sonny Prince bring you one hour
of pure tightpants. ball hugging, crooning
POLYESTER!
GEETANJAU  9*00-1 OlOOPM    Geetanjali is
range of music from India. This includes clas-
olfaclor)
THE PEAKING CANUCK 7i00-9i00PM If
you are suffering an identity crisis you may
want to tune into this show more than once.
Your host Bob Williston chronicles Canada in
20th Century sound every second week.
THE JAZZ SHOW 9iOOPM-I2i0O«M
Vancouver's longest running prime time jazz
program. Hosted by the ever-suave Gavin
Walker. Features at II.
April 3l A rare recording by Ihe Barbados
bom bandleader and drummer Keno Duke called
■Reasons in Tonality." With tenor saxophonists
Clifford Jordan and George Coleman and French
homist Julius Watkins.
April 10i Perhaps the best piano trio of all
lime ■ overstatement' Then check out tonight's
Feature Pianist and leader Ahmad Jamal leads
bass genius IsraelCrosbyandNewOrleSnsrhythm
master, drummer Vemell Foumier.
April 17l "Wailin1 at the Vanguard" was one
of the lastrecordingsbylhe late and great drummer
Arthur Taylor and his band Taylor's Wailers. You'll
hear new stars like pianist Jacky Terrasson and
tenor saxophonist Willie Williams
SCREAMING INCONSISTENCIES 12*00-
41OOAM1 The ultimate contrast. Screwing you
over with nostalgia, then bringing you back to
what you might call reality. We do poetry, too.
CiTR 1QCL9 fm
RITMO LATINO    9iOO-tOiOOPM    Get on
board Vancouver's only tropical fiesta express
with your loco hosts Wendi. Rolando, and
Mateo as they shake it and wiggle it to the
latest in Salsa. Merengue. Cumbia and other
fiery fiesta favourites. Latin music so hot it'll
give you a tan' jjRADIO SABROSA!!
WOLF AT THE DOOR    10iOOPM-t2iOOAM
AURAL TENTACLES    MIDNITE -  VERY
LATE    Warning:   This show is moody and
Listener discretion is advised.   The music,
news and 2:00 WWOD hosled by Pierre may
WEDNESDAYS
MUSIC AS A WHOLE 8i30-9l30AM   Bob?1?
Maybe, kinda sorta, but not necessarily'
YACHT CLUB    11i30-1t15 Drop anchor with
Dhar, A. Patel and V. Ranjan.
RADIO   FREE   AMERICA      lOiOOPM-
12i00All Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think
twice. Bring your tape deck and two C-90s.
Originally broadcast on KFJC (Los Altos, Cali-
lN THE GRIP OF INCOHERENCY 12-00AM-
4AM Drop yer gear and stay up late. Naked
radio for nake people.   Get bent. Love Dave.
MONDAYS
BREAKFAST WITH THE BROWNS 8H5-
lliOOAM Your favourite brown-sters, James
and Peter, offer a savoury blend of Ihe familiar
and exotic in a blend of aural delights! Tune in
and enjoy each weekly brown plate special.
THE STUPID RADIO SHOW IliOO AM-
liOO PM With your hosts the Gourd of
Ignorance and Don the Wanderer. What will
we play today?   Rog will put it away.
MEKANIKAL OBJEKT NOIZE 1*00-3iOOPN
CiTR's industrial/noise/ambient show,
alternating with SKINTIGHT BUFFOONERY
. wimpy British pop, Beastie Boys, indie guitar
ig, and techno thrown in for good measure.
That's right, bub! Punk-pop, surf-slop,
more trash for yer can.Tune in to me, Bryi
allthecrud that's gotclasseveryTuesday i
Yowza!
MARY TYLER MOORE SHOW
info and rawk. Ya don't need a penis to be
musical Genius! Coral and Trish.
THE UNHEARD MUSIC 7iOO-9iOOPM Meat!
unherd where the unheard and the hordes
hardly herd are heard, courtesy of host a
the film business that Mary Hart and
Entertainment Tonight find unfit to broadcast.
ESOTERIK 6I00-7-30PM (es'o'ter-ik), adj.,
understood by. or intended for. only a select
number of disciples: secret: mysterious.
AND SOMETIMES WHY 7t30-9i00PM and
guess that's life .     but we always have Silly
Quacky Utterly Elegant Elfy Kool Yolks!
