Discorder CITR-FM (Radio station : Vancouver, B.C.) 2003-03-01

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Riot Grrrls by Susy Webb p. 14
Ikara Colt by Merek Cooper p. 17
Artist of the Month: Genevieve Castree p. 18
Hanin Elias by Shad McAllister p.20
Sue Foley by Vai Cormier p.21
Elastica by Chris Eng p. 22
Music Sucks p.6
Fucking Bullshit p.7
Vancouver Special p.7
State of the Union p.8
Panarticon p.10
Over My Shoulder p. 11
Screw You and Your Pointy Shoes p.l 1
Radio Free Press p. 12
Strut and Fret p. 12
Riff Raff p. 13
Under Review p.23
Real Live Action p.26
Leprechaun Colony p.30
Charts p.3>
On the Dial p.32
Kickaround p.33
Datebook p.34
Ryan Hamilton took the photo on the cover. He's
pretty great at that whole photography thing. You
can see his photos scattered elsewhere throughout
the magazine if you don't believe us. Chris put the
cover together in less than an hour after the initial
idea fell through. But thafs why they pay him the big,
big money and he sports the phat bling-bling.
Chris Eng
Ad Master:
Steve DiPo
Art Directors:
Chris & Merek
Production Manager:
Merek Cooper
Editorial Assistant:
Saelan Twerdy
RLA Coordinator
Gabby De Lucca
Website Design:
Esther Whang
Layout and Design:
Chris & Merek (Like Abbot &
Costello, but more versatile.)
Parmida and Julie. And The
Ubyssey, as always
Masthead Photo:
Ryan Hamilton
On the Dial:
Bryce Dunn
Luke Meat
The Limey
Matt Steffich
US Distro:
Frankie Rumbletone
Undo Scholten
i   Society  of  the   University  of  British   Columbia
,   payable   in   advance,   !
©   "DiSCORDER"   2003   by  the  Student   Radi
rights   reserved.   Circulation   17,500.   Subscription
$15 for one year, to residents of the USA are $15  US;  $24 CDN elsewhere.  Single copi
(to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the April issue is March 12. Ad space is available until March 19 and can be
booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited
to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc
or in type. As always, English is preferred. Send email to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langlev and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well
as through al! major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017
ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or just pick up
a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
"I hate the Office; It cuts in on my social life." —Dorothy Parker
printed in canada
ENLIST ONLINE: ^     ^5^=*.-
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with special guest
from Sweden
Overcoat Recording- Artist
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with special guests
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I Kid Koala Nuforua Must Fall Book Tour |
1 with DJ P-Love and DJ Jester
Sunday March 23 2003
I Doors 7PM, 2 shows, first at 7:30PM and 10PM |
I HRMacmUlan Auditorium
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May 9th- 11th, 2003
YOU. 1982
After 21 years of challenging the status quo on the FM bandwaves, CiTR
is having a party to celebrate. More than a million songs down the pike
(more than a handful featuring the Seven Words You Can't Say on Television—thank God for radio)—not to mention thousands of sundry pranks,
indulgences and excesses—the station has decided to welcome back the
countless dedicated and deranged volunteers who have made CiTR Vancouver's best radio station for more than two decades.
The young and enthusiastic will square off against the old and jaded at
the Waldorf Hotel on May 10 to remember —or at least attempt to remember—the station's storied history. Think The Big Chill, think Animal House,
think Rock *n' Roll High School, think Barfly. There'll be live music from the
Evaporators—fronted by CITR stalwart Nardwuar the Human Serviette. DJs
will spin music from the station's glory days (basically whenever it was that
they were 21 and dizzy with the thought of inflicting their twisted tastes on
an unsuspecting world). There'll be food and drink and fond memories.
Tickets are now on sale at the early bird rate of $20 before April 1st and
$25 after, and include admission and appetizers. They are available at Zulu
Records, CiTR Radio, and can be ordered on line at:
For further information, call:
Carol Marks-George, Publicity (604) 803.5641
Linda Scholten, CITR Station Manager (604) 822.1242
editorializing by Chris Eng
Are you going to do a
Women's Issue?
Why are you going
to do a Women's Issue?
Do we even need a Women's
I can't even begin to count
the amount of times I've heard
those questions or a variation
thereof over the past month or
so. The amount of dissent surrounding this concept is staggering and it wasn't coming
from the corners of any of the
usual beer-guzzling, macho-
bullshit, frat-boy contenders.
some of us thought it should
be, while a certain other of us
wanted to print ' every issue
is a women's issue, read the
masthead, you dumb fucks' on
the cover. The rest of us just
weren't sure."
But in the space of a year
and a half, the core staff at the
magazine had done a complete
turnabout—ail women had
been replaced by all men, and
the topic became relevant
again. The question this time,
though, was: "What is the
purpose of having a Women's
Issue?" If the purpose of the
It's more-or-less consistently been the
women in my life who have made overwhelming and substantial contributions to my way
of thinking and world-view. And even if some
of the potential contributors of the magazine saw their inclusion as confinement to a
"women's ghetto," I prefer to see this issue as a
celebration of those who have influenced, and
continue to influence, our lives for the better.
Me: Hey, the next issue of
DiSCORDER is rolling around
and I thought you might like to
contribute something to it.
Any one of numerous talented
and creative women I know:
I'd love to! That sounds great!
Me: Fantastic! Okay, just so you
know, it's the Women's Issue.
Talented Woman: (with the
distinct inflection of someone
who's been told their dog was
put down while they were on
vacation, or that they have
inoperable bowel cancer) Oh.
Is it? Maybe I'm busy.
The first Women's Issue
I remember was from 1996,
and carried the striking and
unforgettable Girl's Oath on
the cover.
"/ promise, on MY HONOUR to
do my BEST, to do my DUTY TO
MYSELF & my SISTERS, to obey
help other [women's symbol]
whenever I can, to keep myself
physically STRONG, mentally
AWAKE & morally QUEER."
The Women's Issue tradition carried on for several
years, putting out a themed
magazine every March until
last year. March 2002 was
like any other issue. Nothing
of note to separate it from
February or April. The Women's
Issue had died a quiet and
unnoticed death. But it did not
come without warning.
In March 2001, the masthead blurb about the front
cover read:
"we couldn't decide whether or
not this was a 'women's issue.'
Women's Issue is to give space
to female artists and performers who have otherwise been
neglected or marginalized in
the pages of the magazine,
then (as was pointed out to me
recently) there is no need for
one, since we have been giving
women more than equal rep-
'70s—and weathered every
adversity with her head held
high; my aunt introduced me
to the Ramones, Monty Python
and a world far-removed from
the mainstream; and my ex-
girlfriend Alison introduced
me to Riot Grrrl and feminist
politics with enthusiasm and
patience. I,t's more-or-less
consistently been the women
in my life who have made
overwhelming and substantial
contributions to my way of
thinking and world-view. And
even if some of the potential
contributors of the magazine
saw their inclusion as confinement to a "women's ghetto,"
I prefer to see this issue as a
celebration of those who have
influenced, and continue to
influence, our lives for the better. If that's as complex as trying to remake our society from
the ground up, we need to be
able to make the effort to see
where they're coming from,
and if it's as simple as making enjoyable music, then we
should support them in their
endeavours. And listen to their
lyrics. Closely.
I'm not going to spout
some bullshit conclusion like,
"If we lived in a perfect society,
every day would be Women's
Day," because if we lived in a
perfect society, International
Women's Day would be a non-
issue. We would never have
to think twice about why we
But in the space of a year and a half
the core staff at the magazine had done a
complete turnabout—all women had been
replaced by all men, and the topic became
relevant again. The question this time,
though, was: "What is the purpose of having
a Women's Issue?"
resentation in recent months.
In the Decembuary issue
alone, five women graced the
cover (from two bands). Out
of nine interviews, six were
with women, one was from a
mixed male/female band and
two were with all-male groups
(and one of those was somewhat unfavourable). Also, the
first-ever artist of the month
was a woman. But if the purpose of the Women's Issue is
to spotlight the achievements
or ideas of women who are still
by and large marginalized by
the rest of society, then this is
an ideal forum for it.
We've caught hell for doing
it too (What do we think we're
doing? What do guys know
about women?), but I wouldn't
feel right if we didn't do one.
My mom raised me solo for the
first few years of my life while
on Welfare—not an especially
tenable position, even in the
slightly        more-enlightened
need it, and we would never
have to fight for equality or
women's rights. But we do
and the streets aren't safe for
anyone. So listen to whatever
woman is closest to you, and
fight the good fight, because
we may have come a long way
as a society, baby, but we ain't
half there yet.
The Artist of the Month is
Genevieve Castree. The subject of her piece "War! War!
War!" (in the centre spread)
is self-explanatory, but it
requires you to put your own
exact interpretations into it.
Genevieve works in all sorts of
different mediums, as should
be evident when she plays a
set at the Sugar Refinery on
Saturday, March 1st with Run,
Chico, Run and David P. Smith.
Go down and support her. And,
while you're at it, listen to her
lyrics. • TMcLing b> nil ah it
I have to make a confession. I was involved in the
MOB system. I was born
and raised in P'yongyang,
North Korea. The totalitarian regime forced me to
become  a  Mail  Order Bride.
I had been groomed since
birth to be married to a rich
western man. I was chosen
based on my parents' supreme
genetic pool. My natural
beauty became apparent at
the age of two. I spoke perfect English by the time I was
three. After puberty, my virginal appeal was so enchanting
that the officials started to
call me Sonnhymen. My legal
name is Sonnmin Christa Min
Adams. That's what it says
on my Canadian citizenship
certificate. In July of 1994 I
was married to international
rock sensation Bryan Adams.
It was a secret ceremony
because of Bryan's celebrity
status and my immigrant status. Both of us benefited from
the marriage. I was allowed to
leave North Korea in exchange
for money that Bryan provided. It was supposed to be
a  single  payment,  but they
bullshit by Christa Min
extorted a lot more out of
poor Bryan. Eventually, my
family members defected, and
now we are protected under
the    Canadian    government.
Bryan married me because he was under a lot
of pressure from his family, friends, and fans. He was
feeling washed up because
Into the Fire was such a
failure.    Four   years    later,
he went and ordered a teenage bride from North Korea.
Bryan's management team
was outraged. He was forced
to sign a contract that forbade
him to tell anyone except his
immediate family about the
marriage. He was required to
take hired women to special
events for publicity. I can
talk about this now because
our divorce is being finalized.
Soon people started to speculate that he
was gay. So like any old millionaire, Bryan
Adams went and ordered a teenage bride
from North Korea.
"(Everything I Do) I Do It For
You" made him a star again.
He was insanely rich. Women
grabbed his ass everywhere
he went. His record company
wanted him to date high-profile ladies to get him more
publicity. His family wanted
him to settle down and have
children. Bryan couldn't handle the pressure, so he stayed
away from broads completely. Soon people started
to speculate that he was gay.
So like any old millionaire,
I have to emphasize that
Bryan Adams is a good man.
We were married, but we
were only friends. He wasn't
interested in pussy. (He wrote
"Have You Ever Really Loved a
Woman?" after we got married.
I asked him that question once,
and he said "Only if she were a
guy.") He paid for my education
and he helped free my family
from slavery, just because he
writes horrible, vapid, insufferable music doesn't mean
he's not a hero. •
va w co live r Aotec
local reviews by Janis McKenzie
Amy Honey
(Red Cat Records)
Just look at the cover. That
Amy has real charm, and I'm
sure that anyone who's ever
seen her play live with her
band can tell you loads more
about it. But all I've got to
work with is the CD, a collection of twangy roots-country
songs recorded with talented
friends like Carolyn Mark and
Keith Rose. A lot of the songs
Amy writes are funny (how
about this title: "Make Me
a Woman Tonight"?) while
others are little narratives
(for instance "Do Ya Wanna
Play Darts?", a love story
set at the Railway Club). The
bad news is that it's hard to
hear Amy's voice, let alone
the lyrics, a lot of the time.
Sometimes the melodies dip
too low for her to sing comfortably; sometimes there's
so much reverb the lead
vocals can hardly be made
out. The songs and instruments sound just fine—next
time I'd like to hear more of
Amy herself!
Riff Randells
Rarely has a band been
more appropriately named.
Like the character from
Rock 'n' Roll High School,
this girl-dominated three-
piece is made up of middle-
class kids who worship The
Ramones, and the spirit of
The Ramones drips off the
six songs on this EP. Never
mind that very little of the
original lineup remains (and
the website pointedly lists
Justin as just a "temporary"
member)—Joey and Dee Dee
didn't stick together forever,
And anyone who is bothered by the semi-competent
lead guitar work or small
moments where the drums
fail to match up with the
bass is listening to the wrong
CD. The Riff Randells are
just what they should be:
simply fast and fun.
The Feminists
Q: How many feminists does it
take to change a lightbulb? A:
That's not funny.
Yes, for the last few days
I've been trying to figure out
what the significance of this
band's name could be. Is it a
joke? (If so, like the classic
old-school feminist, I just
don't get it.) Is it a searing
commentary on some element of contemporary culture? Don't ask me. What
1 can tell you about The
Feminists is that they play
songs that are often little
multi-paced multi-parted
epics (although sometimes
thinly-produced) in an oft-
anthemic Britpop kind of tradition. There's a swirly organ
and a male vocalist who
reminds a person of Oasis or
Supergrass, as well as classic-
rock type moments and some
very heartfelt harmonies,
with an overall feeling that is
both slightly dour and sour.
Atmospheric and dark, "Dust" ta a down tempo rock masterpiece
«y Cypress mill's legendary producer, muggi
LI Atatc of tli
a Vancouver scene update
Char Hunter (left) oUieing over the hip. A kickflip to fakie from Dayna (right).
Photos by Ryan Hamilton.
by Kathi Miller
It was in seventh grade when I can first remember riding down
pavement with the slightest degree of incline, and the badass
thrill I got from getting stopped short by a rock, sending me to
an unexpected, near skull-shattering, body-slamming fall. A couple
of years later the Ladner skatepark was built—the start of many
parks emerging in suburban communities, its all-night lights and late
night sessions were more desirable learning grounds than the midday
frenzy of 40 skaters, all ages, all sizes, frantically skating around each
other and into each other. I'd just roll around the tranny, hanging out
with friends 'til the coaxing of some of the guys convinced me to start
trying tricks. Next thing I knew, it grew on me. A handful of other girls
would skate Ladner, some of the first girls I ever saw on a skateboard.
I was lucky enough to have a few girls in my town that were down for
skating. I understand how it can be intimidating to be the only girl
amongst a crowd of guys, but it's cool when you have friends to start
skating with, it makes it easier. And there's a crew in every town.
Even if you only have one friend to skate with, it's someone to learn
from, and you never know who might see you and become inspired to
try it themselves. I've had too many conversations with girls curious
SKaung wim, 11 mi
Even if you only ha
Lfrom, and you neve
try it themselves. I
8 March 2002
to try, so where are you all? What's stopping you?
Most of my friends started skating with maybe one other person,
and they soon began to see who else in their hood skated. Skaters are
always checking out other parks or hunting for new spots. Meeting
people over a common interest sparks new friendships everywhere
you go. The couple of hundred people I've met through skateboarding,
the friends I've made, and the endless good times I've had are life
experiences I could never take for granted. Skateboarding becomes
a lifestyle; whether you use it for transportation or skate hard every
day, it becomes a daily routine. There are over 20 parks in the lower
mainland, and let's say 40 locals at each park—that's nearly one
thousand skateboarders, not including the ones who never frequent
parks. I can name maybe 20 girls that skate. That's kibbles compared
to the amount of guys. I know there's gotta be more girls out there, so
where are you all? What's stopping you?
Out of the skateboarding community, a culture is being bred.
Skateboarders with amazing and unique styles are gaining sponsors,
filming videos and traveling the world. Local skate shops start
supporting the youths. Youths begin to document their tricks and
feats, in turn, capturing an art and creating their own. Vancouver is
full of talented photographers and videographers, and some of the
best times to see our skate community come together—showcasing
the skills of our peers—are at their art shows and video premieres.
Anti-Social, a local skate shop/art gallery exhibits art in various
mediums by local artists. Co-owner Michelle Pezel, skating at least
since the early days of Ladner, has always wanted a shop, and with
Anti-Social she gets to spread and support a skateboard culture to
those who are smitten once bitten. Another tie that binds the skate
community is Concrete Powder magazine, a free bimonthly magazine
that focuses on Canada's skate/snowboard scene. Owned and
operated by skateboarders since 1990, Concrete Powder has become
Canada's source for the skate/snow culture. Articles and photographs
of local riders are written and snapped by local skaters. It is perhaps
the biggest supporter of skate culture, stirring inspiration in youth
from West Coast to East Coast.
As skateboarders, we need to support each other. It is easy
to get caught up in the hype when the media suddenly decides
skateboarding is a cool, acceptable sport to be involved in. The
problem is that the hype is followed by large corporations deciding
to cash in on the latest sport trend. Corporate dominion over
skateboarding is like government regulated grow-ops: they just don't
give a fuck. They rape the essence of skateboarding, and oppress
smaller, local, independent businesses trying to give something back.
If you are getting into skateboarding and want to hook a board up, I Char Hunter rocks a frontside ollie to fakie
at the Cract Pipe. Photos by Kathi Miller.
Kathi Miller executes a fakie frontside 5-0
pivot stall also at the Cract Pipe. Photos by
Char Hunter.
suggest going to smaller, skater-owned shops. It makes a world of
difference learning what's best for you and what the city has to offer
by someone passionate and motivated by what they do. Vancouver
and its surrounding suburbs have many independent businesses
built around skateboarding. Some people have started clothing
companies, board companies, wheel companies, etc. The skaters
who founded distribution centers have the advantage of pushing
product to shops. It is our local shops that invest in products that
our friends and acquaintances provide. These businesses recognize
quality over quantity, and, more importantly, preserve the skate
culture by supporting their peers. For skateboarding to grow we
need to stop looking at the world to invest in us—we need to start
investing in ourselves.
As skateboarding is a very individual sport, the opportunities
that befall us are unique to every individual, and the snakes in the
bowl lead us all in different directions. Some of us enter contests
and travel, being sponsored for a living. Some of us film, photograph,
produce videos, write for magazines, or work for or own a skate
company. Some stunt double for skate characters in feature films
and TV shows. Some of us design parks or run indoor parks. Some
of us just skate from A to B, some threw in the towel after their first
dislocated shoulder and 13 bone-snapping ankle breaks, but all of
us share that unexplainable feeling that makes us do what we do.
The average Joe looks at skateboarding and all he sees is us jumpin'
around, being loud and God forbid, damaging property that he
doesn't even own. He recognizes the freedom and fun skateboarding
offers; he recognizes it because he felt it once, too. But conformity of
the souls, the nine-to-five grind, just staying alive and not really living
cultivates a bitter mind primed to criticize skate life. Don't let your
work be your life, let your life show your work.
I love skateboarding. I know it's a sport that will take me as far as
I push myself. Skateboarding has taught me discipline. It has taught
me to trust myself, to push myself, to set goals and achieve them. I've
played sports all my life and been dancing since the age of four, but
nothing has brought me as much fun or allowed me to progress as
much as skateboarding. It's the little obstacles I conquer, that badass
thrill I felt in seventh grade, and still feel now, that keeps me riding.
It's the years of friendships, and seeing the achievements my friends
make that makes me love skateboarding. I thought I wouldn't be
skating after highschool—I thought I'd be a working woman, wearing
the baddest, raciest suits with sexy heels, strutting into a court
of law and defending criminals, but I haven't sacrificed any of my
womanhood to skateboarding. I own tight, pink leather pants and
stiletto boots and string bikinis, and when appropriate, I rock that
shit. You'll find me winning the Miss Hawaiian Tropic bikini contest
at some point soon. But none of that conflicts with skateboarding.
Skateboarding doesn't make me less of a woman; it makes me
The support I get from people is amazing. I feel blessed to live
in such a beautiful, accessible city as Vancouver. If you're starting to
skate, or have kids that want to start, please go to a local shop and
support them. Parks such as Ladner, Port Moody, and Tsawassen
all have smaller learning obstacles. The Griffin bowl in North Van
is another mellow learning ground. That empty parking lot near
your house or school is a perfect, big, empty space where you can
start learning ollies and other tricks. Going early in the day to a
park and avoiding the afternoon bustle is another way to catch
some good rides. One of my favorite spots is the Cract Pipe at 136
Powell Street, just off of Main. Owner/operator Andy Hurcum has
an 84' long miniramp that is skateable all day, every day. Andy is a
huge supporter of Vancouver's skate culture, and especially of girls
wanting to learn. It is free for all the ladies and a great place to see the
rest of us (ladies and men), on a daily basis, grinding away.
Skateboarding is a growing, worldwide culture that's not based in
one race, colour, or sex. I can't see how it wouldn't be part of my future.
1 only see it as one of the best things that ever happened to me. •
9 DiSCORDER AH natural hair products for starting
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Magic Teeth Records Proudly Presents: "I Said Sometimes!" A Tribute To Bum
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Visit magicteeth.tripod.com or email magicteeth@hotmail.com
1 accept PayPal, money orders, Visa. MC, or well-concealed cash.. Watch for upcoming releases
by Ghosts, The Ewoks, and A Tribute To Rusty Willoughby.
Magic Teeth Records 633 Johnson Street Victoria, BC Canada V8W-1M7
Folk Oasis
Describe your show:
Two hours of eclectic roots music.
Record played most often on your show?
Probably something by The Gourds.
Record you would save in a fire?
Already been through one—trust me, records were the last thing on my mind. Most of
my records survived, only to disappear into hands of f—king looters.
Last record you bought?
Bjork's Greatest Hits.
First record you bought?
Don't remember exactly, but was most likely a K-Tel compilation.
Musician you would most like to marry?
Musicians? Marry?? Hello!
Favourite show on CiTR?
Hate to pick just one, but I am a big Hans Kloss fan.
Strangest phone call received while on air?
A listener once called to ask for my assistance in unloading some extra Bumbershoot
tickets. Not such a strange call, but when he delivered the tickets, he was kind
enough to enclose a 'finders fee' which was small and burnable. Sweet!
HELLO. I am human
and I love humans.
Do you think all of
us  are  human?—/  am from
I Afghanistan. I am here for one
year. The DIMA [Australian
Immigration] rejected me because of the current situation
n Afghanistan—/ like painting
and making good landscapes by
color. I like to be free in a good
city of Australia and to make
i   many   paintings—/   am
I the saddest man in the world.
' Because I have lost all my family—1 am looking everyday [at]
suicides, hang themselves, cut
themselves, even children, and
take many tablets for calm and
nervous, drink shampoo. Do you
know who are responsible these
acts? Is this human rights?
— letters from detainees in
Australian refugee prison-
The problem with War, from
the point-of-view of the
Hawks, is that people don't
want to hang around and get
bombed and shot at, raped
and tortured. People flee from
War. Many refugees from the
African continent and the
Middle East try to make it to
Australia, often in dangerous
and leaky boats, facing not
only diseases and drowning
but the suspect actions of the
Australian Navy.
"Australia," you ask, "what
could possibly be wrong with
Down Under?" Quite a bit, if
you are a refugee or asylum
seeker. "What?" you might
think. "A country built by illegal immigrants?" Indeed, a
country where everyone save
the Indigenous Peoples are
boat people has a Government
that hates boat people (the
Indigenous Peoples also suffer
from systematic discrimination). Described as "hard-line"
by Reuters, all immigrants to
Australia are "detained"—i.e.,
imprisoned—in privately-run,
barbed-wire "detention camps"
(prisons) in the middle of the
desert. Out of the way of the
public, stripped of all rights,
including right to counsel and
basic human rights, refugees
are kept in prison for 1-4 years
before obtaining a hearing or
being summarily shipped back
home—which often means
Reports of beatings,
strip-searches of women and
children, and drugged water
supplies are common, and
Government monitoring of the
camps, as well as press access,
is kept to a bare minimum as
the camps are completely private. (The video 1 saw of these
camps was astounding: it's like
something out of Auschwitz.
An entire private army).
The policy of detain-and-
deport has drawn criticism
from human rights groups, the
Roman Catholic Church, and
the United Nations. Attempts
to give detainees clothes, blankets, and children's toys have
resulted in confiscation or the
items being sold to the detainees. Direct-action groups
such as No One Is Illegal have
staged several protests and
"break-outs" of immigrants in
an attempt to raise the subject before the public and to
directly aid those imprisoned.
The detainees themselves
have coordinated cross-prison
action, engaging in fasts, setting fires and, as a last resort,
organising riots in an attempt
to make their voices heard. For
the Australian media, however,
this is just one more reason
to keep these "disease-ridden
foreigners" locked up.
The Australian public voted in the Howard
Government based upon the
instalment of these very same
policies (as well as policies
against rights for Indigenous
Peoples). Moreover, the Aussie
Government will not be perturbed! "If anybody thinks they
can alter our policy by setting
fire to detention centers," says
PM John Howard, "then they
are wrong. That won't alter
our policy one iota."
There are two truly
frightening aspects of prison-
detainment beside the brutal
treatment of humans both
physically and psychologically.
The ficst is that it's profitable.
Most prison-camps are owned
by a handful of multinationals
who encourage Governments
to adopt the system.
The second horrible
aspect is that the detain-
and-deport system might be
coming to a "democracy" near
you. Apparently the Ontario
Government has already
shown interest in the model.
Let there be no mistake: mandatory detention is blatantly
racist, unhuman, and unbefitting of any government. The
detainees are badly treated,
separated from their families,
and are billed for the length
of their stay. So even if they
do make it out—and aren't
deported, killed, tortured, or
commit suicide in the process—they face a bill of tens
of thousands of dollars. As Aziz
Choudry writes in Lucky Country?
"We can see similarities between the demonization of
detainees and the language
used to justify the treatment
of Indigenous Peoples [as well
as racist] responses to Asians
in 19th Century Australia."
At a recent talk in Montreal,
Choudry described that this
racism is not new: Australia
has a long history of attempting to build a "White Fortress."
Sound familiar?
In Canada we pride ourselves
on our supposedly open immigration policies, but since 9-11
even these problematic policies have been undermined.
While it is true that we have
not managed to top Australia
in obliterating refugee rights
and setting up prison-camps,
in our own understated
Canadian Way we are hoping
to win kudos in the "War on
Etc" hype. Over the past few
months, refugees in Canada
have been quietly deported
without hearings, notably
non-status Algerians who
have been here for over 4
years. Despite the fact that a
civil war still rages in Algeria,
the Canadian Government
has seen fit to remove asylum
status for Algerian refugees. In
many cases, the refugees are
asked to come in for a hearing,
only to be forcefully loaded
onto a plane with a one-way
ticket. See <www.tao.ca/
~sans-statut>. Worldwide, see
wartime/>. The OFFLINE
digital arts association has
assembled an international
coalition of net-artists against
the War. Utilising a world map,
each net.art project is situated
as a bomb-target, with more
targets added daily. Spread
the word.
Gender-bending experimental
electronic artist Thaemlitz
has released a timely album
on Mi//e Plateaux: Lovebomb.
In an extended booklet that
accompanies the CD, Thaemlitz
argues that for every War—
the War on Terror, Drugs,
etc.—there is a correlative: the
Love for Freedom, Purity, etc.
This "Love" is as much a part
of the general problematic of
violence as "War." Thaemlitz
proceeds to deconstruct
notions of "Love" by sonically
altering revolutionary speeches from the Futurists to the
ANC, from domestic violence
sampled from COPS to piano-
chords over machine-gun
fire. Powerful, evocative, and
intelligent, Lovebomb should
be played at high volume in
the heart of capitalism everywhere. •
10 March 2002 over mv Ahou
Last month, DiSCORDER reprinted an e-mail about a rape
and beating that happened
after a show at Pat's Pub on
Friday, January 17. What came
to mind when I first received
the email was: how many
times have friends, male or
female, rejected rides home
in favour of walking after a
show? Or how often do people
find themselves alone at the
end of a show, with no option
other than to walk?
Prior to this attack, I doubt
we'd given our personal safety
much thought. 1 think that
we're all aware of the culture
of fear that the mainstream
media works hard to maintain
in order to sell newspapers or
ad space, and many of us don't
want to fall into the traps of
mistrust and irrational dread
of the unknown. For the most
part—and I'm going to make
a sweeping generalization
here—our community is made
up of individuals who believe
in the general good of people.
I admit that many of us hold
elitist views on culture, but 1
think it's safe to say that we
don't think that we're going
to be attacked while walking
home, mainly because it's not
something we would consider
doing ourselves.
In the months leading up
this particular attack, there
were a number of rapes and
murders of young and older
Asian women. For some reason, though I'm in that targeted group, I wasn't too worried.
I'm not sure why. It's possible
that I chalked the attacks up as
fodder to sell tabloids, and that
though the events were very
real to the people involved, I
was somehow far removed
because I had rationalized
that the series of attacks were
mediated events rather than
my own reality.
Somehow, getting a fourth-
hand email drove the issue
home: though it's bullshit that
women have to be afraid when
alone on the streets at night,
we have to take precautions
for our own safety and for the
safety of those in our community. We are not exempt from
violence, and we must make
sure that this doesn't happen
again. That it happened once is
terrible enough.
After the knee-jerk, "oh,
it could have happened to
someone I know or even to
me" reaction, I got mad. What
makes certain people think
it's okay to attack and violate
other people? Out here in
the western world, we pride
ourselves on this false idea of
book reviews by Doretta
equality and gender blindness.
We circulate email petitions
about the treatment of women
in Afghanistan and toss off statistics on infanticide in China
as if we're above it all. But as
one young woman in a post-
colonial English Literature class
said one day: "In all the time I
lived in India, 1 never once saw
a place called Hooters."
Hot!" The book's saving grace
is the sharp prose and thoughtful commentary that appears
from section to section: Eaves
is an excellent storyteller and
understands the importance
of pace, description, and character development.
The irony of the book is
that though Eaves is trying to
give the impression that she is
New York resident Elisabeth
Eaves attended my junior high
school back in the eighties
and like many girls from that
glorious suburban institution,
ended up working as a stripper. She went on to attend
grad school at Columbia
University and wrote Bare, a
memoir/academic text subtitled: "On Women, Dancing,
Sex, and Power," which is
meant to explore female sexuality, women's bodies, and the
male gaze.
Bare is a voyeuristic book,
taking us backstage at The
Lusty Lady (a Seattle peep
show) and into the inner workings of Eaves, who lays out a
history of her own sexuality.
We get to hear about how her
looks have influenced men and
how she's been a sex object
under the scrutiny of the
male gaze since age fourteen,
it's almost like an old episode
of Jerry Springer: "Men Do
Anything I Want Because I'm So
the kind of woman who isn't
afraid of exploring sexuality
and chides others for what
she terms "prudish" attitudes
towards sex and sexuality
as commodity, prostitution
crosses a moral line for
her. For me, her inability to
get past trading up sex for
money invalidates much of
her well written book. Why
create a hierarchy within the
sex trade? Why is stripping a
holier-than-thou activity? If
she's questioning why society
divides women into madonna/
whore categories and tends
to create stereotypes about
strippers and sex work, then
why this squeamishness
about prostitution and those
who solicit such services? At
the end of the day, a woman's
body is not a battleground
for public debate. What each
individual chooses to do is her
own business: a woman's body
is hers alone. Violence begins
when others think that they
have dominion, physically or
morally, over someone else's
body. •
and your pointy shoes.
ree Df0vi
Atrut and fret
zines. etc. by Bleek
As 1 write this I believe
the next war-to-end-
all-wars will be underway by the time you read
this. I hope I'm wrong. Not
for Saddam's sake but for the
sake of thousands of innocent
civilians and young, impressionable troops. Plus there's
the very real possibility of
things spinning completely
out of control and leading
to war on many borders, for
years to come.
Why do I mention this in
Radio Free Press? Because
recently there has been
confirmation (after previous
denials) that the Bush administration has been secretly
planning to implement
Patriot Act 2. If you remember, Patriot Act 1 provided
the US government wide
ranging power to snoop into
secret records of citizens, bug
phones and computers and, in
one hotly debated story, force
librarians to cough up the
names and websites of the
people using the public web
service. That's the short of
it. Of course this act seriously
tore away at America's right
to   privacy   and   threatened
their ability to dissent.
Patriot Act 2 goes even
further in instilling the fear
that Osama could only wish
for. Some of the effects of the
revised act would include the
negation of the US Miranda
laws in which someone
arrested, must be read their
rights, and the requirement
of the courts to give permission to search a person's
home. The new Act no longer
goes after those who have
expressed a desire to switch
citizenship alone but will now
apply to mere assumptions.
The President will have th.;
final say about what groups
he finds to be of interest
and they're also talking
about "new death penalties."
Allegiance will be "inferred
from conduct." Legal activities
in an organization considered
un-American (Greenpeace?
ACLU? Green Party? Non-
Christian church?) could be
grounds for expatriation. Is
this all for real? Look it up.
The perfect time to push
this thing through will likely
be during the initial throes
of all-out-war or soon after
another terrorist attack. So
far, the Democrats are asking
hard questions and hopefully
they'll stand firm this time.
If not, "watch what you say,
watch what you do." And,
of course, watch what you
write. Do you do an anarchy
zine? Expect a visit.
Government websites
with information the administration doesn't want us to
see (such as AIDS prevention
via condoms or Reagan/Bush
administration records) have
been scrubbed or sealed
completely. On the bright
side, the opposition to these
thugs is vibrant and active.
Alternative radio, magazines
and zines are motivated to
fight like no one has seen
since the Vietnam war.
So, hopefully this will
all be relegated to left-wing
alarmist history by the time
you read this. I really hope so.
People that have seen what's
in the plans will tell these religious fascists where to stuff
it and all this will be a non-
issue. At least we know where
their heads are at, right?
I'm relieved to have
Canadian citizenship as of last
September, and I just hope
Canada remains Canada. •
Join CiTR 101.9FM, Friday March 7th
in celebrating International Women's Day
with a full day of femalefriendly
airwaves. Music, spokenword,
discussion and allaround good times.
on CiTR 101.9FM
performance/art by Penelope Mulligan
12 March 2002
Friday, January 17
Studio 16
Once in a while, a piece of
theatre arrives that reminds
you what the medium can and
should be. Montreal actress
Marie Brassard, who wrote,
directed and performed Jimmy
was at once so humble and
brilliant that the membrane
between an idea and its performance just melted away.
The title character, a
gay hairdresser in a New
York City barber shop circa
1950, is actually dreamt by a
homophobic general about to
ship out to Korea. Just before
locking lips with a handsome
soldier named Mitchell, he
is suspended on the brink of
ecstasy when the general suddenly dies. We meet Jimmy
50 years on when he's resurrected in the dream of an
actress, who then drags him
through the closets of her own
The entire piece occupied a
mere corner of the stage. Our
eyes were glued to a small riser
on our extreme right, where
Brassard, lighting designer
Eric Fauque and set designer
Simon Guilbault worked their
magic. Through electronic processing, the voice of the fragile
Jimmy was eerily resonant and
deep—the play began in darkness with the sound of crying
so rich that the tears gurgled (I
later found out that Brassard
had come down with a big
juicy head cold before opening night).
Brassard's choice to make
her protagonist a gay man
("forced" at one point to play
the actress's deceased mother)
crossed and recrossed gender
lines so fluidly that, for me
the play went far beyond the
politics of gender and sexual
orientation to become inclusively, gut-rippingly human. It
also gently yanked my brain
around the tricky genealogy
of the dreamers, the dreamed
and their memories.
Jimmy is a vessel for the
dreams of others, yet possesses what seems to be an
independent psyche. Acutely
conscious of his own longings,
as well as the precariousness
of any scenario he finds himself in, he is vulnerable, frustrated in his desires and always
waiting—like a cryogenically
suspended corpse. In a way, he
reminded me of the "ghosts" in
Tarkovsky's Solaris, who know
that they are someone else's
psychological construct, but
feel their own emotional pain
Brassard     might     have
dropped us into a world
that was fabulously exotic
and strange, but she spoke
straight to the "dreamer" in
all of us. Your heart ached for
Jimmy, but also for that part
of yourself that gets derailed
every time the so-called real
world changes channels. A big
hug to Rumble Productions
and Touchstone Theatre,
whose PUSH International
Performance Series brought
this thing of beauty to town.
When Maldoror screened
here last fall, it was tragically underattended, but you
get a second chance to visit
with the German collective
which co-produced it when
Filmgruppe Chaos lets fly with
its latest collaboration, FAITES
VOS JEUX. Raking through the
cultural and political flotsam
from 1970 to the present, the
group has narratively assembled and hand-tortured pirated images from archives in
the private and public realms,
then woven in a specially created soundtrack from various
artists in Europe, Asia and
the USA. When you consider
what the last three decades
have wrought in terms of
Punk, New Wave, terrorism,
globalisation and collapsing
skyscrapers (einsturtzende
Neubauten, as it were), this
could be a bracing new way
to digest and metabolize the
events against which we've
careened toward our strangely
improvised state of adulthood.
See you at The Blinding Light!!
at 8pm on Friday or Saturday
(March 21/22).
I've nothing whatsoever
against contests of athletic
prowess, but the expensive
and hyper-commercialized
monster that the Olympic
Games has become is—like
the most invasive surgery—
bound to have far-reaching
effects on whatever host city
it roars into. But this is an arts
column, so why do I mention
the Games? Celebration 2010
is why. Financed Olympic Bid
supporters from the public
and corporate sectors and
produced by the Executive
Director of one of Vancouver's
cultural centres, it's a sneaky
exercise in cross-marketing
in which no less than 115 cultural organizations including
dance and theatre companies,
galleries, musicians, choirs,
colleges, community centres,
societies, and festivals have
either contributed tailor-
made events or allowed a
production from their existing
season to be absorbed into a
three-week showcase of BC
culture—in support of the Bid.
The Celebration began in mid-
February and ends on March
8, but its implications do not.
According to the brochure,
participation is a declaration
of support—but can every one
of these groups really be down
with the Bid Corporation?
Some of the names on the list
are surprising and you have to
wonder how they managed
to convince themselves that
it's all okay. Well, there's the
extra publicity for a start, as
well as an excellent chance
of some lucrative participation in all the related cultural
activity if Vancouver gets the
games. And how about those
Brownie points to be cashed in
when it's time to apply for or
renew goverment grants. The
Arts are cash-strapped and
struggling, one could call this
expediency, but when a city
is put at such huge social and
financial risk for an undertaking in which the wideboys will
fatten their wallets, another
word that comes to mind is
While out buying a packet
of fags on Valentine's Day,
I passed the Church Of
Pointless Hysteria and was
stopped by all the signs plastered to the door. "Pointless
Hysteria is GONE. This building is quarantined. Please
go pray elsewhere," read
one. Others, from the City
Building Inspector, blared
while a letter from the Chief
License Inspector threatened
prosecution if an "after hours/
dance party," scheduled for
the night, were to go ahead.
A call to the Church confirmed
what you by now already
know: the site has been shut
down and future events cancelled. (Ironically, the aforementioned party which seems
to have precipitated the City's
lethal blow to the venue was a
fundraiser for one of the anti-
Olympiqs Groups).
Pointless Hysteria was
the last holdout in a 100 Block
which, for awhile, looked to be
having an underground arts
renaissance. Over the years,
it has either produced or been
host for some crucial soirees
involving theatre, dance, performance art, installations,
film, poetry readings, music,
raves and indescribable combinations thereof. So let's take
a moment to remember our
favourites. Just before falling
asleep tonight, try replaying
them in your head. • n
iff raff
My humblest apologies, dear reader, for
the absence of Riff
Raff last month—the output
of those itty bitty things I
like to call seven inches was
slower than the amount of
time it took me to think of a
witty analogy for this situation (and I'm surely the only
one laughing at this point)...so
I'm relieved to tell you that
my stereo runneth over with
music this month. We roll
out the red carpet first for
a double whammy from The
Briefs: two singles released
for Euro-fans (but they still
care about you) with the
first containing two bouncy
numbers—a cheeky tribute to
The Adverts and Gary Glitter
("Looking Through Gary
Glitter's Eyes"), and the desperate lives of Middle America
("Dead In The Suburbs")—set
to a Dickies-meets-The Jam
backbeat; the second is a split
with The Distraction(a band
we've mentioned in a previous
outing). The mod-punks from
Huntington Beach chime in
with "My Way," a dance-floor
bust-out that gives Ol' Blue
Eyes a pair of black eyes, and
The Briefs outdo themselves
with perhaps my favourite
tune of theirs to date, "Ain't
It The Truth," that works on a
couple of different levels, with
its insanely catchy guitar hook
and its socially relevant lyrics,
this is a must buy before their
next full-length drops in March.
(Screaming Apple Records,
Dustemichstr. 14, 50939 Koln,
Germany AND Radio Blast
Recordings, Hildegardstr.13,
44809 Bochum, Germany.).
A little to the south of
Seattle we go next to Portland,
Oregon where punk and pop
(like Reese's Peanut Butter
Cups) are two great tastes that
go great together. On the outside is the punk racket of The
Triggers on their three-song
slab with "Gasoline" being a
tight and punchy ode to the
perils of partaking in petrol.
"Dead End Road" has a bit of
a garage feel and 'Don't Talk
To Me" is a snappy cover of an
obscure L.A. outfit The Eyes.
Live these cats are a blast to
watch, particularly pint-sized
singer Candy, who feeds off
the spirit of Wendy O. and then
spits it back out in your face,
all the while shaking like a rag
doll on Ritalin. On the inside
the smooth and creamy pop
of The Exploding Hearts, with
hands down, THE best song
of the millennium, "(Making)
Teenage Faces". An ode to
what's really on the minds of
by Bryce Dunn
the kids too cool for school.