STRAIGHT        OUTTA       JALLUNDHAR
10.00PM-12-00 AM Let DJ's Jindwa and
Bindwa immerse you in radioactive Bhungra!
"Chakkh de phutay". Listen lo all our favorite
Punjabi tunes - remixes and originals Brraaaah1
THURSDAYS
RADIO FREE WOMEN lOiOO-l 1130AM Were
only IOam. are they talking about sex again7'
CANADIAN LUNCH  l*l30-1lOOPM   Toques
plaids, backbacon. beer, igloos and beavers Eat
your lunch every Thursday with Skyler
STEVE A MIKE 1i00-2i00PM Crashing theboys'
club in the pit.  Hard and fast, heavy and slow
FLEX YOUR HEAD 3.00-5.O0PM
 HARD ERIC	
—ERIC CORE—
OUT FOR KICKS 6iOO-7i30PM No Birkenstocks.
nothing politically correct We don'l get paid so
RADIO TRANSUBSTANTIATION YEA!! -
Alternating with TFIL    UiOO-IAM
Straight from the mean streets. Ethan Meyer.
Dylan Rymer. and mixmaster Kaptain Nero
straddle and masssage your eardrums with
non-stop horror. Inject and learn something1
TALES FROM THE INFINITE LIVINGROOM
- Alter nail ng with RTY ItiOO-IAM
Chris Pariah explores the Metanoid states and
FRIDAYS
I   FLYTRAP'S   LOVE   DEN   I
OOAM Greg here Join me in the lo
THESIS lOiOO-lllOOAM Tune in for loud
aggressive rock as well as discussions.
interviews 8. information relating to people
who live with physical & mental challenges
LITTLE TWIN STARS Alt. with lo-fi 1 -
2l30 PM Strap on your vinyl Go Go boots for
an interga lactic ride to the stars. Hello Kitty!
NARDWUAR THE HUMAN SERVIETTE
PRESENTS...    3i30-«i00PM Have a
NOIZ    4i00-5i00PM    listen to us cuz we're
noisy.  DUh! noiz goody!
THE   CiTR   DINNER   REPORT     5*00-
5.30PM    Do you want us lo make you a
)   From
HOMEBASS     OlOOPM-12100AM    The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the main
THE CUTTING ROOM FLOOR 5i30-6i0OPM
Join our own 'best boy" Kevin O'Toole for
news, reviews, interviews; all the shmooz in
■'■■.::'    ... t:
NATION   2   NATION      6i00-9i00PM
Hit   y
THE MEAT-EATING VEGAN 3iO0-4i00PM
I endeavour to feature dead air, verbal
flatulence (only when I speak), a work of
music by a twentieth- century composer-
can you say minimalist?—and whatever else
appeals to me. Fag and dyke positive. Mail in
your requests, because I am not a human-
answering machine. Got a quarter then call
someone who cares.
FEMININE HV-JINX 4i00-5l00PM For
women who sometimes don't feel fresh, but
always get fresh. Spoken word and music:
light to heavy flow. Maximum protection
recommended tor male listeners. Holy Hannah!
Ifs a Femininst show.
THE CiTR DINNER REPORT 5i00-5i30PM
For more interesting dinner guests join Princess
Andrea and her team: Jedi Knight Neil, Leanna
Skywalker, and Gran Moff Ian 1*5?). We bring
you the Force of the news, dark side and all.
With the BBC World Sarnie* News 0 5-
5:05pm
BIRDWATCHERS 5*30-GKK>PM Join Colin
Pereira for all the weekend sports shlock from
the high altitudes and thin air of Point Grey.
FLAMING CATERPILLAR SHOW 6i00-
7i00PM Paris Green explores world-beat
music with Captain Kirk. Spock and occasional
celebrities.
SUN
MON
TUE
WED
THU
FRI
SAT
9
Are you
serious
music?
ROCKERS
SHCW
fontywft
wttktkt
frowwf
third time's
the charm
hM{U Aj « tale
compact
disco
Venus FlYTKAP'S
Love Den/
the
SATURDAY
EWE
POIrVfR
CHORD
10
11
DIGITAL
turn
CHRONOMETER
Rtfitlio frtt
WOMEN
Te\esis
MHO SHOW
helen's
hut
rt/rel/a'Z/Z'
12
1
2
THE YACHT
CLU?