I can't even begin to explain
to you the greatness of this
track, but if old skool power
pop heavies like The Beat
or The Real Kids ever got a
chance to hear this, they'd poo
their pants. "Your Shadow,"
the flip, is a fast rockin' affair,
and doesn't let up for a second; believe me, you need this.
(Vinyl Warning Records, P.O.
Box 2991, Portland, OR. USA
Two Canadian (more specifically, Torontonian) combos
make the cut this time around
and White Cowbell Oklahoma
still has me a little confused
as to why they have so many
people in a group that really
only needs maybe half to get
the job done; like Gwar is
to joke-metal, W.C.O. is to
joke-classic rock—the two
tracks here (Black Mountain
Top (Whiskey Woman) b/w
"San Antone" are wife-beater
wack-offs that meld Skynyrd,
Nine Pound Hammer and
Hank Williams into a hellish
creation that I'm sure live is
a sight to see, but on record
takes a little more whiskey to
enjoy. (Slick Monkey Records,
no address given, but go to
tecowbell.com     for
more info). It doesn't take a
lot of the hard stuff to enjoy
The Tijuana Bibles, just a sexy
feline   dancer,   Gorilla   Loco,
and some swingin' surf-style
pounders just like the songs
found on Fiesta! Siesta, the
latest party platter from the
masters of rock 'n' rasslin'.
"Not Here To Fight" starts off
with some good-natured ribbing between The Crippler and
Super Destroyer, then gives
way to good times, not bad,
then blasts off with the aid of
a "Jet Pack" and some spooky
organ courtesy of Felina
Negra. Flip over this pancake
and you've got "Sleep Mask," a
hypnotic twist to that ol' traditional instro-classic "Harlem
Nocturne" and like the signature move of The Blue Demon,
out go the lights. (Trophy
Records, no address given, go
to www.tijuanabibles.com for
more info).
Ending things this month
will be Detroit's favourite sons,
The Dirtbombs, and their
homage to two of Australia's
unsung heroes, garage punk
unknowns The Elois and
disco-pop denizens The Bee
Gees. On a recent tour of the
Land Down Under, the boys
snuck into the studio to bash
out these two numbers and
say thanks to all their Aussie
fans with their patented dual-
drummer attack and Mick
Collins' silky vocal treatment
particularly on the aforementioned Gibb Brothers tune, "I
Started A Joke," "By My Side,"
The Elois number, is a rough
and tumble take on a slice of
sixties garage brilliance and
they pull it off nicely. (Zerox
records, no address given).
bhe |-
let go oP your.
cd release
This is a volunteer position (with an
honorarium) that will involve laying
out the features and cover every
month, as well as helping design
a distinctive look for the magazine.
You should know InDesign, Photoshop and Illustrator, as well have
a passing knowledge of Quark.
Also, if you challenge the DiSCORDER Temple with your weak
Design Kung-Fu skills, you'll be
shamed in front of your village and
sent packing. There are long hours
and bad food and if you wet yourself, nobody's gonna change you.
Call 604.822.3017 ext. 3 or email
discorder@club.ams.ubc.ca with
the subject heading, "Me Make
Pretty Pictures For You."
Susy Webb explores the origins and lasting
effects of the Riot Grrrl movement.
LADIES. WOMEN AND GIRLS: Activists and musicians from the golden age of Riot Grrrl From left to right Trish Kelly (writer, spoken-word performer). Corin Tucker (Heavens To Betsy. Sleater-Kinney). Kathleen Hanna (Bikini Kill Le Tigre). Allison Wolfe (Bratmobile)
BECAUSE us girls crave records and books
and fanzines that speak to US that WE feel
included in and can understand in our own
BECAUSE we wanna make it easier for girls to
see/hear each other's work so that we can share
strategies and criticize/applaud each other.
BECAUSE we must take over the means of
production in order to create our own meanings.
BECAUSE viewing our work as being connected
to our girlfriends/politics/real lives is essential if we
are gonna figure out how what we are doing impacts,
reflects, perpetuates, or DISRUPTS the status quo.
BECAUSE we recognize fantasies of Instant
Macho Gun Revolution as impractical lies meant to
keep us simply dreaming instead of becoming our
dreams AND THUS seek to create revolution in our
own lives every single day by envisioning and creating
alternatives to the bullshit Christian capitalist way of
doing things.
BECAUSE we want and need to encourage and be
encouraged in the face of all our own insecurities, in
14 March 2002
the face of beergutboyrock that tells us we can't play
our instruments, in the face of "authorities" who say
our bands/zines/etc are the worst in the US and
BECAUSE we don't wanna assimilate to someone
else's (boy) standards of what is or isn't.
BECAUSE we are unwilling to falter under claims
that we are reactionary "reverse sexists" AND NOT
KNOW we really are.
BECAUSE we know that life is much more than
physical survival and are patently aware that the
punk rock "you can do anything" idea is crucial to
the coming angry grrrl rock revolution which seeks to
save the psychic and cultural lives of girls and women
everywhere, according to their own terms, not ours.
BECAUSE we are interested in creating non-
hierarchical ways of being AND making music,
friends, and scenes based on communication +
understanding, instead of competition + good/bad
BECAUSE doing/reading/seeing/hearing cool
things that validate and challenge us can help us
gain the strength and sense of community that we
need in order to figure out how bullshit like racism,
able-bodyism, ageism, speciesism, classism, thin-
ism, sexism, anti-semitism and heterosexism figures
in our own lives.
BECAUSE we see fostering and supporting girl
scenes and girl artists of all kinds as integral to this
BECAUSE we hate capitalism in all its forms
and see our main goal as sharing information and
staying alive, instead of making profits off being cool
according to traditional standards.
BECAUSE we are angry at a society that tells us
Girl=Dumb, Girl=Bad, Girl=Weak.
BECAUSE we are unwilling to let our real and valid
anger be diffused and/or turned against us via the
internalization of sexism as witnessed in girl/girl
jealousy and self defeating girltype behaviors.
BECAUSE I believe with my wholeheartmindbody
that girls constitute a revolutionary soul force that
can, and will change the world for real.
—Riot Grrrl Manifesto, Kathleen Hanna Lipstick-smeared, baby-doll-dress-wearing, man-hating,
guitar-playing dykes who didn't wear panties. In 1992, this
was what the mainstream press told the public that Riot
Grrrls were. Big-name publications like Newsweek, USA Today, and
Spin latched onto the fledgling hybrid of punk rock and feminism,
tipped off by a story in the consistently relevant and powerful
Sassy. Not surprisingly, Riot Grrrl was harshly criticized; called
immature, unreasonably antagonistic and artistically bankrupt,
but despite mainstream backtalk, the Olympia/Washington DC-
based movement flourished, with chapters popping up all over
the US and Canada, including one in Vancouver. While most of
the original bands had broken up by the mid-'90s, Riot Grrrl left
in its wake an artistic and political legacy. Current publications
such as Bust and Bitch proudly disseminate third-wave feminist
ideals directly; the world of zines has been incalculably changed,
and the term itself has proven its staying power with art, music
and cultural critics. Among those directly involved with the
movement, Kathleen Hanna, author of The Riot Grrrl Manifesto
and frontwoman of the quintessential Riot Grrrl band Bikini Kill,
now fronts feminist-electro-rock band Le Tigre; Bratmobile have
reformed and released two albums of new material; Sleater-
Kinney's critical and public appeal keeps increasing, and artier
acts like Tracy + the Plastics have remoulded dance/art music
through Electroclash. Perhaps the most direct inheritors of the
Riot Grrrl tradition are queer-oriented punk/rock bands like
The Butchies, The Haggard, and Vancouver's own Stunts and
Skinjobs. While the original Riot Grrrl movement may be over, its
ideas are far from gone.
It all began in 1991, when the term was coined by Tobi Vail
(Bikini Kill) and Jen Smith (now of The Quails). In Olympia, Vail
had begun spelling "girl" as "grrrl" in her zines and on fliers,
representing an angry, defiant brand of feminism: girls who bit
back. Smith, living in Washington, DC at the time, took part in
the Mount Pleasant riots. Violence erupted when the Latino
community, having been pushed to the breaking point by police
harassment, finally exploded after police shot a man on Cinquo
de Mayo. Over the phone from San Francisco, where the band
are currently recording, Bratmobile vocalist Allison Wolfe told
me that Smith, along with the rest of the punk community in
DC, was empowered by the riots: "There were a lot of punk rock
kids living close to that area, because it was affordable, and
they joined right in, they were running around burning things
and stuff. Jen was telling us all about it, and she was like, 'Man,
everybody needs to riot, we need a girl riot too!' That summer we
decided to start putting out zines for all the girls hanging out in
DC, and we had to come up with a name for the press. We decided
to call it Riot Grrrl."
While the movement took off all over North America, it
was Pacific-Northwest oriented. Olympia-based Kill Rock Stars'
first acts were famous Riot Grrrl groups Bikini Kill, Witchypoo,
and the UK-based Huggy Bear, and Calvin Johnson's K records,
always a girl-friendly label, supported Riot Grrrl before it was
known as such. The opening event of K's 1991 International Pop
Underground Convention was "Love Rock Revolution Girl Style
Now." The women-only bill featured Bratmobile (their first non-
house-party show), Heavens to Betsy (featuring a pre-Sleater-
Kinney Corin Tucker) and Jean Smith's Mecca Normal. While the
Vancouver duo was never explicitly a Riot Grrrl band, Jean Smith
has brought feminism onstage at every available opportunity
since the duo's 1985 inception. On the Kill Rock Stars website,
Jean writes that "I was not a Riot Grrrl, but Mecca Normal was
frequently cited as an influence by some Riot Grrrls. At the
time (pre-Riot Grrrl) I was talking a lot between songs, and in
interviews, encouraging women to play music, to use music and
art as a way to express social concerns. The connection between
Mecca Normal and Riot Grrrl was very literal."
As second-wave feminism grew out of women's anger at being
relegated to typing and coffee-making duties during Vietnam-era
peace activism, Riot Grrrl grew out of disillusionment with sexist
punk culture. While early punk rock had been very progressive, by
the early nineties the scene had calcified. Long-time Vancouver
punk rocker Kim Kinekin (The Skinjobs, Sparkmarker) described
this gradual transformation: "As punk became more mainstream
throughout the '80s, it attracted people who weren't misfits,
who liked the music, liked the moshing, and especially liked the
aggressiveness. In the '90s, when grunge became cool, there
arose a split between what the sound of the music called punk
was, and what the ethics of the mindset called punk was. Issues
of sexuality were completely lost. It became very boy-centric—
essentially a boys' club about big guys moshing, and being very
unfriendly to women. This elicited many reactions from women
in the scene, one of which was Riot Grrrl."
The concert-going experience was especially disquieting,
with harassment of girl fans and musicians the norm rather than
the exception. Activist Alison Pantytwist was instrumental in
forming Riot Grrrl Victoria in 1992. Deeply involved in the local
punk scene, she and her friends "kept running up against the
same sort of male-centric bullshit; boys being really disrespectful
of girls, while at the same time being very political with their
music and views." Wolfe experienced much of the same in the
American Pacific Northwest, where girl and boy grunge bands
intermingled constantly: "We would go to all these shows, with
The Melvins, Nirvana, Seven Year Bitch, whatever. But it was
really like boys gone wild, just another excuse for guys to get
really gnarly and gross and aggressive and push people around.
And I wondered why every trend catered to middle-class straight
white boys, who were completely macho." The Gulf War was
starting to pick up speed, and many punk boys, afraid of being
drafted, adopted more radical political views. However, domestic
violence, sexual assault, negative body image and other (usually)
girl-specific issues were not on the agenda. Many women were
alienated by the hypocrisy of such misguided left-wing politics,
which championed anti-capitalist agendas while ignoring gender
Riot Grrrls set out to change all that. While assuming the DIY
attitude and anti-establishment ideals of punk-rock culture, Riot
Grrrl dug deeper, examining sexism, racism, and heterosexism
both in the mainstream and within punk girl culture itself. In
doing so, it went hand in hand with third wave feminism. Trish
Kelly, a Vancouver writer, zine editor and spoken-word artist
who started the Vancouver Riot Grrrl Press, told me that, "One of
the great things about third wave feminism was that we worked
so hard to implement it in our lives. It wasn't like old school
feminism, where the deal was 'I'm a woman, and therefore I
deserve these rights.' Instead, it was examining ourselves and
where our privileges were."
Third-wave feminism addressed the failing that led the
second-wave women's movement to flounder in the late
seventies: the belief that all women share a deep-seated
commonality, a "sisterhood," which required them to fight for
a common agenda. During the seventies, feminist organizations
were largely dominated by college-educated, middle-class white
women. Not surprisingly, the agenda set was one that benefited
them, focusing on issues of white-collar labour and heterosexual
sexuality. Class, racial and queer issues were pushed aside,
and connections between northern hemisphere (white) and
southern hemisphere (non-white) feminists were tenuous at
best. These tensions, combined with a virulent media backlash,
led the movement to fracture in the early eighties. Many larger
organizations split up, and women splintered into smaller-scale
activist groups.
The third-wave feminism embodied in Riot Grrrl art, music
and publications confronted these issues head on. The Nerdy
Grrrl Revolution is one of Nomy Lamm's earliest zines, co-
written with her friend Val. The self-described "badass, fatass,
jew dyke amputee, performance artist, writer and activist"
is one of the best-known early Olympian Riot Grrrl zinesters,
and continues to play music, write and perform around North
America (she visited both Vancouver and Victoria in January as
part of Rock for Choice). Nerdy Grrrl epitomizes the impassioned,
self-reflexive style of Riot Grrrl zines. In issue #2, Lamm and Val
discuss their different social privileges (class background, sexual
orientation, body types, etc.) and how they affect both their
friendship and the way they interact with the world at large.
They also offer up severe criticisms of punk-rock culture. Writing
about an experience with Food not Bombs, Val is unimpressed by
the attitude of the punk kids she encounters. "The poor things
are just too punk for this American work force.... You know,
employers are very discriminating against mohawks, piercings,
tattoos and dirty hair. Read here: the punks need to look this way
and desire to look this way because that's their privilege. They
can ask people on the streets for change, get free food from a
volunteer-run program that could be going into the stomach of
an underprivileged person who cannot get a job, or has children's
mouths to feed, or has a real real real real REALFUCKINGNEED
for this food." The issue includes the transcription of a two hour
conversation between Lamm and Val about their different class
backgrounds, Lamm's "Poem about a[n Abusive] Boy 1 Loved,"
and the "Top Ten Ways to Prove you're a 'Good' Boy:"
#4:"Be sure to always warn girls about the
'bad sexist men.' That way we know you're
not one of them." #3: "Never tell a girl you've
ever done anything sexist. If you don't say it,
no one will ever know." #1: "DIE."
Nerdy Grrrl's layout is striking, the issues engaging, and
the writing alternating between scathing polemic and touching
emotional vulnerability. The best Riot Grrrl zines were tiny
masterpieces of introspection and social critique, self-published,
ad-free and entirely removed from mainstream means of
production. Their progressive power is not diminished by time.
However, Riot Grrrl did not reach all the women it sought to.
Despite its best intentions, the movement remained largely
white and middle-class. Sue P. Fox, Olympian spoken-word artist
and musician (Refect Refect, Witchypoo) told the Experience
Music Project in 1999 that "A lot of Riot Grrrl stuff was directed
at upper or middle-class white girls. I had to think about it a
lot, because I'm very, very lower class. 1 didn't have a college
education... and a lot of the people who started Riot Grrrl
were very articulate and could write in this way that I didn't
understand." The voices of girls of colour were also largely
absent. While white Riot Grrrls wrote at length about their own
internalized racism, girls of colour were largely silent.
But not Mimi Nguyen. The Punk Planet columnist, zine editor
and academic is outspoken on the subjects of race, punk rock
and Riot Grrrl. In her on-line zine slander (originally slant), a
1997 entry documents how fellow Riot Grrrl discussion group
members considered her disruptive:
I cruise the riot grrrl folder on AOL where
I've been accused of "focusing too much on
race" and otherwise disrupting the "race-
neutral" (ha ha) feminist illusions of many
of the board's participants. It's slightly
amusing, if also most definitely disturbing:
I mean, as resident racial agitator, I'm cast
in the role of an "outsider" rocking the boat.
Past discussions of race issues have been
cut short as girls & women bemoaned the
"fighting" as bad for grrrl unity, meaning,
racial difference is bad for grrrl unity.
The argument sounds all too familiar. While the other
(presumably white) women in the discussion group want to
"transcend" race, Nguyen sees that current social realities
make this impossible. While she is still enthusiastic about Riot
Grrrl (the name of her website, www.worsethanqueer.com,
is taken from the.Bikini Kill song "Suck My Left One"), she is
understandably very critical. The reasons why fewer girls of
colour participated in Riot Grrrl remain largely unexplored.
Doubtless, a certain amount of social privilege, and the resulting
education, leisure time, and material resources were very
conducive to starting a band or editing a zine. While many girls
did so with few advantages, it was easier for some than for
others. The question of how to subvert these realities, making
artistic and political movements equally accessible to all, is one
that will not be answered anytime soon.
Although Riot Grrrl may have been a white-dominated movement,
it was certainly not a straight-dominated one. In this area of
inclusivity, the third wave triumphed over the second. While
queer women were active second-wave feminists, they often
had to act outside of the "mainstream" women's movement.
Not so in Riot Grrrl. Through zines, music and activism, Riot
Grrrl created a safe space to explore the possibilities of love
and sex beyond heteronormative boundaries. Bikini Kill sums
it up in their anthemic "Rebel Girl": "In her kiss / I taste the
revolution." According to Trish Kelly, "Riot Grrrl was great in
helping us own our sexuality. It was really amazing; to be a girl
having grown up taught not to express my sexuality, and then to
find a group that encouraged me to express myself.... The idea
of not just having solidarity with other women, but also being
able to make out with them was really exciting." Non-normative
sexuality was praised and encouraged, and in Vancouver in
particular, transgender issues garnered a lot of attention, due to
the presence of a well-funded gender clinic. As Riot Grrrl wound
down during the mid-'90s, many queer punk bands rushed to
fill the gap. While smaller, mixed-gender queer punk scenes had
risen and flourished around North America during the '80s, the
sheer number of girls attracted by Riot Grrrl created a space for
more listeners and participants in the queercore scene.
This scene was especially lively in Olympia and San Francisco.
According to Kelly, "In the Pacific Northwest, Team Dresch came
out, along with a bunch of other bands that were girl-queer
identified. As Riot Grrrl faded, that became the big movement
that was happening." In the early and mid 90s, a number of
openly gay rock and punk bands seemed to burst out of nowhere,
such as Pansy Division, Tribe 8, Team Dresch, and Cunts With
Attitude (CWA). This movement built on both Riot Grrrl and
'80s homocore scenes. Wolfe says: "There was a great emerging
15 DiSCORDER queer scene, at the crossroads of queer politics and punk rock,
which took place mostly on the West Coast, where there were
large lesbian communities, and where things were more liberal
than the East Coast. It was going on throughout Riot Grrrl, but
was more recognized when Riot Grrrl died down."
However, not all Riot Grrrls were queer. Kathleen Hanna's zine,
My Life with Evan Dando, Popstar sums up the struggles of the
straight Riot Grrrl. She writes about how she transposed her
heterosexual desires onto an unattainable pretty boy due to
frustration with the genuine article: "I fell in love with Evan Dando
because I can't deal with real boys hardly at all and yet am wildly
attracted to their flat chests and straight hips (sometimes)." How
to reconcile romantic and sexual desire for men with a feminist
consciousness and a patriarchal society is a struggle as old as
time. The lesbian separatists of the '70s attempted to solve
this problem by advocating complete separation from males,
believing that even presumably straight women would come
around in time. While their visions of a single-sex society were
clearly flawed, they sprung from well-founded fears. Feminists
who engage in relationships with men (and those men who
engage in relationships with feminists), be they sexual or no,
are doubtless familiar with the tortured situations that can arise
when the personal and the political collide.
Such a situation arose with Vancouver's own Riot Grrrl
Press in 1996. Riot Grrrl presses and chapters were restricted
to women, out of a desire to create safe emotional and physical
spaces for girls. However, it was not always that simple.
Vancouver's Press was run by Kelly and her female housemates,
who themselves all edited zines. Kim Kinekin, also a zinester,
shared their East Vancouver home. Although he was a close
friend of the girls, he was excluded from the Press. Kinekin
told me that "It was one of those times where we watched the
politics become personal. I was capable of saying, 'OK, I can see
that's where you're at, and that's what you need to do.' At the
same time, I saw it as sad. Even though I was a close friend, and
lived in the same house, and was doing a zine too, since I was a
boy I wasn't welcome. I thought, how is this not reverse sexism?