CANADIAN
LUNCH
IAWHWAKH
HEWWIHnL
OBJEKT
HUE
BLOOD ON
THE SADDLE
love
sucks
SAM
lo fi    little
frepieal tl«e<jj*i**i
3
Sluggy. &  Dipo
WLMT MM/
Sou} CUurcU
MMf-EtttiHj
VtSM
Mary Tyler
Show
MOTOR
dAdov
FUK VOUR
HCAO
AFRICAN
SHOW
-1
NARDWUAR/
5
F-rmiKlHi? Hy-ffK*
6
7
H-Mtker'-?
SWcw
C-ttt-rpilUr
Aw«r«4 HtkSt
ESOTERIK
(m for Kirtf
NATION
2
NATION
THE
SHOW
(hiphop)
THE   PEAKING
CANUCK/
kip hop Mit
UNHEARD
nusic
and sometimes
why
OLD SCHOOL
KOCH « ROLL
8
9
10
11
Lulu's Back
in Town
Hinaptic sandwich
fi-f*»T«NJ«Li
THE
JAZZ
SHOW
RITMO LATINO
AFRICAN VARIETY
LIVE   FROM
THUNDERBIRD
RADIO   HELL
HOME
BASS
shporu
ONE STEP
BEYOND/
RADIO FREE
AMERICA
wolf at (tie door/
hig hball
str$ efctte
(6llftKcl6r
Groom
JUMPMG
12
RADIO T.Y./
TALES FROM
THE INFINITE
LIVINGROOM
IN THE
GRIP OF
INCOHERENCY
SCREAMING
INCONSISTENCIES
MUM
TEH/TACLE5
THEOR?.flFfl
1
2
Liwf Sink
my little
crimson
SOMETHING
3
After Hours
SATURDAYS
THE SATURDAY EDGE 81OOAM-
12100PM Now in ils 10th year on the air.
The Edge on Folk features music you wont
hear anywhere else, studio guests   new
music calendar, ticket giveaways, etc., plus
tHtrli Cup Report al II 30 AM  8-9
AM: African/World roots  9-12 noon: Celtic
POWERCHORD 12i00-3i00PM
Rattlehead and Metal Ron do the damage
THE  SHOW 61OO-81OOPM Strictly Hip
Hop - Strictly Undergound - Strictly
Vinyl Wilh your hosts Craig G . Mr Checka
& J Swing on the I 4 2s
THE  BIG  STOMP     lOiOOPM-1 iOOAM
Killing ugly radio with one easy step
Alternating  Saturdays.
GROOVE JUMPING   IOiOOPM-IiOQAM
Sffiitoi^hWi-^iilB-fariti^jijuJii^u^ain^i
Alternating Saturdays.
SOMETHING     IiOO-'iOOAM "You can tell
by Ihe way I use my walk. I'm a woman's man
new  stuff   this
month:
ON FRIDAYS! Tentatively,
hosted by Christine,
Katie and S hirley. Also,
on Thursdays, TROPICAL
DACQUIRI, from 2 'til
3pm, features music from
Africa,   Sout h   America,
SCHEDULE CHANGES: Blood
on the Saddle will be
back     sometime     this
TO ALL OF YOU
FOLKS WHO TUNED IN
DURING INTER NATIONAL
WOMEN'S DAY ON MARCH 8.
WE HAD A BLAST, WE HOPE
YOU DID, AND HOPEFULLY
IT'LL HAPPEN AGAIN NEXt
WHOM       &       HOW
Entertainment    Kevin O' Toole
Production
Aaron Robertson
9     Miko     Hoffman
Station Mane
Selena Harrington
W«"t„i
.nt           MaRyanSi£g MARCH
THU 30 LIVE FROM THUNDERBIRD RADIO HELL ON
CITR 101.9 fM: DOWN CORPORATION...AMS ProgrAMs
presents Subsonic Thursdays at the Pit Pub...The Smugglers &
The Jades at the Gastown Music Hall...Chocolate Milk w/DJ
Michael Golf (acid jazz) at the Shaggy Horse ...The Bottle w/djs
Clarence & David Love Jones at the Piccadilly Pub...