Aren't my issues relevant? For me, growing up in the punk rock
community where I would never exclude anybody, that felt really
wrong. I wasn't being excluded because I'd done something
aggressive or stupid. No, it was like, 'Kim, we love you, but Riot
Grrrl is all about girls, and you're not a girl, so... Sorry!"'
Riot Grrrl began as a reaction to bad male behaviour, and
Bikini Kill had good reasons for calling "Girls up front!" at their
shows. Today, women-only spaces and organizations continue
to be valued tools of feminist activism. However, the exclusion
of men, many of whom would be genuine assets to feminist
struggle, continues to be a contentious topic. Perhaps Riot Grrrl
should have eventually expanded to include male allies, and in
some ways it did so—musically, it morphed into the more mixed-
gender queercore scene.
In the opinion of "indie-rock dyke band," and recent Shindig
finalists the Stunts, Riot Grrrl never really ended. The group's
spare, charged sound is a combination of solid, disco-funk bass,
squealing guitar, metronomic drumming, and sassy call-and-
response vocals. In a teleconferenced call, Jax (guitar, vocals)
and Dayna (bass, vocals) told me about their soon-to-be-released
record (recently recorded by Jesse of Operation Makeout) and
shared their thoughts on Riot Grrrl with me:
Dayna: Riot Grrrl was really important, it
opened the way for women in rock, and we
feel really excited to be a part of that.
Jax: I see it as a way for young women to
discover feminism; a cultural manifestation.
I was 19 years old in 1991, and I was like,
"Kathleen Hanna, where have you been all
my life?" She's still around, playing in Le Tigre
and being very feminist, so I don't think Riot
Grrrl died. What happened to Riot Grrrl was
the same thing that happened to third-wave
feminism. It was undermined, attacked, and
has moved on.
These women see their group's music as directly Riot Grrrl-
inspired: the tape that Jax gave the other band members when
they started playing together included Bikini Kill, the Lunachicks,
Joan Jett and Bratmobile. While their own project is "intentionally
a political band," they believe that Riot Grrrl opened up the rock
scene for a large spectrum of women in music. As Dayna said,
"There are a lot of newer bands that aren't as overtly feminist.
Their lyrics may not be feminist, and they may not identify as
feminist, but they still came out of that movement, and they still
provide inspiration for women in rock music."
In this she echoes the sentiments of Bratmobile's Wolfe, who
closed our discussion by saying "Women in music keep laying
the groundwork over the years, creating a layer for the next
generation of women to stand on. Today it's a little bit more arty.
I think of bands like Erase Errata, who are great, and Sleater-
Kinney, and a lot of bands who feel like, 'Well, now we can just
feel free to create music and be artistic in the ways we want to
be.' Maybe not have it be overtly politicized. But for me, that's
not my tactic, maybe because I'm not that musically skilled.
Today, Vancouver is home to a superb variety of girl-driven
groups, who showcase a full spectrum of political content. Indie-
rock queens The Organ, and The Stunts call Terminal City home,
as do boy/girl combos like Operation Makeout and The Cinch.
Vancouver also boasts a dynamic queer/dyke-driven scene
including Che: Chapter 127, transman country stud Rae Spoon,
and Sarah Wheeler, not to mention the mixed-gender Skinjobs,
whose new Agitprop release, "Burn Your Rainbow," is poised
for international recognition. While these artists draw from a
diverse set of influences, it's doubtful that any of them came to
musical maturity untouched by Riot Grrrl.
Nonetheless, an empirical tally of those active in Vancouver's
underground music scene shows a definite gender imbalance in
favour of boys, reflecting our persistently sexist culture. In
1991, the same year that Riot Grrrl came together, George Bush
Sr. mobilized troops in the Persian Gulf. Twelve years later,
watching the headlines advance day by day towards another US-
led war against Iraq, it seems that little has changed. But perhaps
George W. will really do it this time, the system of interlocking
alliances will click into place, plunging us into global warfare, and
this rotten civilization will be levelled. The slate will be wiped
clean, and from the ashes a few will rise to build the egalitarian
society feminists and other progressive activists have worked so
passionately towards.... Maybe. In the meantime, there's a lot of
great music to listen to. •
Special thanks to Trish Kelly for lending her invaluable collection
of vintage Riot Grrrl zines.
Voices From the Pages of Riot Grrrl Zines
"i am 2 out of 5. 4 out of
7. 9 out of every 10 wimmin. i
am the statistic that you pull
out of the air when you can't
think of anything better to do.
i am that same number but
warped and manipulated by
the media to prove whatever
empty point is being made
when newsweek said
that only 1 in 1000 wimmin is
raped, that was me. 1 in 1000.
1 in a million, baby.
i contradict myself daily,
everyday, your words make
me feel a little less valid than
before, i relearn the art of
violence over silence (for the
sake of survival) EVERYDAY."
—lngrid, reinvenn'rigf the real
"in the dream we're all alone
(in a crowded room)
and i'm wide awake
(but,       remember,       i'm
you're so beautiful
(inside and out)
and we're telling each other
about our secret fantasies
(remember this is a
then  i tell you my dream's
about you
(it's a bit hard to confess)
you just smile and say 'i
16 March 2002
(i love your smile)
and then we kiss
(soft and shy, but beautiful)
like two girls who just realized
(in that moment of dream
that we've been in love
(for such a long time)
and we never noticed before
(it is hard to tell sometimes)
and so we promise each other
(i promise...)
to be together forever
(cuz forever exists in dreams)
and i flung my arms around you
(i was so happy)
and then i woke up
(alone and in the dark)
i forgot happy dreams
(make reality so depressing)
good night dream girl
(good night)"
—Parrish Kitty, KITTY GIRL#2
"i wrote a poem in high
school, it was all about how i
wanted to die and darkness
was all around me.
it was a beautiful poem
cause it hid everything that
was real about me. i didn't say
that i got hit all the time and
i got weird memories about
getting raped when i was little
or how the principal really had
it in for me that year.
yeah, in fact i got
suspended for forging a
signature and i didn't even
do it. but he didn't care cause
he knew i was a juvenile
delinquent anyways.
and a slut.
my best friend used to
write me love letters every day
in school so i wouldn't commit
and when i would come in
with bruises all over all over
my face she knew who did it
and she would hold me and
rock me.
she never stopped speaking to me when i was always
fucked up and when i quit she
was there too."
—Billie Strain, cross my
heart (hope to die)
"Feeling so spectated
myself, I get pleasure from
looking at this bare chested
boychild. Writing creepy letters
to Evan helps me understand
why men go to stripbars. This
understanding is crucial to my
—Kathleen Hanna, My life
with Evan DandoPopstar
It took me fifteen years to
perfect the words "I'm sorry"
and it'll probably take me
another fifteen to forget them.
I am NOT sorry you don't
like the way I look.
I am NOT sorry that I look
sad/angry/anyway other than
happy today.
I am NOT sorry if
my existence makes you
I am NOT sorry that I
disagree with you.
I am NOT sorry that you
don't approve of me.
I don't owe you anything—
not even an apology.
I want to know why I grew
up believing that 1 have to be
sorry for everything I feel.
"1 know you will find some
good in this pain you are going
through, because that is what
you do, you are a survivor.
You are Super Girl who never
gets a secret identity. You are
the girl who shines like a saint
and everybody knows it, even
mommy. You are traveller girl
who circles the globe, keeping
her friends in suspense. Where
will you show up next? I always
hope it will be my doorstep."
Interview by Merek Cooper
I think I saw a picture at a friend's house first. No, a postcard.
Black and white, overexposed, split into four windows. From
each of these windows four faces stared back and across the
bottom it read: "Ikara Colt"—a brand new band and they looked
cool-as-fuck. Noting my interest, my friend slipped their debut
single, "Sink Venice," into his stereo for me to hear. Just bass and
drums at first, both off like a rocket as if racing each other to
some imaginary finish line. Then guitars and vocals came tumbling
through the mix. "Sink Venice, sink, sink, Venice," sang two voices
as guitar detonated all around. I was hooked. Ikara Colt—hard, fast,
and like nothing else I was listening to at the time; the best band in
Britain, hands down.
Since then, they've released three more EPs and a debut album,
Chat and Business, to a salivating British music press, signed to
Epitaph and caused a stir at New York's CMJ showcase. They embark
on their first North American tour this month, which, luckily for us,
stops in Vancouver. I spoke to guitarist Claire Ingram about musical
euthanasia, Japanese missiles, and the legacy of Riot Grrrl.
How did you meet?
Claire Ingrain: We all met at art school—that well-trodden route
of going to art school and then forming a band.
I found this quote on the internet: "Ikara Colt's name is supposedly
a fictional race horse, this is because they believe bands should
shoot themselves after five years.'' How did you really get your
name? This is not true is H?
No, no. Well, what happened—the honest, honest truth—is that
we had a gig so we had to get a name together really quickly. So we
all went round someone's house, got all these books out and just
picked two random names that sounded good together. It was from
two entirely different books. We wanted something a bit sharp, you
know, slightly aggressive but not too aggressive. Then in interviews
we just kept making up these different stories to amuse ourselves.
Now we're really bored of lying so we just tell the truth.
I heard it was the name of two guns.
Well, yeah, I think it was.... Oh yeah, Jon [Ball, bass] had a book on
A book on missiles?!
Yeah, he's not a violent person, [laughs] So maybe you shouldn't
print that. It was just a random book on missiles, and we found
this Japanese missile.
What about the "aJI-bands-shouId-shoot-themseJves-after-five-
years" quote?
Oh yeah, well Paul [Resende, vocals] said that in an interview once,
and now everyone always brings it up. Actually, I do agree with him
to a certain extent. I think there's so many bands that just lose
something—you start off and you're so excited, but then it's very
easy to lose direction and to forget what you started the band for
in the first place. Obviously, there are exceptions like, say...Sonic
Youth. But you can't just say: "Right, you've got five years and then
everyone gets shot." It's quite an extreme thing to say, but then I
don't think he said it knowing it would come back to haunt him so
It all happened rather quickly for you guys, right? British DJ
Steve Lamacq came to your fourth gig and then you got a record
Yeah, it was really lucky. We were playing the Dublin Castle in
London, and Steve Lamacq was meant to be seeing another band
down the road at another venue. Then that band cancelled and he
just walked back to the Dublin Castle on the off chance. He only
caught the last few songs but he spoke to us afterwards and told
us to send him a demo. Really, it's all down to him—he got in touch
with the guy who runs our record label [Fantastic Plastic] and said,
"I think you'll like this band." After that, it all fell into place quite
Every time I read a review of Ikara Colt, two bands are always
mentioned: Sonic Youth and The Fall. How do you feel about this?
Are these bands an influence?
Well, I like both those bands—I think we all like both those bands—
but I know that when we started this band we never knew what we
were going to sound like, or we never aimed to sound like anyone.
That's really pointless—you're just going to be a really bad version
of that band.
So the comparisons don't piss you off?
No. It's obviously pretty good to get compared to bands that are
so influential. I mean, if they were comparing us to bands that we
really didn't like, then I think there would be a problem. I don't mind
being compared to bands that are really good.
Your single, "Sink Venice" is a borrowed motto of the Italian
of machinery combined with the contemporary fascination with
speed while at the same time denouncing the 'static art' of the
past and the old-fashioned establishment." Does this description
fit Ikara Cok?
Well, yeah. I mean, Paul writes the lyrics, but the whole vibe of the
song is anti-nostalgia. Like, come on—move forward.
What happened at the Reading Festival this year?
Oh well, they said that we caused a riot, but it wasn't like that, and
the organizers were really nice to us afterwards. They were like: "Oh
well, it was just a misunderstanding." But it was kind of our fault. I
think we were all just a bit over-excited, and encouraged everyone
to come on stage, so pretty much everyone did! [laughs] We didn't
manage to finish the set and it got pretty chaotic. Although it was
quite fun seeing everyone jumping around on stage, but 1 don't
think that the security liked it very much, and they wouldn't let us
play the next day. It was really horrible, like being told off at school.
I guess they had a point; it was our fault, but we're nice people and
we didn't mean to cause any problems.
nd obviously you're a woman. I
n a band these days? Have you
You got banned from the British album chart because you
apparently were bribing consumers with free stickers. Do you
feel guilty for using such underhanded techniques?
Yeah, our record got banned because there are stickers in it, and
it was deemed an unfair promotion. You get a boy band like *N
SYNC giving away a free poster, and they can get away with it. But
they're on a major label, and they've got big bucks behind them and
everything. But they were having none of it with us, even though it
was part of the artwork and it didn't say anything on the packaging
about it. We weren't bothered by it—I mean I don't think we
would've got to number one. [laughs]
Women's Issue at DiSCORDER,
low does it feel being a woman
come across any differences in
Only one time. I was doing an interview with Paul, and the guy
interviewing us didn't even look at me. It was really odd, he only
interviewed Paul. And when I said anything, he would just look at
Paul as I was saying it. And I was like, "What's the deal here?" In
general, though, I never encounter anything—I mean, I guess people
always think I play the bass. I'll turn up at a venue and they're like,
"The bass is over there," and I'm like, "No, I play the guitar."
Have any record industry types tried to get you to market your
sexuality a little bit more provocatively? To sell your sex appeal?
I don't think I've got any. No, I think Paul would really object to that
because there was this girl taking photos of us the other night. She
was taking pictures of my shoes and she was getting me to pose
my feet. And Paul was like, "Don't do that. That's so model-like,
it's what girls are expected to do." I was like: "Oooh, check out the
feminist in the band!"
We're also running a feature on Riot Grrrl which looks back at the
movement ten years on. Did any of those bands in that movement
Oh yeah, definitely. I was into that as much as I was into the whole
Seattle thing. It was an essential part of music in the last ten years.
Who were the women who made you want to start a band?
Well, I did really like Huggy Bear. I really liked everything about
them. 1 thought it was just so amazing, their manifesto, that they
were going to split up after three years and they did. I thought that
was pretty impressive. Obviously, Bikini Kill too. You really have to
admire Kathleen Hanna. There was an interview, I think it was in
Wire magazine, a couple of months ago, and the best thing she said
was that people think drum machines and samplers—things like
that—are really hard to use. And she said they're not. So just get
them and use them. And if that's not inspiring, I don't know what
(Ikara Colt play The Royal on March 23 w/The Sahara Hotnights) March's Artist of the Month is Genevieve Castree. This piece is called "War! War! War!" Genevieve doesn't like war, and if you do, you're a bad person. ONE-WOMAN RIOT
Interview by Shad McAllister, Photo by M. Sander
In 1992, the riot started. It happened in Berlin, an explosion
blowing out the supporting walls of the European techno and
hardcore scenes, spawning Digital Hardcore—a label that
became a genre. Ground zero was Atari Teenage Riot, an electronic
band that sampled Slayer and screamed for you to start the riot,
to delete yourself, to destroy 2000 years of culture, and that they
were sick to death like they'd never been sick before. Nobody had
heard anything like it; everybody stood back and stared.
Standing in the midst of it all was Hanin Elias. At nineteen,
when she met Alec Empire and they decided to forge their
own musical path, she had already taken in a wider-range of
experiences than most of her peers. Her formative years were
spent in Syria where, at four, she witnessed a public exectution.
Back in Germany, she tried style after style—punk, rockabilly,
goth—before realizing that they were all shadows of the same
clique-ish mainstream phenomenon.
Fatal Records—a label for women and men who shared
revolutionary ideals—was founded by Elias as a subsidiary of
Digital Hardcore in 1998. Atari Teenage Riot broke up in 2001, and
this past year Fatal came into its own as an independent record
Hanin Elias hasn't stopped with the dissolution of her band-
on the contrary, she's hardly begun.
How have your experiences as a woman in the music industry
changed (if at all) since you started performing?
Hanin Elias: It's obvious that it's mostly welcoming when you are
a woman if you admire the boys and let them talk business and
stay uninvolved. When it comes to the point that you get involved
in business the whole thing changes, and people seem to be busy
making everything as unclear as possible, so that it looks like a
world you would never understand as a woman.
It's not as hard to get as it looks.... 1 just don't feel comfortable with
all the rules and power games that are a part of that business.
But not all men are like this. Also, women who work in the
music industry seem to be brainwashed and so programmed to
serve the white male consumer that they don't even doubt that
the philosophy they work for will destroy them as women in the
Let's see if only the strong will survive.
The Fatal Records website has a philosophy section, which is
unique enough, but not only does it have the label's manifestos,
H contains writings from notable performers and academics like
Kathleen Hanna and Slavoj Zizek. How important is philosophy
to the label? To you personally?
For me it's a way to say what bothers me and meet with people
who feel the same way. For me music is a way to express my
feelings, thoughts and politics. I'm also open for discussions and
even different thoughts, and I love to analyze culture and people.
I just couldn't imagine having only meaningless music or artists
20 March 2002
on the label.
There is so much wrong socially and from a humanist way of
living in our society, and we need to keep believing in something.
Philosophy gives us a chance to compare our situations with the
theories of others and maybe demonstrate for other solutions
without just being against everything. Kathleen Hanna gave
me a lot of power when I read her manifestos in a time where
everything seemed to be wrong and unfair, and I started getting
interested about feminism, but felt very alone with it at that time.
She had the energy to inspire and give people motivation to do
stuff themselves. She was also inspired by the things I did and
we met to do something together and feature each other in the
Do you think the intrinsic philosophy has changed over the past
five years from when Fatal was a female-only label to now, when
men are contributing as well?
Actually no. I always knew that there were men who support my
ideas and the equality of other women but I had the dream first
to have a conspiracy of women who would have their own way of
using technology and would stick together and form a new style of
music. Now I see that this would just lead to another dogma, and
this is the beginning of fundamentalism.
I also enjoy the tension between men and women, and like the
sexual aspect of working with mixed sexes. It pushes you more,
and is more of a challenge.
What are some of your personal philosophies?
- Not to stand still and not to shut up.
- Development is not a technical thing, but a state of mind.
- Have principles, but don't let them block your development.
- Women should be happy, whatever they do. If they are really
happy by being a prostitute or a nun, that's okay with me, and if
they are happy with being intellectuals, that is also okay. No one
should judge women with morality based on what a woman should
be like.
- Not to do what people expect me to do, but what I feel is
right. Being authentic for the moment.
Is Fatal simply a record label or do you have bigger plans for it?
What do you mean by "simply"? Did you ever run a record label,
make music, graphics and go on tour? Dealing with other artists
can be very difficult sometimes.
When I was a singer in ATR, people asked me, "So you are just
singer, right?" Now they ask me, "So you simply have a record
label, two children, are a singer/songwriter, co-producer...." Well,
that is not fair, [laughs]
No, Fatal should of course be a movement, a philosophy, and
hopefully a more dimensional thing that grows and works like
clockwork, that slowly but strongly turns into the other direction,
and will move more and more wheels to change the whole direction
into something away from the monoculture these days.
What was the impetus to distance Fatal from Digital Hardcore?
It was a hard decision that I had to make, but I needed a change.
After Carl's death we didn't get along with each other anymore,
and we all needed a break. Everyone is so different now that we
couldn't identify with each other's ideas anymore.
How is writing on your own different from what went on in Atari
Teenage Riot?
I have more freedom to write about personal things and the music
also sounds different.
Politically, 1 don't see a big difference, but it's more subtle now,
and not so destructive, I guess.
Are you, Alec, and Nic planning on doing anything collaborative
anymore, or did ATR end after Carl's death?
It ended. But Nic works for Alec's solo career now. They still work
I don't even have contact with any of them.
Do you think that a boy/girl revolution is the path to an eventual
unity between the sexes? Is such a thing even possible?
That would be the only chance I see to work together for
something better—if men see the need for a real change and
support women in their ideas instead of using them to be more
powerful. It was like this for millions of years as we can see in
history. Nothing really changed in the male structures, and it all
leads to war in the end.
The graphic design on No Games No Fu
part of your life is design work?
It was the first time 1 worked on the graphics, but I heard from
many people that they liked them.
It was a combination of people's work that 1 mixed together, such
as photographers like M. Sander and screenshots from P. Virus,
Ewano—a tattoo artist—and some funny ideas I had with my
brother who painted funny pictures and caught flies and spiders
to scan them for the cover....
What is inspiring you these days?
Books from Bram Dijkstra, Klaus Theweleit, Kathy Acker and
Virginie Despentes, Arundhati Roy, Naomi Klein. Protests against
the war.
What advice would you give to girls who want to get involved in
Just be inspired and be authentic.
Don't believe anyone who tells you that it's impossible! • WHITE WOMAN
Interview by Val Cormier
Let's face it, if anyone has earned the right to sing the blues
in a male-dominated society, it's women. However, as a
New York Times writer once noted, some stumble at the
roadblock between the blues and the merely bluesy. Bonnie Raitt,
for example, is only bluesy, but Sue Foley has been held up, along
with blueswomen Rory Block and Susan Tedeschi, as having what
it takes to "get past the spiritual bouncer."
It's been a long and interesting journey for Sue Foley, who
grew up white, middle-class and female in our nation's capital.