Hyenas, Fireworks, Antietam at the Starfish Room^
FRI 31 Arts County Fair al Thunderbird S
the Railway Club.Rymes with Orangitf
the Commodore...Suffering Gaels at the IT
& Poz-E-Tiv at the Hungry Eye...Strap*ij
Thought, Belter at the Starfish Ro<
the Town Pump...Dick & Jar
Hall...Aboriginal Achieveme
Theatre....SUBfilms: Little Women (7pm), 1
the SUB, UBC...
APRIL
SAT 1 CiTR and Terminal City Present Fools For Freedom
Benefit for Amnesty Int., and Vane. Artistic Development Soc.
w/Daytona, Zdlty Cracker, dbs, Smak, Mystery Machine,
Dayglo Abortions & The Wingnuts  at the Plaza Of Nations
(7pm)...Reggae Splash '95 at the
the QE Theatre...Happy Man
Gashuffer at the New York Theatre
Room...One & Fujahtive at the
Commodore...Damn the Diva,
Hungry Eye...Jazzberry Ram &
Hall...SUBfilms: Little Wo
SUB, UBC.
SUN  2  Belly Benefit (fundraiser for In Hell'
w/Mollies Revenge & ten days late at Graceland (7pm)...Thurston
& Celestial Magenta at the Plaza of Nations...Barra MacNeils &
Babe Gurr at the Centennial Theatre...Pam Tillis & Prairie Oyster
at he Orpheum...GoGo Jazz Lounge w/dj's Michael Golf & Lovely
Lisa at the Arts Club Theatre...Alternative Jazz at Cafe Deux
Soleils.. SUBfilms: Little Women (7pm), Disclosure (9pm) in the
SUB, UBC.
MON 3 CiTR 101.9 fM PRESENTS GEEK LOVE AT THE PIT
PUB...Ice Cube & face to face at the Commodore...Zoo Boogaloo
w/djs Spun-K & Czech at the Starfish...Yellowbelly & Active Pass
at the Railway Club...
TUE 4 Leisure Lounge w/dj's Jon Hardy, Jess & Druna (deep
(HIT NOW!
house/ambient) at the Shaggy Horse.Yellowbelly & Active Pass
at the Railway Club...
WED 5 Siouxsie and the Banshees at the Vogue Theatre..The
Melvins at the Town Pump... Sol id Gold w/djs Jon Hardy, T. Bone,
Dickey Doo (progressive house) at the Shaggy Horse.Jayleene
Stonehouse at the Railway Club...
THU 6 LIVE FROM THUNDERBIRD RADIO HELL ON CITR
101.9 fM: BUDGET ROCK SHOWCASE/PIPEBOMB...AMS
ProgrAMs presents Subsonic Thursdays at the Pit Pub Featuring
The Smalls and Bender.CiTR Presents: Shuffle Demons at the
Commodore. ..Cozybones at the Starfish Room..Chocolate Milk w/dj
Michael Golf (acid jazz) at the Shaggy Horse..The Bottle w/dj's David
ive Jones at the Piccadilly Pub...Sol w/dj Markem at Gi
'racker & Knock Down Ginger at the Railway Club...
7 PHD & Bounty Hunter at the Starfish Rooi
' Hammer at the Commodore...Wingnuts, Spiril
"im Linekin at the Railway Club...Alia
Theatre.SUBfilms: Dumb&Dumber (7pm), Pulp Fi
at the SUB, UBC...
SAT 8 Poster Children, Zumpano & Tsuna
Room...Roach Motel, gleam & Thurston at the Railwa;
Sugar, Seventh Stone at the Commodore...Marilyn Lei
the Glass Slipper...Jane Goodall at the Vogue Theatre.
Dumb&Dumber (7pm), Pulp Fiction (9pm) at the SUB, UBC...
SUN 9 GoGo jazz Lounge w/dj's Michael Golf & Lovely Lisa a
Voices of Zappa and Crumb at th
SolejkggSonny Fortum
MON 24 CiTR 101.9 fM PRESENTS GEEK LOVE AT THE
PIT PUB...Zoo Boogaloo w/djs Spun-K & Czech at the Starfish Room...
TUE 25 Noah's Great Rainbow at the Railway Club....Joe Jackson
at the Orpheum...Leisure Lounge w/dj's Jon Hardy, Jess & Druna
(deep house/ambient) at the Shaggy Horse...
WED 26 Lonesome Canadians at the Railway Club...
THU 27 LIVE FROM THUNDERBIRD RADIO HELL ON CITR
101.9 fM.AMS ProgrAMs presents Subsonic Thursdays at the
Pit Pub featuring Universal Honey and SUBtractor...The Dead Cats
& Flash Bastard at the Niagara...Grey Hound Tragedy at the Railway Club...The Quiltin' Bee Crashers at the Malcolm Lowry Room...
rder hits the streets..Jazzmanian Devils at the Railway Club
zmanian Devils at the Railway Club
1SVENUESVENUESVENUESVENUESVENUESVENUES
alt 2S0S Alma (at Broadway)
iW 8th (Mount Pleasant)
[0 W Hastings (downtown)
magazine)
<WT 800NE& V SOON!
, Mint Records Inc.!
should say Extreme to tf
TUE 11   Funny Thing About That & Joe Fool
Club...Leisure Lounge w/dj's Jon Hardy, Jess. Druna (deep house/
ambient) at the Shaggy Horse.Samizdat Theatre: Vaclav Havel's
AI IDIENCE (12:05 showtime) at the Gastown Actor's Studio, April
11-29...CiTR Presents Pet at the Town Pump...
(progressive house) at tfp|ShB**»<*rv Horse        <Wm
THU 13 LIVE FROM TMm^WJJtt\ymmELL ON CiTR
presents Subsonic ThaHHsaiUhe fft 1 ib&tttoiiing The Wheat
Chiefs and Ottoman \)\gv. . - ..Cboc«j. , Milkw/Mj michael golf
(acid jazz) at tin Si .iggy Hor<- S I W/dj Markem at
Graceland...Guided \H Voices & Six:   *.?i{ig t ioKlhands at the Star-
FRI 14 djs Jon Hardy & Druna at the Shaggy Horse...The Real
McKenzies at the Railway Club. Bourbon Tabernacle Choir, Spirit
Merchants & Captain Tractor at the Commodore...Psychomania,
Flash Bastard, The Fiends & El Ballisteco at the Penthouse-( Anarchy in BC Tour)
SAT 15 Lyle Lovett at the Q.E.Theatre (unless he breaks
another bone).The Real McKenzies at the Railway Club...
Buddy Guy. w/ Sonny Landreth at the Commodore
SUN 16 Alternative Jazz at Cafe Deux Soleils.GoGo Jazz Lounge
w/dj's Michael Golf & Lovely Lisa at the Arts Cub Theatre...
MON 17 CiTR 101.9 fM PRESENTS GEEK LOVE AT THE
PIT PUB...Zoo Boogaloo w/djs Spun-K & Czech at the Starfish Room..Marmalade. Sugar Candy Mountain at TBA
TUE 18 Leisure Lounge w/dj's Jon Hardy, Jess. Druna (deep
house/ambient) al the Shaggy Horse...CiTR Presents Royal Trux
& Fluf at the Town Pump...Veda Hille at the Railway Club
WED 19 Solid Gold w/dj's djs Jon Hardy, T Bone, Dickey Doo
at the Shaggy Horse...Veda Hille at the Railway Club...
THU 20 AMS ProgrAMs presents Subsonic Thursdays at the Pit
Pub featuring People Playing Music and Rameses...Faith No More
at the Commodore...The Bottle (acid jazz) w/djs Clarence &
David Love Jones at the Piccadilly Pub...Sol w/dj Markem at
Graceland...Chocolate Milk w/dj Michael Golf at the Shaggy
Horse ...The Quiltin' Bee Crashers & Marjorie Cardwell at HMV
Robson...Eric Watson/John Lindberg Duo at the Glass Slipper...
FRI 21 CiTR Presents cub & The Mr. T Experience at the Starfish Room. Pure Velour at the Railway Cluh...Des'ree at Richards
on Richards...Coal at the Malcolm Lowry Room...
SAT   22   CiTR Presents: Belly, Superchunk & Cold Water
Flat al Giaceland.Tom Lewis at the WISE Hall...Astronauts &
the Smugglers at the Railway Club...
SUN 23 GoGo Jazz Lounge w/dj's Michael Golf & Lovely Lisa
at the Arts Club Theatre... Alternative Jazz at Cafe Deux Soleils...