From jams in Ottawa bars to touring on the international blues
circuit, she's racked up a good share of miles, records, and wisdom.
Turning 35 at the end of March (still a young pup on the blues
meter), she cleaned up at the Maple Blues Awards in January (five
awards in all, including Entertainer of the Year) and has recently
been nominated for a prestigious W.C. Handy award.
DiSCORDER caught up with Sue by phone at her Ottawa-area
home one wintry evening.
DiSCORDER: How about a weather report?
Sue Foley: It's freezing. It's brutal! Tonight it's going down to -26.
And tomorrow it's going to be a high of -20. It really, really sucks.
This has been a really cold winter. Everybody's talking about
"global warming"—what a load of crap.
I guess you're not touring much this time of year, then.
Not much. I'm doing a Montreal gig, something called "Les Grandes
Dames des Blues," an all-women blues revue sort of thing, in
March. 1 don't know much about it yet, but one of the other
headliners is Dawn Tyler Johnson.
Have you done other events focusing on women in the blues?
Yes, when I first moved to Austin I did two tours called "Antone's
Women." Antone's was famous for having great women artists on
the label—people I was really influenced by, like Lou Ann Barton,
Angela Strehli, Lavelle White, Marcia Ball, Barbara Lynn, Kelly
Price, Sarah Brown, Candye Kane. All of us, except Marcia, went
on tour together a couple of times.
Actually, Antone's label was totally run by women back then.
And strong women; it wasn't poppy fluff stuff. It was like real blues
women, with a real raw sexuality and passion.
That's interesting, becat
many articles about you imply that
Clifford Antone (owner of famed Austin club and label bearing
his name) "discovered" you when you arrived in Austin, and took
you under his wing.
It was actually Angela Strehli who saw me first, at a blues fest in
Kitchener-Waterloo, and she told Clifford about me. I met Clifford
later that year at the W.C. Handy awards in Memphis and he told
me to send him a tape. He encouraged me to come to Austin. It
was a real fertile scene I got into.
Were you surprised at the warm reception you received, being an
outsider and all? From what I've read, Texas practically claimed
you as one of its own.
Well, I sure wish I was in Texas more, especially this time of year! I
was an adopted Texan, spent the better part of eight years there.
So, yeah, I became part of the scene. I liken my time in Texas to
going away to university, in a way. I was 21 when I got there, it
was all about learning and soaking it up. By the time I was 28 I was
ready to move on.
Do you get back to Austin very often?
It's been over a year and a half. I really need to go, I'm trying to
figure out how I can steal away for a weekend and go see some
friends. I keep in touch with people down there and read the odd
trade magazine, so I still have some idea what's happening on the
music scene down there.
I understand you were a real fan of The Clash and British
Invasion bands when you were growing up. And you're from a
musical family?
My dad and my three older brothers are all guitar players. My dad
played Irish music, folk, country, that kind of stuff. My brothers
were all into hard rock. I liked all that stuff, but I picked my own
musical direction, which was the blues. Or rather, the blues found
I went from punk rock to early British Invasion, which is very
much like punk rock, back to The Rolling Stones and their early
stuff. I realized they had covered Muddy Waters songs, so I got into
that, and then I saw James Cotton live, and it all came together.
It was like "wow," it all made sense. It was one of those defining
s when I realized what 1 was going to do.
Was it hard to find good blues when you were growing up in
Ottawa has always had a lot of blues, surprisingly. They had a blues
jam every week. Pretty much all the blues guys would congregate
every Tuesday night, hang out and jam. I would just go down there
and hang out, too. They started taking me under their wing, and
pretty soon I started taking guitar lessons from Tony D. Next thing
you know, I was gigging... it was very natural. And it was a really
good blues scene. There's still a lot of blues coming out of Ottawa,
and of course there's a huge blues fest here.
You spent a few years here in Vancouver, didn't you?
Yes, from about 1986-88, right after Expo. I knew that I needed
to go somewhere, and your options in Canada at that time were
Toronto or Vancouver. I'd been to Toronto a lot but I hadn't
explored the west.
The first thing 1 did was to go to the jam at the Yale. That's
what blues musicians do: you look for the jam, that's where the
musicians are. 1 met Jack Lavin, Tom Lavin, Tim Hearsey, a lot of
those guys. I jammed there quite a bit. Since I was 19,1 was hanging
out with a young crowd, too, so I put together a young band and
hit the road. Our first road trip was Powell River. After that we
went to Calgary two or three times. We toured the Prairies, and we
toured the Prairies again. We kept touring the Prairies, and finally
we went across the country. It took four months: Vancouver to
Halifax and back, going through Chicago and all sorts of places
in between. It really was like a road movie. We had all these
relationships, coming together and breaking up. And then the van
broke down in Halifax so we were stranded there for three weeks.
We spent two or three weeks in Quebec City. It was great. And we
partied. Heavily! [laughs]
I suppose you're not partying quite as hard these days, now
that you're a mom. How are you managing to juggle touring,
recording, and motherhood?
It's the ultimate in contrast. I wouldn't say my life is boring at
home, but it's totally different from what I do on the road. It's kind
of neat. I wouldn't do one without the other. I still live for playing
and going from gig to gig. I'm still excited every time I go out. But
it's good to be home if I've been out on the road too long. I'm a
single parent, so I tend to stay pretty close to my son.
You were quoted in the New York Times as wanting to be the
"female Clarence Gatemouth Brown... 75, a wicked guitarist and
ornery as hell." True?
He is truly ornery as shit. He can say anything and do anything.
I totally look forward to getting there. I mean, I'm not looking
forward to the aging thing, but I think it'll be interesting. Blues
is one of the few genres where age and experience is valuable to
your work. Rock and pop is all about youth, but age and experience
adds something to the blues.
What about as a woman? Is there still that "beauty standard"?
Yeah, there will always be some of that for women. It's too bad
that we have set these standards so high that we can't attain
them. I just wish we could get past that as a society and look
the way we look. Hey, we're all going to end up in the same place
anyway. Besides, with all those facelifts, you look pretty fucked
up, let's face it.
Do you think the audience for blues has changed over time?
I think right now people are starving for anything with some
substance. That's one reason Norah Jones is doing so well. She's
got soul, people are starved for that and buying it in droves. Blues
is always going to be there. I'll always have a gig, and most blues
musicians will, because it's real music for real people. 1 don't
envision blues, in its purest form, becoming too commercial. Blues
is changing in a lot of ways; I've changed my style a lot, I'm not so
bound by the straight blues forms. Not everything I do is straight
12-bar blues, but it is the foundation of how I think musically and
how I relate to music.
Blues will always be around. People always need it, and now
more than ever. •
Interview by Chris Eng
Tips For Young Journalists, #J: If you're doing a zine, and you can't
secure a band interview through regular press channels, go and
do the interview anyway. Show up at the club around dinner
time and tell the bouncer/publicist that you're there to interview
(INSERT NAME OF CELEBRITY HERE). Sound confident. Sound
assured. Don't look sketchy. Don't wear the band's t-shirt. You'd be
surprised how often this works.
Then again, sometimes it doesn't. On June 19, 1995, after two
hours of waiting at the Commodore for Elastica to show up so 1 could
go into my carefully rehearsed routine, the bouncers had seen through
my clever ruse, and were sick of me sitting around and breathing
their air. I was swiftly and efficiently ejected onto the street, forced
to collect myself and nurse my wounds while waiting for the show to
start. Sulking as I stalked along, i looked over to my right. A woman
walked beside me, keeping pace. I noted, with barely contained
astonishment, that she was talking to another woman—Justine
Frischmann, Elastica's lead singer. The two of them turned off into a
shop and I stood on the sidewalk agape. Stuff like that didn't happen
in real life did it?
I deliberated for several moments, vacillating between following
them in and fleeing in a blind panic down the street. Eventually,
though, I screwed my courage to the sticking place, and boldly strode
into the clothing store. "Excuse me, Justine?" I said. "Er, yeah." "Hi, my
name's Chris. I've been trying to get an interview with you, but nobody
was getting back to me." "Oh. Say, are you reading London Fields?" I
looked down at the book in my hands. "Er, yes." "That's the best book
ever." "Ummm... yeah, it's really good." "That's horrible about your
interview. Why don't you come backstage after the show? I'll be nice
and drunk, so you can get some good quotes."
I did, she was, and what follows was lost for the next eight years.
But, like the original recordings of Let It Be without Phil Spector's
string sections, the truth can never be forever silenced, and the voices
of half-remembered Britpop stars talking about second-hand highs
demand an audience. Because if we don't learn from the past, we are
doomed to repeat it. And if celebrities don't learn that what they say
drunk will live on through the ages, then they are doomed to relive it.
Any good road stories so far?
Justine Frischmann: Ummmmm...
[laughs] Being on the bus is fine, apart from when you have a two day
drive. When you go to bed on the bus and you wake up on the bus, the
bus is like a huge bong when you wake up. It's just like, wherever you
go, you can't get away from getting stoned, because you get passive
smoke. And in the front lounge, everyone listens to dance music that
you hate, and in the back lounge someone is watching a horror film
that's really horrible, and then 12 hours later you're still on the bus. And
that's pretty insane, really....
So you're caught in the middle of it all?
Yeah. You just start getting cabin fever sometimes from running up
22 March 2002
and down the bus. What you do is you run up the bus, and then when
you think the bus is going to stop, you just let go and you just fly arms
out, like this, [demonstrates] And that's quite a good trick. And no
one's broken their neck yet, so that's quite good. And there's quite an
unpleasant collection of socks in various people's bunks, and that's
about it, really.
So is that the drug of choice, then?
What? Hash? Yeah. There's an awful lot of.... I shouldn't be saying this,
should I? It's just the crew, it's not the band.
If you weren't in Elastica, what type of band would you be in?
I dunno, really. I can't imagine being in a band that wasn't Elastica. So
what do you think of London Fields?
London Fields? It's a great book.
It's good, isn't it? Yeah.
I mean, I've only gotten about a hundred pages into it, but....
Yeah, but if you like it after a hundred pages, you're gonna love the
book. I've given it to loads of people who haven't got it at all.
Actually, my brother's been trying to force it on me for a few weeks
now, so I finally picked it up, and just after I started I picked up the
new Details magazine where it talked aJx>ut you reading it, so it was
It's really weird, because Martin Amis doesn't do very well outside of
Britain, just because it's like darts and pinball, y'know what I mean?
It's just so colloquial. And he's really bitter and twisted when you think
about it. In many ways it's like the Blur phenomenon; it's the same
way they don't do well in America, Martin Amis doesn't. Know what
I mean?
It's really British and I think a lot of people wouldn't get that.
How come Morrissey's so sad?
I dunno. I think it's just the fact he's a sort of macho, gay, body-builder,
and it just doesn't quite work anymore for some reason.
So what would make him happy?
1 dunno. If he married me.
What's the best pickup line you've ever heard?
"Are you the singer from Elastica?"
I used that one!
No, I said, "Excuse me, Justine?" Do you like cake and candy?
Not particularly. I like savory things better. I really like crisps and stuff
like that, and I love Chinese food.
Do you watch football? [He means "soccer,"you Canadian wankstars.
I have to watch football, unfortunately.
Who do you favour?
Well, I have to like Chelsea, really, or else I get my head kicked in. That's
the team that Damon likes. And he really likes them—like he cries
when they lose and stuff.
That's a strange phenomenon over here. It's just not popular in
Canada. It's like a cult thing.
Yeah. It's weird the way the Americans have caught on to it.
What's the ma
Damon makes me breakfast
er done for you?
bed every morning. That's pretty
What do you get to eat?
I just get a cup of tea, and sometimes I get a bit of toast. Sometimes I
get a fruit salad if I've minded my p's and q's the night before.
What's the most interesting job you've held?
I've only had two jobs, and they're both shit. I worked in an architect's
office for six months. [Justin Welsh chases Donna Matthews down the
hallway as she wails and caromes off of walls. They are both carrying
markers. They both have been scribbling on each other's faces. They
are obviously and extravagantly wasted.]
Donna: Look what he's done to me, Jus! [She runs off, and he follows
For those who don't know, describe pub food.
The best pub food is a ploughman's [lunch], where you get a big bit
of stilton and pickle and pickled onion and bread and some tomato.
That's as good as it comes. I'm veggie, but I think sausages and mash
are pretty good.
I guess the most serious question I have to ask you is: what kind of a
response have you received in North America?
A really good one, actually. Really surprisingly good, considering all the
horror stories you hear about North America. British bands usually go
down okay in Canada, but really badly in the rest of North America.
We were really expecting to be driving for three days and then turn
up in the middle of nowhere, and there'd be like three people there,
and it's just been great, the whole thing's been sold out. It's just been
What kind of TV shows did you watch when you were young?
My favourite was probably How. Did you ever get that? It showed you
how to do stuff. I also liked TaJce Hart. I dunno what else, really.
What words of wisdom do you have to offer people?
Don't let your life get boring. • under review
recorded media
(Distort Entertainment/EMI)
Hey kids, we, the Canadian
Music Industry, have found a
great new American band to
"emulate" (read: copy), repackage as a Canadian band, and
sell to you, the unwashed,
music-buying masses. I bet
you've never even heard of
this American band. Hell, they
broke up nearly two years ago!
1 mean, At The Drive-In? It
sounds like an expression, not
a band name! What's that?
You HAVE heard of them? Oh.
Well, okay, then we'll sell it to
you as this great new sound:
screamo! Yeah, that's it; all
the power and passion of emo,
only screamed! Be the first kid
on your block to own the very
first screamo album ever by
Alexisonfire! All accusations
of unoriginality and crappy
marketing aside (screamo?
That alone makes me want
to verbally tear this band a
new asshole), St. Catharines,
Ontario's Alexisonfire are not
an exact copy of At The Drive-
In nor are they simply emo
Unfortunately, the characteristics distinguishing the
band from their significant reference points are not predominantly positive ones. To start,
the band likes to disperse 80s-
metal riffs throughout their
songs. How do you intend to
scare or impress anyone nowadays sounding like Poison? To
make matters worse, one of
the band's two lead vocalists
sings like he's vomiting into the
microphone (the other sounds
like, you guessed it, ATDI's
Cedric Bixler). As a final insult
to injury, Alexisonfire doesn't
even come off as sounding
anywhere near as visceral
or powerful as its progenitor. However, despite all their
shortcomings, Alexisonfire is
not yet ready to be consigned
to the Graveyard of Derivative
CanCon Bands. They do possess some songwriting talent
and lots of melodic guitar lines.
They just need to ditch vomit
boy, leave the hair metal in
the past, and get some sharper
production. That, and a bit
of originality and my CanCon
jokes will stop. I promise.
Neil Braun
You All Look The Same To Me
(East West)
So you put on the headphones,
and on the first listen you try
to decide what exactly it is that
you're listening to. Industrial,
classic rock, trip-hop, whatever. You All Look the Same To
Me has aspects of all of these,
but the beautiful thing is that
past the first listen it becomes
harder to fit it into any one
category, and that's when it
hits...this is good music that
doesn't do what you want it
to do. The impression that the
singer is just Liam Gallagher
frying to sound like Thorn
Yorke didn't help sell me, and
the same can be said for the
simple, rather cliche love-lost
lyrics. Still, the album is musically grounded by two 15+minute epics "Again" and "Finding
It So Hard," and these tie the
rest together gracefully into a
cohesive whole that flows like
the Thames through London.
Gritty but beautiful. The
inclusion of the three-minute
remix of "Again" seems to
have no more purpose than
to stress exactly how much
more powerful and interesting Archive can be if we give
them their 15 minute creative
space, and if this is so I suggest we give this group all the
creative space they ask for.
Soren Brothers
Nick Cave and the Bad Seeds
The arrival of a new Nick Cave
and The Bads Seeds release is
always full of anticipation and
expectation and Nocturama,
despite the silly title, is no
exception. We find Nick now
shorn and staring into the
light contemplating the dual-
istic nature of love and desire
coupled with a continued inner
struggle with a humourless
god. The album opens with
a near perfect distillation of
his later period ballad form in
"Wonderful Life." The album
thus starts off with arguably its
best song and thus never quite
maintains the same promise
throughout. Still, "There is A
Town" and "Right Out of Your
Hand" come close to this art of
minimal gesture and implied
meaning, the latter sounding
not unlike the Tindersticks in
one of their less dour moods.
One can't help but feel that
there is a maturity of the artist
going on here that somehow
gives a sense of grace to aging
in a world hellbent on negating
it's worth.
Alas, not all is solitude
and confessional, piano and
candelabra, as we have heard
in the last couple of albums.
"Bring It On" picks up the
tempo and temperament as
the author accepts a shared
fate with renewed courage.
However, the fire is further
stoked with "Dead Man In My
Bed." The manic energy of the
Bad Seeds is given full reign as
ol' Nick belts out "I keep poking
him with a stick/But his skin is
just so fucking thick/There's a
dead man in my bed" while a
hammond organ screams at
full tilt. It's a welcome return
to a form that reminds us
that Nick hasn't completely
mellowed out, at least not just
yet. The album concludes with
an epic blowout to the full-on
blind grip of passion in "Babe,
I'm On Fire." The Bad Seeds kick
it out with a fury that is truly
intoxicating as Nick delivers
no less than 39 stanzas, listing
assorted and sordid characters
who "say it."
Paul Clarke
David Baerwald
Here Comes the New Folk
(Lost Highway)
In this recording, Baerwald is
backed by a collection of artists from L.A. and Austin. It's
clear that he's playing within
the world of folk, but he isn't
afraid to push a bit into the
realm of roots rock. "Nothing's
Gonna Bring Me Down" has a
slight funk influence complete
with vintage keys and horns.
Other songs venture into the
world of old school R&B. The
main focus of this album,
however, is the lyrics, and the
instruments serve mainly to
direct the listener to heart of
the words. This is where some
people may lose interest in the
album because there isn't anything particularly unique about
Baerwald's style. There is something very compelling in the
honesty and frankness of the
album's outlook, however. The
album serves as an unflinching observation of the world
and offers no direct answers
to the questions that Baerwald
poses (like "Why") and some of
them are unashamedly hopeful
("Nothing's Gonna Bring Me
Down"). Baerwald makes the
listener think without preaching, and somehow pulls off lines
that would seem naive if sung
by anyone else. "Sometimes
it gets so ugly/All you can do
is crack sick jokes... Me, I'm
pretty sick of that/How 'bout
faith, even hope?" While this
album verges on being mistaken as another instalment in the
oversaturated "folk market,"
it's refreshing to hear an album
that believes in something.
Samuel Kim
Bon Voyage
The Right Amount
(Tooth and Nail)
I confess I was biased against
Tooth and Nail; I didn't think
they had much going for them
beyond Northwest Punk. Well,
clearly, I'm wrong, and I'd
like to apologize in print. Bon
Voyage was a nice way to prove
me wrong, and it makes me
want to pay more attention to
this Seattle label. This album is
a side project by Jason Martin
of Starflyer 59 with Julie
Martin on vocals and Jason
doing most of the guitars. I was
pleasantly surprised by the
sweet collection of 808 drums,
70s-like guitars, and sparkling
melodies a la Saint Etienne.
This is the kind of album that
you'd consider a "pop gem,"
but there's no chance at all it
would ever reach any charts.
Songs like "Never Coming
Back" have catchy melodies
and even the guitar lines are
worth humming along to. The
lack of acoustic drums, if not
done properly, could hurt the
album, but in this context, the
synth drums serve the songs
and keeps the sound consistent. It's a short album that
comes in like a small burst of
light, and after 30 minutes,
leaves you in the dark (much
like the album cover of a lone
light bulb cutting through an
otherwise black cover).
The main weakness of
the album, however, is also its
strength. Julie Martin's vocals
sound like a squeaky Godsend
on the verge of a childlike
giggle; it's fitting for the songs,
but beyond that, her delivery is
pretty limited. While the tone
of her voice sits nicely within
the overall mix, it can be a bit
annoying that she sings every
song in the same way. With
that said, I've been sold on the
overall package with its bright
melodies and lyrics that hint
at something darker. Like the
album cover, and as cheesy as
it sounds, "The Right Amount"
really is the bright spot in
darkness. I've come back to
this album several times when
I need to cheer up with a visit
to the 80s. What better way
than with an 80s-like band that
Samuel Kim
Cat Power
You Are Free
Chan Marshall is Eddie Vedder's
new girlfriend. No wait, she's
Dave Grohl's lady. Oh, no,
actually she's just been whoring around the "respectable
rocker" scene to create the
album that will introduce the
overwhelming New Vancouver
Yuppie crew to what we've
been loving and hating for
years. I guess everybody sells
out eventually...
You Are Free is a densely
textured effort, swimming in a
myriad of Chan-tastic harmo-
nies-with-self, and, as such,
is an album that Marshall will
never be able to perform live.
She's notoriously sketchy on
stage, oscillating between
awe-inspiring bliss-outs and
total chaos. That's what you
get when you're all alone with
a guitar and a nasty habit of
being a freaky perfectionist, it
seems. This new album, featuring flashy guests of a not-so-
anonymous nature, has some
hot rockers, featuring fabulous
two-note arrangements, and
haunting ballads, also of the
two-note nature. A couple of
the tunes sound like ones we've
had before, but so it sometimes
My complaints about this
album have been laid waste
by a friend who pointed out
that, despite the fact that I can
already play it all myself, I can't
do the emotive thing like Chan
can. And I can never date Smog
(that one hurts the most).
So, yeah, this one's alright.
Marshall has written some
good tunes. You're almost guaranteed to hear her sweet voice
blaring out of any number of
SUV's and sweet sporty rides
in Yaletown this spring, so start
sucking it up right now.
Julie Colero
Giddy Motors
Make It Pop!
(Fat Cat)
One might expect an album
called Make It Pop!, released
by Fat Cat Records, purveyors
of such soothing, atmospheric
sounds as Mum and Sigur Ros,
to be a reasonably listenable
affair. This could hardly be
further from the truth. From
the first second, there's no
mistaking that Giddy Motors is
a lurching, cacaphonic weapon
of mass destruction, armed
with a reckless noise-punk
fury that immediately recalls
heavyweights like The Jesus
Lizard. Searching for an explanation in the liner notes for the
demented bedlam asphyxiating my speakers, I find that
the mighty Steve Albini was
manning the decks for the production of this monster. And
a glorious monster it is—the
primal force of Manu Ros'
accomplished drumming is the
constant that holds this heaving menace together, matched
in intensity by Gaverick de Vis'
maniacal, incoherent ranting
and demonic, wailing guitar
noise. Together with basslines
as heavy as Albini's old Big
Black and the confrontational,
fuck-all-your-bullshit impulse
to innovate through destruction shared by like-minded
contemporaries such as The
Liars and Black Dice, this band
resonates with a powerful relevancy.
Did I mention that they
also have a saxophone? It
busts out unexpectedly on the
second track, "Hit Cap," with
an abrasive skronk that would
put James Chance to shame,
as Manu Ros demonstrates
the breadth of his talent by
breaking into a scorching free-
jazz beat. On "Cranium Crux,"
Gaverick de Vis' swaying vocal
delivery brings Nick Cave and
The Birthday Party to mind,
while the creepy, lumbering
beat bears a striking likeness
to the Liars' "This Dust That
Makes Mud." Perhaps most
surprising of all is the seventh
song, "Venus Medallist," when
the noise abruptly evaporates,
replaced by shimmering cymbal
crashes, acoustic guitar, and a
soaring string section. It's an
exquisitely pretty tune that
resembles a subdued Mogwai,
23 DiSCORDER much more in keeping with
the usual Fat Cat aesthetic,
and it serves to accentuate the
fantastic, genre-defying range
that this band possesses. A
truly impressive debut, highly
recommended for anyone looking for an adventurous and
challenging listen.
Hip Hop Wieners
All Beef, No Chicken
(Peanuts & Corn )
A friend of mine told me a
while back that prairie hip-hop
was going to blow up in 2003.
I didn't know what the hell he
was talking about, but it sounded good to me. Hailing from
Manitoba and accompanied
with beats by Winnipeg expat,
now Vancouverite Mcenroe
(you might have checked out
his apt flows but boring stage
presence opening for Buck
65 at Richard's recently), the
Wieners are officially Pip Skid
and John Smith. Sure this is an
incestuous Canuck-hop release
featuring Hunnicutt, Hedspin,
Gordski, and Birdapres but
these fellas only accent the
tight duo instead of the common masking of marginal
talents. All Beef is the kind of
release that makes one patriotic. Hard beats, self-deprecation, cougar boots, and a true
dedication to underground
hip-hop. This shit ain't next
level, but it sure is hot.
Robert Robot
I Kill My Conscience At Times
The Continual Overflow of the
Living Waters Within
(Puff V Play)
"He was tempted by his high
school friends...to experiment
with drugs, and he's got hooked
on drugs. It's devastating his
life," a parental voice explains
on the opening track of this
recording. And if you have dyed
black hair and are in exactly
the right chemically-fueled
mood, you might enjoy it. But
if not, you'll probably find
its oblique moodiness more
annoying than profound. After
the spoken-word introductory
track (which sounds uncannily like something off the
Rheostatics' "Music Inspired
by the Group of 7," a forties
talk show, or a retro CITR
promo ad), the album drops
down into a slow, brooding
field of bass-heavy electronically-manipulated ambient
angst. "Funeral for Yesterday's
Life" and "Haysus" sound like
the ghost of Layne Stayley
playing live through your computer, and lyrics about "the sin
that binds you" and how "it's
all the same, it's all the same"
complete the reverb-drenched
experience. On "Where the
Word ends...", the album takes
a turn for the extreme, as
Layne and his kids' brains have
now been chopped up into little
pieces and re-arranged into
alien android angst-bots. The
guitar on "Wishing For" and
especially on "Heads Rushed"
sounds like it wants to make
the songs brighter and more
24 March 2002
hopeful, but can't overcome
the bleak darkness in the
vocals. Throughout this entire
7-track EP, singer 'jiF' keeps
it firmly submerged in a deep
black swamp of anguish, and
perhaps this is what he means
when he talks about "the living
tinually overflowing.   Try not
to think of a clogged toilet and
you'll be fine.
Ryan Opposites
Jerk With A Bomb
A friend recently gave me
a compliment of great value.
I was raving about the awful-
ness of modern architecture
as we walked together through
Vancouver's business district
when he cut me off. "Susy,"
he said, "You know what I
love about you? You're one
of the most negative people
I've ever met." I was silenced;
touched to the very core by
the best compliment I had ever
received (other than the time
someone told me I looked like
Denise from The Cosby Show).
Listening obsessively to Jerk
With a Bomb's newest release
over the next few days, I mused
upon my acquaintance's words.
Although 1 was honoured to
be his most negative friend, I
couldn't help but think that he
needed to meet Jerk With A
Bomb. The ideas expressed on
their third full-length release
are not positive ones. Instead,
they are dark and timely, focusing on war, urban decay, and
imminent apocalypse. Their
music, a spare hybrid of rock,
jazz and new wave, provides
the ideal backdrop for such
musings. Vocal harmonies flow
seamlessly in and out of synth
and guitar melodies, and with
the addition of a bassist, JWAB
have taken their sound to the
next level. The interposition of
deeply disturbing lyrics atop
driving rhythms, solid beats,
and haunting organ creates a
sound that is urgent, powerful
and compelling. It is for good
reason that this band stands
out among the many excellent
groups in Vancouver today.
While this album stands poised
for international acclaim, until
March 24th it is available off
the shelves only to us here in
Vancouver. However, I suggest listening to it with a bit
more restraint than I showed.
It stayed on my turntable for
almost two weeks, permeating
my consciousness to such an
extent that it had to be re-filed
after two successive nights of
war-related nightmares. I'm
slowly gathering the courage to
get it out again soon.
Susy Webb
Jeremy Latta
Til Death Do Us Part
Latta's album glistens, inverted:
a solar anus. The parody which
allies itself with itself cannot
escape itself. Parody disembowels, using laughter—but its
parody is mimicry—it comes
back. Latta's album caves in on
itself. The first track is "Angst
Parodic." The second track,
"Salad Days," is hypnotizing in
its simple repetitive, mumbling
synthesizer. Then aching guitar appears underneath, like
grey vinyl pleather. It is like
awakening in the back seat of
a car, which is bounding down a
slushy highway in the blinding
sunlight. But the track fades
too soon, and you seep into
the next one, "Are You Burning
In Hell?" You bump along the
smarmy road of absurd lyrics
and bright trembling chords.
Accidental overtones in the
fourth track, "Our Lonely
Northern Shores," surround
you, splendorous, but irritating. The beauty is repetitive
and drools unintelligently the
slime of greater things.
"I Should Have Known All
Along": track five, slumber of
the lost. I should have known
the lyrics would fail. The tone
is the same in tracks six and
seven. If you get sucked in to
the gulping pain, the joke is on
you. Track eight, "She Talks To
Ghosts," is the first clue, with
its poppy prepubescent guitar,
and Jeremy's cracking voice.
Track nine, "Til Death Do Us
Part," is the second clue. At
first it is naked black trees on a
grey sky, which then shreds—a
migraine of drills, stabbing
exposed nerves for fifteen long
seconds. This rupture is transparently referential to the glass
splinter in marriage: death.
This parody is tied up
with another in track ten,
"Homunculus." The recurring
refrain is a song to Homunculus.
The lyrics are purposely weak
in order to illuminate their
own parody. There are multiple
Homunculi in Homunculus:
those of the subconscious,
those of the conscious, all mirroring one another. Like Faust's
Homunculus, a being of light,
outside of the brain, Latta-
Homunculus attempts to step
outside of his own meat—and
fails. "Albatross" demonstrates
this failure. The lament sags as
a song. Its only redeeming factor is the unrelated exclamation—"Oh look, an albatross!"
Preceded by the make-out-
music of track eleven "Legion
Hall," and followed by the NFB
soundtrack of the final song
"Dead Girlfriend," "Albatross"
is forgotten, so forgiven.
Latta's album is a beautiful
failure. His parody has a dialectic succor that polarizes magnetically, but allegiance is the
soul to parody, hence the black
hole. Since a porthole is an end
and a beginning, Latta's failure
is a small triumph. A lamp is
on my table and the house is
in the music. I will finally live in
the music. Where is the music
found? In the music.
Aliza Weller
Mean Red Spiders
Still Life Fast Moving
(Teenage USA)
Okay, so there's good stuff
coming out of Toronto nowadays.   Who   knew?   Beautiful
stuff,  like this third  release
from Mean Red Spiders.  It's
atmospheric, melodic and
wonderfully constructed. It is
also much "poppier" than their
earlier stuff. It is almost disappointing that they did not continue on a pure, Stereolab vein.
But hey, they make the pop
blend in so seamlessly and so
inconspicuously that it is easy
to ignore. So why complain?
Rana E.
The Meligrove Band
Let it Grow
(Endearing Records)
If they look like Sloan, sing like
Sloan and smell like Sloan, then
by god, they must be Sloan. But
no, they're Toronto's Meligrove
Band. To say that the overall
effect of Let it Grow is not
enjoyable is to lie; it is kind
of fun to listen to. The unfortunate thing (aside from that
hopeless Sloan resemblance)
is that this album will probably never make it beyond the
"pleasant background noise"
category. It will be quickly
Rana E.
Moving Units
s/t EP
(Palm Pictures)
After the massive hype explosion around New York dance-
punk last year, major labels
were falling all over themselves
trying to sign the Rapture.
They couldn't, however—Luke
Jenner and his posse are way
too smart to leave DFA, possibly the most exciting new label
going—so they did the next
best thing, and snapped up a
band that sounds exactly like
the aforementioned kings of
New York—LA's Moving Units.
Throughout the course of this
four-song debut EP, this band
manages to blend the deliberately lo-fi production and
bored, affected vocals of The
Strokes with Gang of Four-
style dance beats even more
shamelessly derivative than
contemporaries like Radio 4.
When the singer feels like giving you a break from his "I'm
too hip to sound interested"
cadence, he alternates with
a fake accent and my-tight-
shriek -gratingly reminiscent
of Steve Bays', of the suddenly
ubiquitous Hot Hot Heat. While
they may be derivative, however, this band can still shake
and shimmy reasonably well,
and their angular, ringing gui-
tarwork and jumpy basslines
are certainly a hot commodity
right now. So, if you can get
past the painfully (dis)affected
vocals and superficial lyrics
(song titles include "Between
Us & Them" and "Melodrama")
you might find yourself striking a fashion-magazine pose
and twitching epileptically (and
sources indicate this may be a
good thing). In any case, name-
droppers are all over this band,
so look for them soon on the
cover of your favorite hysterical British music magazine.
Nobukazu Takemura
(Thrill Jockey)
Looks at the Bird
(Thrill Jockey)
I first became interested in
Nobukazu Takemura after he
split my eardrums open during
his support slot for Tortoise
at the Vogue in 2001. That
night the sound man must
have dozed off or maybe he
just forgot he was wearing
earplugs. The sounds that this
placid-looking Japanese gentleman and his laptop made were
not bad, just way too loud.
Actual pain was induced and I
was convinced that I was mere
moments away from having
my head explode like like a ripe
However, as I grimaced through
the pain, one song really stood
out and I've been looking for
it ever since. My search ends
with this album, as the track,
titled "Lost Treasure (4th version)," finally turns up on 10th.
Listening to it now it probably
wasn't worth the wait, but at
least in the meantime I have
become extremely familiar
with Nobukazu's back catalogue and while I can't say I'm
a huge fan, I do find his work
intermittently diverting.
10th is actually his most
accessible release to date—forgoing Riechian repetition,
Nobukazu chooses to construct
his compositions in a more linear fashion which is probably
more conducive to the vast
majority of the record-buying
public. It's a welcome change,
for while I have enjoyed this
repetitive technique in the
past, there is a limit to how
far an artist can take it before
sheer boredom ensues. The
fatal flaw in 10th, however, is
still a repetition problem. Fans
of his previous EP Sign will be
familiar with the computerised
voice he occasionally employs,
and while it is used to good
effect on a handful of the songs
here, its reoccurence is, for
my taste, a little too frequent.
And on some of the very worst
examples it sounds like someone left the tape rolling while
a randy monkey desparately
tried to sow his seed on the
keyboard of a Speak and Spell.
Bad monkey, bad!
More        successful is
Brokeback's latest offering,
Looks at the Bird. Brokeback
being one of Doug McCombs
numerous side projects. It's
no TNT or even a Turnstyles
and Junkpiles but it does have
a pleasingly relaxed charm.
It's also a Chicago sound fan's
dream with guest appearances from all the usual suspects—John McEntire records
and mixes, Rob Mazurek of the
Chicago Underground Quartet
adds some beautiful cornet,
Chad Taylor of Town and
Country drums, and long time
Nobukazu Takemura associate,
Aki Tsuyuko, adds some childlike keyboard flourishes—as
she does on Takemura's 10th.
By far the most noteworthy
and successful contribution is made by Stereolab's
Laetitia Sadier and the sadly
departed Mary Hanson. The
final track sees Mary Hanson
and Brokeback re-interpret the
haunting "Pearl's Dream" from
the movie Night of the Hunter.
It's at once beautiful and chilling, providing a fitting final
tribute to a woman for whose
loss the world of music is that
bit poorer.
Merek Cooper
When Ours' debut album,
Distorted Lullabies, was
released in mid-2001, many
critics attacked vocalist and
leader Jimmy Gnecco as being
nothing more than a Jeff
Buckley and/or U2 wannabee;
Having Steve Lillywhite produce your record does not help
to allay any U2-related accusations. This criticism may be
true, but oh man, did this guy
ever have presence! The four
other nobodies in the band
created incredibly dark, brooding, and oftentimes-melodic
music that perfectly suited
Gnecco's theatrical moanings
and high-pitched wails. The
question now was whether
Gnecco would continue making this powerful, yet possibly
derivative music, or change
course to make a more populist record. Gnecco picked the
latter, and, sadly, the result is
a significant step down from
Distorted Lullabies.
The addition of producer
Ethan Johns to the band as
the drummer should have
strengthened the band and
allowed them to craft even
more dynamic music to match
Gnecco's wildly oscillating
vocal range. Too bad the band
is now only capable of playing
boring rock at worst and pop-
inflected numbers at best (and
I don't want pop from Ours; 1
want catharsis, dammit!). This
leaves Gnecco to wail away
in an attempt to cover up
bland songs like "Realize" and
"Kill the Band" (kill the band?
There's an idea....), or restrain
himself on the middle-of-the-
road pop numbers like "Leaves"
and "If Flowers Turn." As if all
this wasn't enough, Ours also
has the gall to cover "Femme
Fatale" (and, not surprisingly,
the song fares about as well
as the rest of the album).
Somewhere, Lou Reed is seriously pissed off. So am I.
Neil Braun
Matthew Shipp
(Thirsty Ear)
"It has been a mind expanding experience, being both a
recording artist and the artistic director for the Blue Series."
Thus begin the liner notes of
Avant-jazz Pianist/Composer
Matthew Shipp's fourth
release for the series under
his own name. As the series
artistic director he has been involved as both producer and
player in the jazz/electronica
hybrid albums by the likes of
DJ Spooky (Optometry) and
Spring Heel Jack (Masses,
Amassed). Equilibrium sees
Mr. Shipp trying to incorporate
some of these new influences
he has digested into his own
brand of classical avant-grade
jazz. To that affect he has
enlisted the production assistance of FLAM (who?) to the
mix. Unfortunately, besides
providing some chunky beats
on some tunes, the electronic
contribution to the album
appears to be rather minimal
and insignificant.
Whatever the intention I
can't help feel that it missed
the mark on this project. Those
looking for further explorations in the above mentioned
hybrid form would do better to check out Spring Heel
Jack's latest release Amassed
for some promising direction.
That being said Equilibrium is
far from being a failed experiment. Shipp is usually in good
company on his own recordings and this is no exception.
The quartet is anchored by the
formidable talents by long time
co-conspirator acoustic bassist
William Parker. Parker is one
of those rare jazz musicians
that can sound both "out"
and "in the pocket" in the very
same musical phrase lending a
solid foundation to the music
no matter where it goes. For
a musician renowned for being
the premiere avant-jazz/free
improv bass player Parker can
lay down the fonk with the best
of them and does so here giving the beats an added dimension. More than anyone else on
this project it is Parker's deep
tones that bridges together
the gaps between the two distinct musical worlds. Drummer
Gerald Cleaver seems comfortable with both free time
impressionisms as he does
laying down the groove over
top of FLAM's beats and blips.
However, the real find here is
the musical talents of Khan
Jamal on the vibes. Jamal's
playing rolls in like a breath
of fresh air over the urban
environment created by the
rest of the ensemble providing
a perfect foil to Shipp's trademark dark romanticisms and
angular motifs. Shipp's playing
seems more inspired as result
of having such an inventive
improviser to spar with. One
hopes to hear more from this
pairing in the future.
Though Shipp's electronic
explorations are a brave and
welcomed move in an effort
to push the language of contemporary jazz ever forward,
Equilibrium once again demonstrates that his own music
is firmly rooted in the classical
avant-jazz milieu. One hopes
that Mr. Shipp can eventually
develop a musical relationship with some more highly
inventive electronic based artists that rivals of his acoustic
improvising collaborators.
That   being   said   the   Blue
Series is certainly worthy
of your continued listening
attention. One gets a sense
that the best is yet to come
and I for one look forward to
this kind of future music.
Paul Clarke
Bo Bo Gnar Gnar
(Global Symphonic)
The belly of this beast is preg-
nar with hits. Or hammers, or
whatever the kids call them
now. Once I was at the skate
park at Gordon Head, and
when it started to get dark
all the kids left to go home
for dinner. I was chillaxin' on
the side after a sick sesh, and
I heard these kids say "Whoa,
did you see that Chinese
Christa Min
Super Numeri
Great Aviaries
(Ninja Tune)
Ninja Tune's really branching out these days. First Fog,
now this—possibly the least
hip hop and the least "electronic" album this label has
ever released. Super Numeri
are a crackpot collective of
Brits that all live together,
dress very flamboyantly
(think Ziggy Stardust meets
Yellow Submarine in an alien
gypsy caravan), and according to their landlord (ostensibly the author of their press
release), enjoy burning piles
of Victorian furniture on the
front lawn, inviting thirty of
their equally nutty friends
over, and having a jam and a
dance around the bonfire. So
what does it sound like? As
with many supposedly "really
crazy" bands (Need New Body
comes to mind), they fuse
a lot of different styles but
basically just sound a hell of
a lot like Can.
Traces of Tortoise and
post-bop Miles Davis also
emerge, but the general vibe
is surprisingly sparse and
spacey for a group with so
many members; brass, woodwind, harp and a very fine
string ensemble all come into
play at some point, fusing into
krautrock-inspired minimal-
groove arrangements. The
somnolent atmosphere of
the music will probably bore
many, but those who like to
nod off to Brian Eno's Music
for Airports should find a lot to
enjoy here. This is not to say
that Super Numeri can't mix it
up, however; the jerky, abrasive art-funk groove they slip
into on "The Beaks" is an evilly
delicious departure from the
ambient cruising speed they
set for the rest of the album.
Certainly not for everyone, but
if you're planning on dropping
acid, having languorous afternoon sex, or if you just always
wondered what a set of hand
drums would do for a post-
rock band, you might want to
check out Super Numeri.
Teenage Fanclub
Four Thousand, Seven
Hundred and Sixty-Six
Seconds: A Shortcut to
Teenage Fanclub
The Concept: Four boys from
Scotland call themselves
Teenage Fanclub and play
beautiful music. Ain't That
Enough? Ok, then, when I was
13 and the furthest thought
from my mind was that The
World'll Be OK, I needed to
find the point from which
Everything Flows. I didn't like
my Starsign; Aries—too headstrong. I harboured a Mellow
Doubt and I thought to myself,
I Need Direction.