TMb ^g^afe 2505 Alma (at Broadway) 222 2244
876 7128
684 2787
685 0509
689 7734
Backstage Lounge 1585 Johnston (Granville Island) 687 1354
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E Broadway (Mount Pleasant) 873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Davie (West End) 689 3180
CNImax Theatre 999 Canada Place (downtown) 682 4629
fe870 Granville (Granville Mall) 681 7838
iranville (Granville Mall) 6811531
f6 W Hastings (downtown) 669 7573
1030 Denman (West End) 683 2201
Tee 1035 Mainland (Yaletown) 687 0032
.Centre 280 E Cordova (at Main) 689 0926
\bs Vancouver 872 6719
Gastown Actors Studio 36 Powell Street (Gastown) 684 MASK
Glass Slipper 2714 Prince Edward (Mount Pleasant) 877 0066
Graceland 1250 Richards (downtown) 688 2648
Hastings Community Centre 2096 E Hastings (East Van) 255 2606
Hemp B.C. 324 W Hastings (downtown) 681 4620
Hollywood Theatre 3123 W Broadway (Kitsilano) 738 3211
Hungry Eye 23 W Cordova (Gastown) 688 5351
Koemer's Pub Gate 4 (UBC) 822 0999
La Quena 1111 Commercial Drive (the Drive) 251 6626
Luv-A-Fair 1275 Seymour (downtown) 685 3288
Lux Theatre 57 E Hastings (Gastown) 682 5455
Malcolm Lowry Room 4125 E Hastings (Burnaby) 685 0143
Maximum Blues Pub 1176 Granville (downtown) 688-8701
Odyssey Imports    534 Seymour (downtown) 669 6644
Old American Pub  928 Main (downtown) 682 3291
Orpheum Theatre   Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque 1131 Howe (downtown) 731 3456
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W Pender (downtown) 682 3221
Pit Pub basement, Student Union Building (UBC) 822 6273
Pitt Gallery 317 W Hastings (downtown) 681 6740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Punk Listings 684PUNX
Railway Club 579 Dunsmuir (downtown) 681 1625
Ridge Cinema 3131 Arbutus (at 16thAvenue) 738 6311
Russian Hall 600 Campbell (Chinatown) 874 6200
Scratch Records 317A Cambie (downtown) 687 6355
Shaggy Horse Cabaret 818 Richards (downtown) 688 2923
Speedy O'Tubbs Fairview (Bellingham)                               (206) 734 1539
Starfish Room 1055 Homer (downtown) 682 4171
Starlight Cinema 935 Denman (West End) 689 0096
Station Street Arts Centre 930 Station (downtown) 688 3312
3B Tavern 1226 State (Bellingham)                                      (206) 734 1881
Town Pump 66 Water Street (Gastown) 683 6695
Track Records        552 Seymour (downtown) 682 7976
Twilight Zone 7 Alexander (Gastown) 682 8550
UBC CINEMA (located in the SUB) 822 3697
UBC Grad Centre Gate 4 (UBC) 822 0999
Vancouver East Cultural Centre 1895 Venables 254 9578
Vancouver Centre Cinema 650 W. Georgia (downtown) 669 4442
Varsity Theatre 4375 W 10th Avenue (Point Grey) 222 2235
Video In 1965 Main (South Van)   , 872 8337
Vogue Theatre 918 Granville (Granville Mall) 257 6205
Waterfront Theatre 1405 Anderson (Granville Is.) 685 6217
W.I.S.E. Hall 1882 Adanac (the Drive) 254 5858
Yale Blues Pub 1300 Granville (downtown) 681 9253
Zulu Records     1869 W. 4th Avenue (Kitsilano) 738 3232
SUBMISSIONS FOR DATEBOOK ARE FREE! PLEASE FAX YOUR
LISTINGS FOR THE MAY ISSUE ATTENTION "DISCORDER
DATEBOOK" AT 822 9364, BY THE PRINT DEADLINE, APRIL 2«th
34 April 1995 ■  10 SPEED
'y   Includes a bonus
I   CD-ROM multi-media
(track playable on
Mac & Windows
computers
GLAZED
The debut lp with    '
Shaky Ground, Ride  tl
and way more    |
730-8333
CANADA,
el 604.738.3232
STORE HOURS
MontoWed 10:30-7:00
ThursandFri 10:30-9:00
Sat 9:30 - 6:30
Sun 12:00-6:00
NETTWERK ONLINE 1869 W 4th Ave.