I don't know About You,
and 1 don't know What You Do
to Me, but it fills this Empty
Space, and gives me food for
this Sparky's Dream. I Don't
Want Control of You, but Hang
On, Did I Say that I Don't Look
Back? There's no need. Your
Love Is the Place Where I Come
She liked Neil Jung, would
listen to him on the Radio. I
said things that were Dumb
Dumb Dumb, but it didn't matter. I guess the Planets were
just aligned right or something.
Now everything is great and
she helps me with My Uptight
I'm talking about my girlfriend of course, but that's
what Teenage Fanclub were
like when I was 13—like falling
in love. _
MereJc Cooper
All Ten Fingers
(Twisted Nerve/XL/Beggars)
Craziness is a funny word.
There are lots of ways to
be crazy. Random. Salted
Tangerines. Andy Votel's
latest album can seem a bit
bewildering, and perhaps even
sometimes influenced by mind-
altering substances, but at the
same time I'm hard-pressed
to find flaws in it. Technically,
as can be assumed, given his
experience mixing and producing with such fine acts as
Death in Vegas, Lamb and
Damon Gough (Badly Drawn
Boy), Votel is all there and
then some.
Different styles appear
from every direction, and are
all blended together immaculately. This album also has
surprisingly catchy melodies
("Oh Dogs" sticks out with a
whistled line that never really
lets go) and the diversity of
sounds and styles visited gives
it a sense of adventure which
isn't always so easy to come
by in new music ("Gentle Man
Thief" is a great example of
jazz mixing gone right). Still,
the album does seem to slip a
little towards the end, where
cuts such as "Fly-Fly-Fly" and
"B-Music" are maybe just a bit
too disjointed to get into. Still,
there is never a dull moment,
and at its very worst, All Ten
Fingers is a fascinating listen.
Soren Brothers •
IJbqrant pfscurc/s
is new "Studio V"!
(The "V" is for Vagrant!)
Still No Bullshit & Satisfaction Guaranteed!
Large"Live" Room, Real Acoustic Reverb Chamber
2" 16/24 track Analog
(we also have digital recording for those who want it!)    "^
| Professional j L
JS        ::        S%
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Method Appointment Today!
dom waqfui
real live act j ol
live music reviews
Richard's On Richard's
Wednesday, Jan. 22
Those hooch monkeys at the
DiSCORDER office have been
harassing me for this damn
piece. Art discussing art is an
effort you can't race or force;
stupid editorial demands—my
ass is my sentiment to you.
[Derek, if you got your reviews
in on time, rather than three
weeks late, then we wouldn't
have to harass you and you
could keep your smelly bum
to yourself, —ed.] So, here
we go. The opening act was
a Canadian, of all things you
could imagine. I'm not sure if
his name was Pete or Dave,
as we were late in the high
culture sense of being late. The
first drink was running jolly in
my brainpan as he proceeded
with a delightful romp of a
tune entitled "Blow Jobs and
Brilliance." What a statement,
what a song!
Of all the things I could say
about the crowd at the show,
they were a short crowd. So
as the moment of introduction drew on longer, the hip
kids of the metropolis flashed
their ambivalent half-smiles.
Impatience turning to actual
conversation and interaction,
people began to understand
one another. Never have I witnessed such wonder (except
for that time in the bathroom
of what I believed at the time
to be a biker bar, but why all
the denim—more than that,
why the handle bar moustaches). Then with the flourish
of hushed breath and the howls
and yowls of the drunken,
smoked-out mob—there was
Jonathan Richman. If you
weren't there I apologize,
if you were well I hope you
looked at the faces around
you that night. What I saw
that night was a communal
sense of joy. I saw grown men
toss away their cynical dread,
young women put away all
that repressive irony. A packed
crowd regressed, or in a way
they elevated themselves. Yes
he played old songs and new
songs—blah, blah, blah. Sure
Tommy Larkin was such a great
intuitive drummer. It was all
perfect with Jonathan, a genius
in every way, even his simplicity is rife with a genuine regard
for the music. It's hard not to
showcase your effort, but good
old Jonathan just slips in and
around it all with ease. Yes I
was high, but fuck that for any
worth—I saw a crowd transformed, and condemn me for
saying this but it was filled with
absolute enlightened magic. We
were standing one minute aloof
and prostrate cool and blammo,
like that we're little kids and it's
singsong time in the gymito-
rium. With all sincerity, when
he broke into "Pablo Picasso"
a life long dream woke up to
reality, and 1 was five years old
smoking a cigarette shimmying
like it was Saturday night, not
Wednesday. It never once felt
like a Wednesday.
Derek Sterling Boone
Richard's On Richards
Thursday, January 30
The smell of hype was thick
tonight as things got started
early  enough  that  I   missed
openers  The Catheters;   I'm
not a huge fan of the new
"mature"     sound    displayed
on their Sub Pop record, but
according to reports, the boys
do rip it up when called to, and
it would have been nice to see
why the Brits are fawning over
these guys. Come to think of it,
the Brits will fawn over pretty
much anything that makes
"rock" cool again, so what am
I saying?
The Burning Brides were
another ball o' wax that was
burning alright, the smoke
coming off guitarist Dmitri
Coats' axe was singeing the
hairs of those who crashed the
front of the stage; just to get a
look at the pixie-like figure of
Melanie Campbell pounding the
daylights out of her bass was
a treat, and stand-in drummer Jason Kourkounis (who
has traded his soulful swing in
The Delta 72 for a more four-
on—the-floor style for this
group), held the back beat for
their hard rockin', yes dare 1
say, grunge-tinged repertoire.
No strangers to Vancouver,
(this was visit #3), they were
in top form and looked happy
to be there. So happy in fact,
they paused briefly mid-set to
let the audience know the good
news of their being added to
the Audioslave tour. As some
applauded graciously, I groaned
my disapproval; what's next,
your t-shirts will be sold at Hot
Topic next to the TOOL patches
and Nirvana posters? Ugh.
The Swedes were finally
up and ready to reap the benefits of tons of press and radio
play, but for all their rallying
cries of "C'mon Vancouver,
it's time to dance!", strategic
finger pointing by the bassist,
and some drum destruction at
show's end, the energy of the
show that I was expecting from
these guys just wasn't there.
They had sound problems early
on that took the punch out of
"We've Been Planning This For
Years," the set's opening tune,
and by the halfway mark, they
threw in tunes like "I Guess I'm
Healed" that brought the mood
down slightly, and instead of
dancing, we were heading to the
back of the bar. Things picked
up near the end, with "Black
City," "Need To Get Some,"
and "Pretty Electric" rounding
out the hit parade. They left
the stage, but came back out
almost immediately for their
encore (which they shouldn't
have done, but to do it properly,
they should have taken a lesson
from the Supersuckers book of
encore etiquette—when done
your set, simply turn your
back to the audience, wait five
seconds, turn around with a
surprised look, and resume
rockin'). Satisfied, but not
blown away, we exited the club
at the ungodly time of 11:45PM
and cruised home.
Bryce Dunn
Pat's Pub
Saturday, February 1
Paul Is Dead played first and
their     Slowdive-meets-Roch
Voisine cum early Bootsauce
reverb-drenched loudness was
a  welcome  distraction  from
"Don't bother me when I'm watching Planet of the Apes on
TV." Ben Kweller, Croation Cultural Centre, February 13,
2003. Photo by Kimberley Day
26 March 2002 the pack of large women that
sat down at my table. Tell me,
who in the hell brings multiple
300g bags of potato chips to
a rock n' roll show? Anyways,
The Sweet Fuck All took stage
and unleashed a wall of Rocky
Burnette/Rock*a*teens guitars and rookie enthusiasm.
Lead guitarist Black Diamond
combined Greg Ginn quirki-
ness with Uli Jon Roth (shit,
make that Jeff Healey) ambition and a killer moustache.
While rhythm guitarist Daryl
Rasberry's wild, pathetic failings on his guitar both repulsed
and aroused sympathy simultaneously with each chord. I'm
not quite sure what I witnessed
and I may or may not want to
see it again. But one thing's
for sure, a moustache like that
definitely warrants further
Up last, Hong Kong Blonde
sounded like the accused meets
"Feel the Darkness"-era Poison
Idea. Taking the Iatter's penchant for no style and running
a field goal with it. I mean,
wearing Airwalks, Mondetta
jackets and Exhaust jeans is
almost an art statement in
itself. Anyways, I'd like to see
these guys removed from a bar
setting and playing in a sweaty
Maple Ridge basement.
Dirty Darren
Purple Onion
Thursday, February 6
Now I have one more reason to
love Girl Nobody: their slide-
show didn't suck. In fact, it
was downright decent. Maybe
I'm just a sucker for animation,
but clips from The Powerpuff
Girls and Dexter's Laboratory
synchronized to the complex,
atmospheric sounds of Girl
Nobody? Oh yeah. Their set
was way too short, but 1 comforted myself by picking up a
four-song EP of songs from
their upcoming full-length
"Headphones". So if you see a
girl singing along to her disc-
man on the bus, it's probably
me, listening to the excellent
first track, "Manchester '66".
Again.    Operation   Makeout
Eric Bachmann, having the time of his
life. As you can see.
Photo by Ian Pickering
managed to draw the typically shy crowd to the front
of the stage, but Katie's vocals
were nowhere to be heard.
Especially when a very drunk
guy forded through the sea of
standing, nodding hipsters to
loudly point out our lameness.
Gum-chewing bassist Megan
Bradfeild looked amazingly
bored on stage; nevertheless,
The Salteens' offering of
bouncy, trumpet-accented
pop finally, finally got people
dancing. You want to dance,
Vancouver. You know it. You
just don't know you know it.
Now put on your headphones
and listen to "Manchester '66"
Picadilly Pub
Thursday, February 13
When   The Archers of Loaf
released Icky Mettle in 1993,
hope was given to thousands
of like-minded fanboys everywhere that one could actually make a living screaming
about the pains of breaking
up with one's girlfriend whilst
flailing on a Jazzmaster like
an inferior version of Polvo.
With six albums and two EPs,
The Archers explored a vast
territory of indie rock's capacity, even when they wheeled a
goddamn piano into the studio.
Through their stylistic phases,
one sound remained constant:
Eric Bachmann's voice. He
could go from sounding like a
timid teenager to a cop-slug-
gin' drunk at the drop of a
beat. Bachmann maintained a
solo career during his tenure
with The Archers; under the
moniker Barry Black his voice
took on the feel of a young
Tom Waits after a particularly
bad bender. This tone carried
over when he started his current project, Crooked Fingers,
after The Archers of Loaf's
At the Pic on the 13th,
Bachmann invited a spellbound
crowd into his world of dingy
beer halls, where the old drunk
sits begging for another drink.
Into towns with no hopes or
dreams, waiting for heroes.
Into an existence where beer
for breakfast and sniffin' glue
is affectionately labelled "soft
abuse." With a sparse drum kit,
stand-up-bassist, and a fellow
guitarist as accompaniment,
Bachmann looked like he was
having the time of his life as he
regaled the enraptured audience with his tortured tales.
The PA was intentionally kept
at low volume simply so that
Bachmann, in that inimitable
voice that relishes the sorrow
it bespeaks, could show us why
he is one of indie rock's greatest poets.
Luke Meat and Mo
Kool Klub
Friday, February 14
A note for all the pretentious
indie kids too good to ever set
foot in an all-ages show again:
Fuck you. Fuck you gently with
a chainsaw. Fuck you, I hope
that you never DO go to an
all-ages or living room show
again, because they are so
much damn fun that you'd only
bring the tone down.
Are you gonna stand shoulder to shoulder in a tight living
room, pressed against 40 other
bodies in your cardigan? No.
You're sure not. Are you gonna
jump up and down, singing the
lyrics to your favourite songs at
the top of your lungs because
you're having an amazing time?
Hell, I've never ever seen you
MOVE at a nightclub. Are you
gonna stagedive off a bookshelf onto your friends? Again,
doubtful. Point at your friend's
boner, and announce it to the
rest of the room? Probably not.
Know why? Because you
suck. You suck, and have forgotten how to have fun. And
you will never have fun again,
and you'll die old and lonely,
locked in a room with your Hot
Hot Heat albums wondering
why everything wasn't as good
as in the old days.
Chris Eng
Pat's Pub
Saturday, February 15
I think I'm allergic to beer.
Maybe it's just the beer at Pat's
Pub, but my whole face turned
a dark crimson just before
Nick from pianos side project, Burquitlam Plaza started
playing. It was just him, but I
could hardly hear a word he
said. I did manage to decipher
his dark version of "Bills, Bills,
Bills," and it was good, since
I never liked the song before.
I heard he rocked later that
night in one of his 106 side
projects. Then came the nymph
known as Adam Green, playing
to a crowd of 60 that sounded
like a crowd of six. This was
the least advertised gig, and
it's stupid, stupid, stupid foi
that to happen. He's a Moldy
Peach for the love of Ben!!
give anyone a million dollars
if you can convince me that
"Mozzarella Swaztikas" means
anything. Who else could make
"whore" sound like "who-er" so
he could rhyme it with "skewer"? Who else would want to?
But he was quite good and
I found him unfazed by the
crowd except for one great
moment. Adam asked how we
were, and we said "good" and
he asked "Really?" Priceless.
He don't need no chick in a
bunny suit. Stupid Beautiful
Music Festival!
Commodore Ballroom
Sunday, February 16
On November 23rd of 2001,
got my first media hook-up to
a show and, yeah, I did feel a
bit of Almost Famous.' It was
DJ Krush at Sonar and ni
only was I stoked about the
hook-up but I was super curi
ous about what kind of se
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27DiSCoRDI< someone like Krush would do.
This wasn't about turntable
gymnastics like a Q-Bert or
a pumpin dance-a-thon to a
Roger Sanchez or Digweed.
And like me and my man Mark
were talking afterwards, this
was the kind of 'show' that
one could walk into and say
to his buddy, "Whats the big
deal, why are they clappin for
this dude? What's he really
doing anyway?" While I didn't
hear anybody say anything like
that, Mark did hear someone
mention that, "he didn't even
scratch that much." I actually wouldn't have minded if
Krush did 'scratch' a tad more
but like I said, mon frere, this
ain't Q-Bert, this is the Krush,
foo. After seeing everyone
from Thievery Corporation to
George Clinton in the past few
months, this was my first 'DJ
set'in a while. Noliv
and vocalists and no crazy 'un-
tss, un-tss, un-tss' house beats
and no 15 man deep crew on
stage simultaneously yelling
"What? What?" into the mic
so you could barely hear the
intended MC. Naw, dude, this
was just two turntables and
one badass turntablist in every
sense of the term.
Like I wrote in my review
the last time, Krush was still
about sliding trippy, weird-ass
sounds over monstrous hip
hop and d'n'b beats, but there's
more. Just as his technique on
the decks could be really called
subtle and unorthodox, those
two words could also be used
to describe the set in general.
He goes from classical hip hop
breaks to off-beat beats that
can't really be categorized.
The   atmosphere   of   sound
goes from black hole-like to a
Miles Davis-like trumpet, but
all within this weird Krush
Like my other friend Jay
said immediately, "He makes
it look like such an art, eh?"
Half jokingly, half serious
about the way Krush moved
his hands and arms over the
records. The thing is, they
way he did glide his hands and
arms over the records was
very artistic-like (bear with
me, now). He was, in fact, like
a painter in that he was slowly
and subtlety painting a picture
on a canvas, only it was really
turntables slowly mixing and
matching an "abstract hip hop
collage" with record layering
and manipulation into the
smoky Commodore-sphere.
Black Belt Boon •
Mr. Richman: "Oh God, why can't I have as much fun as
Eric Bachmann?"
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March Listings
....... .   :,.   ,
Fri. Mar 1st.Ford Pier and a Brace of Cleansers with Sarah Wheeler
Thu. Mar 6th..Mike Weterings acoustic world folk/pop
Fri Mar 7th..Blackfeather(Opry era Bluegrass) with Victoria's Jeremy Fisher
Sat Mar 8th. Jon-Rae Fletcher and The River with Burquitlam Plaza
Thurs. Mar 13th..Driving Country with Craig Jacks and the Mighty Jackalopes
Fri. Mar 14th..Swank (acoustic show) with openers Tugboat
Sat. Mar 15th..Main street favorites Something About Reptiles
Mon. Mar 17th...St. Paddy's Day B« "
Thur. Mar 20th David M. (No Fun Vocalist and Songwriter) with special guests
Fri. Mar 21st..The Golden Wedding Band (Origionai 20's-30's Hokum Jazz)
Sat. Mar 22nd. John Guiiak and the Lougan Bros, with David Chenery
Sun Mar 23rd..Ex-Grievous Angels Vocalist from Toronto Michelle Rumball
Thur Mar 27th..Adrienne Pierce and Marcus Martin (acoustic pop)
Fri Mar 28th.. The high lonesome porch sounds of Slowdrag
4210 Main St. Vancouver BC 604 709 8555
cover charge is a measly 5 bucks.- so why not support local music? March Long Vinyl
March Short Vinyl
March Indie Home Jobs
1 Baron Sarnedi
2 Qolorifics
3 Beans
4 Bob Log III
5 Shipping News
6 Sonig.ilation
7 Lightning Bolt
8 Smash Up Derby
9 Go-Betweens
10 Angels of Light
11 Kinski
12 D4
13 The Clean
14 Buck 65
15 Massive Attack
16 Morvern Collar
17 User
18 Nick Cave
19 N. Takemura
20 Sea and Cake
21 Turbonegro
22 Salteens
23 V/A
24 Apes
25 Postal Service
26 Smog
27 Wolf Eyes
28 Aislers Set
29 Mind Flayer
30 Cat Power
31 Soledad Brothers
32 Datsuns
33 USA Song Poem
34 July Fourth Toilet
35 N.O.I.A.
Live, No Overdubs        Libertine Rex
Where There's Smoke CFX
Inner Cosmosis
Log Bomb
Wonderful Rainbow
V/A     •
Bright Yellow...
Everything Is Good ...
Airs Above Your Station
100th Window
Symphony #2...
One Bedroom
Ass Cobra
Let Go Of Your Bad.
survive and advance 2
Street Warz
Give Up
Accumulation: None
Dead Hills
Fat Possum
Touch and Go
Jet Set
Young God
Sub Pop
Flying Nun
Thrill Jockey
Thrill Jockey
Burning Heart
No Records
Sub Pop
Drag City
1 The Birthday Machine
2 Maximum R n' R
3 Lupine Howl
4 Veal
5 New Town Animals
6 Gentlemen Of Horror
7 Service Group
8 Frog Eyes/JWAB
9 Mirah
10 Armatron
11 Artimus Pyle
12 Semiautomatic
13 World Burns to Death
14 The Agenda
15 Dexters Laboratory
16 The Spitfires
17 Get Hustle
18 Chromatics
19 Shannon Wright
20 The Starvations
Direction... Top Quality Rn'R
Switchblade Independent
Don't Lose Your Head Vinyl Hiss
I Hate Your Lipstick Six Shooter
Fashion Fallout Dirtnap
5 Song 45 Independent
Manufacto Squid vs. Whale
Small Scale
Remixed by...
Human Meat...
Are You Nervous?
The Hip Hop Exp.
Juke Box High
Who Do You Love
A Junior Hymn
Horrified Eyes
Global S.
Gravity Scat
Grey Flat
1 The Department
2 Me
3 Married to Music
4 Antique City
5 Snow Goats
6 Ashley Schram
7 Girl Nobody
8 William Hardman
9 Groovy Gals
10 Silt
11 The Blacklist
12 The Hand
13 Therefore
14 Feminists
15 Skeleton
16 Rice Rocket
17 St. Tilo'sDay
18 Magical Glass Tears
19 The Sore Throats
20 Collapsing Opposites
Winner like You
Counting the Hours
I'm a Drunk
The Dressmakers
Urban Rain
Come and Find Me
Cherry Pie
Trash Song
A Travesty
Already Not Yet
Sad Echo Wailed
Like You
Cloud #3
These Autumn Leaves
Holden and Esther
How I Learned...     Suicide Squeeze
Take Your Skin Off
You Are Free
The Datsuns
Something for Everyone
Dim Mak
Bar None
Pro Am
The monthly charts are compiled based on the number of times a
CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie
home jobs") on CiTR's playlist was played by our DJs during the
previous month (i.e., "November" charts reflect airplay over October). Weekly charts can be received via email. Send mail to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts." •
CiTR Station Manager Job Posting
The Station Manager shall work with and report to the Executive of CiTR but ultimately shall be responsible to the Board of Directors of the Society.