Vancouver BC
V6J1M4
CANADA
toU0A.738.3232
STORE HOURS
MontoWed 10:30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Jun    ^ 12:00-6:00
Sale prices in effect until April 30. 1995.
Face to Face
• Big Choice
Like little budding leaves, punk rock is
often a sign that summer is well on the
way. So, with that in mind, this record will
be ihe soundtrack to your new summer
adventures (and many Slurpee stops). Akin
to Ihe Offspring, this is the kind of punk
rock that bungs to mind sunny days,
jumping up and down, and hanging out
with your friends. Come get it.
O 16.98 F*l 10.98
Refrigerator
® Now You Continue
Dreaming
The word "earnest" can hardly describe the
awkwardly honest sound of Refrigerator. Their personal and personable sound
is as enduringly dear as a favourite pair of
the o
s you
ehad
forever and can't imagine not wearing
always. These guys rediscover the description "low fi" as meaning authenticity, not
"style." And what a collection of songs to
enjoy and enjoy! Refrigerator should be
a household name — in more ways than
one. Come find out why.
0 16.98
Spiritualized Electric
Mainline
<§> Pure Phase
One ofthe most eagerly aw aited albums of
the year has finally landed here in
Zululand... and the spacemen(l) emerging
from this musical vehicle have proven to
be well worth the wait A recording ripe
with influences, but arranged and
performed in an innovative and ini
way. A sonic bombardment that will
spiritualized your soul. Enjoy.
O 16.98
10.98
Smog
• Wild Love
Maybe it's because the Flaming Lips
covered one of his songs and maybe it's
because the nightmares are gone, but
whatever, little Billy Smog is
perking up. Out of the bedroom and into
the living room. Wild Love is a glorious testament to living in a strange and
crazy world. Ditching the "low fi" of
yesterday for the "mid-fi" of today,
Smog is definitely playing with a
smile... sort of.
O 16.98
Transglobal
Underground
® International Times
Tying up the lines of contemporary soul,
funk and woridbeat jazz, Transglobal
Underground's International
Times doesn't leave much room for
their colleagues in sound. Here's a
record for fans of ]ah Wobble and
Sabres of Paradise. Think about it —
"Trans" as in movin'* Global" ie,
from Dakar to London; and
"Underground" a/k/a tres chic.
O 16.98 09 10.98
Coo Coo Dolls
• A Boy Named Coo
We know that in this ad we say that the
Face to Face album is the soundtrack
of the summer, but it's going to have to
share the honour with the new Coo
Goo Dolls album. A Boy Named
Coo is so catchy it might be a crime.
It's the Feel Good Record of the Year —
we dare you not to sing along!
Replacements-influenced raunch-pop
from the best band in Buffalo.
O 14.98 H9.98
Portastatic
• Scrapbook EP
Mac Superchunk has come out from
his drawing room again, and with the
help of some friends {Ira and Georgia from *
Yo La Tengo, no less), has produced another
collection of pop ideas for us to enjoy (including  !
a Brian Erto cover). So, if this is the beginning of 1
some greater process, we can't wai
meantime, this EP will help ease o
O-ep 11.98
Lida Husik
• Joy ride
Back from her critically acclaimed ambient project
Evening at the Grange. 1995 finds Uda as prolific
as ever, as well as within the warm confines of this
spacey and poppy Joyride'. Ltda's umpteenth
record, joyride rings the ears with its strings and
swelling tones. Score one for craftiness!
O 16.98 0*1 10.98
Sleeper
<§> Smart
Coming across the ocean with contemporaries
Elastica and EchobeMy, Sleeper's brand of
post-punk, post-Pixies pop will be sure to
any listener, capturing die spirit of the new "new
wave" of England's latest pop style.
O 16.98 pg 10.98
Morphine
#Yes
Lounging somewhere at the back of the room |
between The The and the American Music j
Club. Morphine make mature musk
cafiS generation. With dusky, sombre toi
almost dry poetics. Morphine produce
another fine work that tells stories about the
little bits of beauty and tragedy that make up
our everyday lives.
O 16.98  0110.98
Perfume Tree • Fathom the Sky
A specially priced 7-track EP featuring
exploratory mixes of their forthcoming album,
late April on Zulu.

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