The Station Manager shall:
-manage the day-to-day operations of the radio station;
-exercise guidence and leadership with respect to the operations of CiTR while at the same time working harmoniously with the Executive;
-organize the volunteer membership of CiTR;
-organize and attend meetings of CiTR, the Executive and the Board as required;
-prepare an annual operating budget for the radio station;
-keep up to date on CRTC Regulations and ensure adherence by CiTR to the same;
-assume responsibility for licence renewals;
-assist the Executive with long term planning for the Radio Station;
-organize special projects in connection with the Radio Station as required.
This full time position will run on an annual contract with a salary range of $28,000 - $30,000 and  includes full benefits  (three weeks paid holiday, medical benefits
after the first month, dental, extended health, group life insurance, and group pension after three months).
Phone 604.822.1 242 for application information. Deadline for application is March 31 th, 2003
31 DiSCORDER oil ttiediol
your guide to CiTR 101.9fm
9:00AM-12:00PM     All  of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
12:00-3:OOPM Reggae inna
all styles and fashion.
3:O0-5:00PM      Realco
caught-in-yer-boots country.
5:00-6:00PM British pop
from all decades.
SAINT TROPEZ alt. 5:00-
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc.), '60s
soundtracks and lounge. Bool
your jet set holiday now!
QUEER   FM 6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of human
interest features, background on
current issues and great music.
Rhythmslndia features a wide
range of music from India,
including popular music from
Indian movies from the 1930s
to the present, classical music,
semi-classical music such as
Ghazals and Bhajans, and also
Qawwalis, pop and regional
language numbers.
12:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to propel us into the domain of the mystic
THE SHOW       12:00-2:00AM
8:00-11:00AM Your favourite
brown-sters, James and Peter,
offer a savoury blend of the
familiar and exotic in a blend of
aural delightsl
11:00-l :00PM Local Mike and
Local Dave bring you local music
of all sorts. The program most
likely to play your band!
GIRLFOOD alt.   11:00-1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
4:00PM A show of radio drama
orchestrated and hosted by UBC
students, featuring independent
works from local, national and
international theatre groups.
We welcome your involvement.
5:00PM A chance for new CiTR
DJs to flex their musical muscle.
Surprises galore.
6:00PM Join the sports dept.
for their coverage of the T-Birds.
CRASH THE POSE alt. 6:00-
7:30PM Hardcore/punk as
fuck from beyond the grave.
6:30PM Current    affairs
with an edge. Kenneth Chan
exposes issues that truly matter.
None of that mainstream crap.
Anybody say controversy? Email:
MY ASS alt. 6:30-7:30PM
Phelps, Albini, V me.
Listen to Selecta Krystabelle for
your reggae education.
12:00AM Vancouver's longest
running prime time jazz program.
Hosted by the ever-suave Gavin
Walker. Features at 1 1.
Mar. 3: Jacknife is a hard-hitting
album by the great alto saxophonist Jackie McLean with two
hot trumpeters (Lee Morgan and
Charles Tolliver) and drummer
Jack DeJohnette (drums).
Mar. 10: Take Aim is a super rare
date by an unsung hero of the
tenor saxophone: Harold Land
with a great band of L.A. based
Mar. 17: Batik is one of master
guitarist Ralph Towner's best. He's
heard on 12-string and classical
guitar and piano and is backed
by Eddie Gomez (Bass) and Jack
DeJohnette (Drums).
Mar. 24: Pianist Red Garland and
Horns. Richard Williams (Trumpet)
and the amazing Oliver Nelson
(arranger, alto and tenor saxophones). One of his most distinctive dates.
Mar. 31: Composer, arranger and
Jazz pioneer Tadd Dameron and
his orchestra with Clark Terry
(trumpet), Johnny Griffin (tenor
saxophone), Bill Evans (piano),
Philly Joe Jones (drums) and many
more. The Magic Touch.
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts—
thank fucking Christ.
6:30AM DJ Christopher Schmidt
also hosts Organrx at Club 23 (23
West Cordova) on Friday nights.
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
9:30-11:30AM     Open  your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier
than the most dangerous criminall
FILL IN  alt. 11:30AM- 1:00PM
LA BOMBA      alt.l 1:30-12:30
REEL TO REAL alt 12:30-1:00PM
Movie reviews and criticism.
Where dead samurai can pro-
CPR 2:00-3:30PM
Buh bump... buh bump... this
is the sound your heart makes
when you listen to science talk
and techno... buh bump...
[fts I
PARTS      u
10,000 VOICES (Tk)
ON AIR       E]
12pm I
1 I
12*M |
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic '
= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal '
Rg= reggae • Rr= rock • Rts= roots • Sk = ska «So= soul • Sp=
LHk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mr= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk .
                               Rg= reggae • Rr= rock • Rts= roots • Sk = ska «So= soul • Sp= sports • Tk= talk • Wo= world
goth/industrial • Hc= hardcore • Hh= hip hop
Nw= Nardwuar • Po= pop • Pu= punk
sports • Tk= talk • Wo= v ELECTROMAGNETIC PULSES
alt. 3:30-4:30PM
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a focus on people
with special needs and disabili-
10,000 VOICES   5:00-6:00PM
Poetry,    spoken   word,    perfor-
8:00PM Up the punx, down
the emo! Keepin' it real since
alt. 10:00PM-12:00AM
ESCAPISM   alt. 10:00PM-
12:00AM Electro-acoustic-
soul-jazz-fusion and beyondl
From the bedroom to Bombay
via Brooklyn and back. The
sounds of reality remixed. Smile.
12:00-6:00AM It could be
punk, ethno, global, trance, spoken word, rock, the unusual and
the weird, or it could be something
different.   Hosted  by DJ  Pierre.
7:00 AM
9:00AM Bringing you an entertaining and eclectic mix of new
and old music live from the Jungle
Room with your irreverent hosts
Jack Velvet and Nick The Greek.
R&B, disco, techno, soundtracks,
Americana, Latin jazz, news, and
gossip. A real gem! <suburbanjun
10:00AM Japanese music and
ANOIZE 11:30AM-1:00PM
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM
3:00PM Zines are deadl Long
live the zine show!
MOTORDADDY alt 3:00-
5:00PM Cycle-riffic rawk and
roll I
5:00PM Primitive, fuzzed-out
garage mayhem 1
Socio-political,      environmental
activist news and spoken word
with some music, too.
(First Wednesday of every month.)
BLUE MONDAY alt. 6:30PM-
8:00PM Vancouver's only indus-
trial-electronic-retro-goth program.
Music to schtomp to, hosted by
FILL IN 8:00PM-9:00PM
FOLK OASIS 9:00- 11:00PM
Roots music for folkies and
non-folkies... bluegrass, singer-
songwriters,worldbeat, alt country
and more. Not a mirage!
8:00-10:00 AM
11:30AM Music inspired by
Chocolate Thunder; Robert Robot
drops electro past and present,
hip hop and intergalactic funk-
manship. <rborlove@yahoo.com>
STEVE    AND    MIKE 1:00-
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (punk and hard-
2:00-3:00PM    Comix    comix
comix. Oh yeah, and some music
with Robin.
LEGALLY HIP alt. 5:00-6:00PM
alt. 5:00-6:00PM Viva la
.Velorution! DJ Helmet Hair and
Chainbreaker Jane give you
all the bike news and views
you need and even cruise
around while doing itl
OUT FOR KICKS 6:00- 7:30PM
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and
blues from 1942-1962 with your
snappily-attired host Gary Olsen.
RADIO     HELL 9:00-
11:00PM Local muzak from 9.
Live bandz from 10-11. http://
1:00AM An old punk rock heart
considers the oneness of all things
and presents music of worlds
near and far. Your host, the great
Daryl-ani, seeks reassurance via
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
10:00 AM-12:00PM
Email requests to <djska_
12:00-2:00PM Top notch
crate diggers DJ Avi Shack
and Promo mix the underground hip hop, old school
classics   and   original   breaks.
2:00-3:30PM The best mix of
music,  news,  sports, and commentary from around the local
and international Latin American
5:00-6:00PM A volunteer produced, student and community
newscast featuring news, sports
and arts. Reports by people like
you. "Become the Media." To get
involved, visit www.citr.ca and
click "News Dept."
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
HOMEBASS 9:00PM- 12:00AM
Hosted by DJ Noah: techno but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
6:00AM Dark, sinister music of
all genres to soothe the Dragon's
soul. Hosted by Drake.
12:00PM Studio guests, new
releases, British comedy sketches,
folk music calendar, and ticket
8-9AM: African/World roots.
9AM-12PM: Celtic music and performances.
12:00-1:00PM Tune in for a
full hour of old and new punk
and Oi mayhem!
Vancouver's only true metal show;
local demo tapes, imports, and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
CODE BLUE 3:00-5:00PM
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy, and Paul.
SOUL TREE 6:00-9:00PM From
doo-wop to hip hop, from the
electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes soul music
to the nth degree.
1:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
THE RED EYE alt. 1:00-4:30AM
EARWAX alt. 1:00-4:30 AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.
Hardcore dancehall reggae that
will make your mitochondria
shake. Hosted by Sister B.
KidK   ar©o<A n*r^ loos
>c«, •SroterN S".*r -Qu2.\ c\a.«.Dj
W> Wa <io<i5.  vV \a\ct'?. •
» * slna,™-VV\;.s taorroi^cV
Tunc . •. -Voo was-Ud -\-o
Wf\W n^ own•• • •
^   AW   <^;\ooW *\ ^
*k7 fctoxooV AV\<L Snca-
S« +1* world... 18+1o04.   C
33 DiSCORDER dateb
604.822.9364 OR EMAIL
Hard Rubber Orchestra@Roundhouse Community Centre;
Livewirepalooza@The Brickyard; Nasty On, The Gay, Shecky Grey@Pat's
Pub; Ford Pier and a Brace of Cleansers, Sarah Wheeler@The Main;
Nearly Neil@Commodore Ballroom; David P. Smith, Run Chico Run,
Genevieve Castree@The Sugar Refinery; Tribute show, Bughouse 5, SK
Robot, Hoodwinks, Los Furios, Swank, Conrad, Mongoose, Magic Ass,
Elizabeth@WISE Hall; At Home and Asea@The Blinding Light
Mad Caddies, Real McKenzies, Rise Against, Flipsides@Unit 20 Legion;
The Dark Crystal@The Blinding Light; UBC Chaplain's Association@AMS
Folk Implosion, Mia Doi Todd, Alaska@The Piccadilly Pub;
Blackfeather@Railway Club; Mix Master Mike, Lady Precise, Czech@The
Purple Onion; Schmelvis@The Blinding Light; UBC Chaplain's
Association@AMS Gallery
Calexico@Richard's On Richards; Wreckin Crew, Po, Sourmash@The
Brickyard; Ladytron, Simian, Mount Sims@Commodore Ballroom;
Schmelvis@The Blinding Light; UBC Chaplain's Association@AMS
Amy Honey, Assertion@The Sugar Refinery; Flairs@Blamey
Stone; Paint@El Cocal Restaurant; DJ Craze, Adam F, Skibadee,
Mixologists@Commodore Ballroom; The Capitals@The Purple Onion;
Docs in the House Presents Celluloid Dreams@The Blinding Light; UBC
Chaplain's Association@AMS Gallery
Pretenders, All Mighty Senators@Queen Elizabeth Theatre; Faces
of Eve@Studebakers; Veal@Railway Club; Blackfin, Lazy Boy, Ross
Vegas@The Brickyard; Blackfeather@The Main; Snapcase@Croation
Cultural Centre; Sistahood 2003: Reel Sista's@The Blinding Light; UBC
Chaplain's Association@AMS Gallery; Rob Scheps Quartet@Sugar
April Verch@Blue Mountain Park; David Gogo@The Yale; George
Jones@Orpheum Theatre; Melissa Fernck@Croatiar. Cultural Centre;
SideSixtySeven, Martial Law, Ali State Champion@The Brickyard; Wave
of Mutilation, Clover Honey@The Piccadilly Pub; Funny Ha-Ha@The
Blinding Light; UBC Chaplain's Association@AMS Gallery
April Verch@Blue Mountain Park; Royksopp@Commodore Ballroom;
Eyedea & Abilities, Living Legends,@Richard's On Richards;
Lunasa@Croatian Cultural Centre; Funny Ha-Ha@The Blinding Light;
Daniel Starling@AMS Gallery
MON 10
Sea and Cake@Richard's On Richards; Band Appreciation Night@The
Brickyard; Daniel Starling@AMS Gallery
TUE 11
Smokin' and Drinkin' on a Tuesday Night@The Brickyard; O&V, Jack
Tripper@The Railway Club; Mixtophonics, Ad Mare Wind Quintet@The
Havana Theatre; Freedom Downtime@The Blinding Light; Daniel
Starling@AMS Gallery
Walter Trout, The Radicals@The Yale; Paint@Gallery Lounge; Dirty
Needles, The Sore Throats, Shake Appeal, Musa@The Brickyard; This
Side Up: The Slide Show@The Blinding Light; Daniel Starling@AMS
FRI 14
Spirit of the West@Commodore Ballroom; Forty Foot Fall, Mass
Undergoe, Mommy Made Monsters@The Brickyard; Swank,
Tugboat@The Main; Attack of the 50 Foot Reels@The Blinding Light;
Daniel Starling@AMS Gallery
SAT 15
Livewirepalooza@The Brickyard; Spirit of the West@Commodore
Ballroom; The BTU's, Chinatown@The Brickyard; No Quarter: Canada's
Tribute to Led Zeppelin@Studebakers; Manifestations of Manitoba
Mania@The Blinding Light
TUE 18
Smokin' and Drinkin' on a Tuesday Night@The Brickyard; Canadian
Premiere: Urban Warrior@The Blinding Light; Ivan and Andrew
Dionne@AMS Gallery
34 March 2002
WED 19
Supergrass, The Coral@Commodore Ballroom; Sunset on Broadway,
Sharp Teeth, The Accident, Prints, This Machine Destroys@The Anza
Club; Canadian Premiere: Urban Warrior@The Blinding Light; Ivan and
Andrew Dionne@AMS Gallery
FRI 21
Be Good Tanyas, The Waifs@Commodore Ballroom; Golden Wedding
Band@The Main; Faites Vos Jeux@The Blinding Light; Ivan and Andrew
Dionne@AMS Gallery; Tennessee Twin@Sugar Refinery
SAT 22
Staticbed@Studebakers; FreeBase, Musa, Blackfin@The Brickyard; John
Guliak and the Lougan Brothers, David Chenery@The Main; Salmon Arm,
Shrimpmeat, The Widows@Pat's Pub; Faites Vos Jeux@The Blinding Light;
The Salteens, Kevin Kane, Ryan Dahle, Pete Bastard, Billy the Kid, The
Yoko Casionovas, The Radio@The Royal; Ivai i and Andrew Dionne@AMS
Gallery; No Luck Club, Six Foot Sloth, Spooky Dance Band@Sugar
SUN 23
Kid Koala @HR Macmillan Auditorium; King Crimson@Commodore
Ballroom; Ikara Colt, The Sahara Hotnights@The Royal; Steve Malkmus
and The Jicks@Sonar; The "Work Sucks" Tour@The Blinding Light; Ivan
and Andrew Dionne, Enrico Gianfranchi@AMS Gallery
TUE 25
Ibrahim Ferrer@Orpheum Theatre; Smokin' and Drinkin' on a Tuesday
Night@The Brickyard; Grey Gardens@The Blinding Light; Ivan and
Andrew Dionne, Enrico Gianfranchi@AMS Gallery
Guy Davis@Capilano College Performing Arts Theatre; Andrea Klas@The
Arts Club Backstage Lounge; Adrienne Pierce, Marcus Martin@The Main;
The Seventh Seal@The Blinding Light; Ivan and Andrew Dionne, Enrico
Gianfranchi@AMS Gallery
FRI 28
Youssou N'Dour, Super Etoille Band@Commodore Ballroom; Friday
Freakout@The Brickyard; Slowdrag@The Main;The Precious Fathers@The
Blinding Light; Enrico Gianfranchi@AMS Gallery
SAT 29
Carol Welsman, Peter Appleyard@Centennial Theatre;
Livewirepalooza@The Brickyard; Old ReliabIe@The Main; Vancouver New
Music presents The Cycle of Strength@the Vancouver Playhouse Theatre:
Candy Von Dewd and the Girls From Latexsploitia@The Blinding Light;
Enrico Gianfranchi@AMS Gallery
SUN 30
Little Bear@Queen Elizabeth Theatre; Candy Von Dewd and the Girls
From Latexsploitia@The Blinding Light
MON 31
Band Appreciation Night@The Brickyard; Lisa Winn@Pondside Music
Apeciaf event*
Mad Caddies, Real McKenzies, Rise
Against and Flipsides. C'mon, you
know you've been looking for an
excuse to get drunk and
shirtless with your bros.
This concert will be way better than
the one we said was happening on
February 26. Ladytron will
actually be there.
Suggested Route: First, see Ikara
Colt rip up The Royal Hotfoot it
to Sonar to catch Steve Malkmus.
Then, if time allows, try and get to
Kid Koala's extravaganza at the H.R.
Macmillan Auditorium.
place* to be
active pass records
324 w. hasting
pic pub
620 west pender
bassix records
217 w. hastings
railway club
579 dunsmuir
beatstreet records
3-712 robson
richard's on richards
1036 richards
black swan records
3209 west broadway
ridge cinema
3131 arbutus
blinding light!!
36 powell
red cat records
4305 main
3611 west broadway
1029 granville
club 23
23 west cordova
scrape records
17 west broadway
commodore bailroorr
868 granville
726 richards
crosstown music
518 west pender
66 water
futuristic flavour
1020 granville
sugar refinery
1115 granville
highlife records
1317 commercial
legion of van
300 west pender
teenage ramapage
19 west broadway
lotus hotel
455 abbott
Vancouver playhouse
hamilton at dunsmuir 604.665.3050
the main cafe
4210 main
video in studios
1965 main
ms. t's cabaret
339 west pender
western front
303 east 8th
orpheum theatre
smithe at seymour
WISE club
1882 adanac
pacific cinematheque
1131 howe
1300 granville
pat's pub
403 east hastings
zulu records
1972 west 4th
604.738.3232 coastal/a
At Large Entertainment presents..
Fri/Mar 28  9:30PM
locked inside it." R0LLIH6 STONE
950 W. 41ST AVE
FH/Mar   21    8PM
Misha Mengelberg piano
Han Bennink drums
Ab Baars sax t clarinet
Michael Moore sax « clarinet
Tobias Detius sax
Wolter Wierbos taombone
Thomas Heberer tauhpet
Mary Oliver violin viola
Tristan Honsinger cello
Ernst Glerum bass
Brodie West hulti-instruhentalist
Alex Lukashevsky suitaa
Tania Sill piano
Shawn Abedin brums
Wed/Apr    C     8PM
r t
Thu/Apr    17   8PM
Bernie Arai brums
Jon Bentley sax
Brad Turner trumpet
Rod Murray trombone
Ross Taggart piano
Andre Lachance bass
The music and spirit of Art Blakey and The Jazz Messen
Ticketmaster 604.280.4444
Jazz Hotline   604.872.5200
\Ll) bTARS (FromMontreal)
Broken Social Sceneifromjor
(Feat, member's of Goo Speed You Black Emporer.
Do Make SayIhink. Treble Charger. Blurtonia)
Doors 7.00pm. Show 730p
Sonar Cabaret (66 Water St.)
@ Sahara Hotnights.fromsw,
Ikara Colt (England)
Wash Down
Doors730pm Show830pm
Ihe Royal Hotel (1029 Granville St)
) Bright Eyes (s
Arab Strap (froms,
Plus special guests.
Doors 800pm. Show 9 15pm
The Commodore (868 Granville S
(?) The Black Heart Procession
Plus guests
Doors 7:00pm. Show 7:30pm
Richards on Richards (1036 Richards St.)
Plus guests
TheCroation Cultural Centre
Tickets Available at Zulu. Scratch. Red Cat. and Teenage Rampage.
Bright Eyes tickets also available at Ticketmaster COME FLY WITH US!
You are Free CO/IP
CHAN MARSHALL has yet to receive
some Hollywood grace and be
asked to pen the soundtrack to som
mildly uplifting fable, a la Elliot Smr
and Good Will Hunting  For this
neglect she may be fortunate, indeed. But the point is that with
You Are Free, MARSHALL has got something that could speak to
a whole lot of people, and it probable will. This is a great record,
which isn't surprising at all. That MARSHALL has decided to turn
up her amp now and again and rock out, on the other hand,
might Impress a few listeners who are familiar more with her
whispered, brooding past two recordings, the excellent Moon Pbt
and The Covers Record. With this commendable work behind
her, however, why MARSHALL feels it necessary to apologize for
every little thing she does - like she did at her last, still totally
captivating solo show in Vancouver - is a question that only a
team of qualified therapists could possibly help answer. Better to
keep the mystery mysterious, we think. Nevertheless, this album
is even better than you expect it to be.
CD 19.98   LP 19.98
She Has No Strings
Apollo CD/LP
After seven albums, a number of
EPs, a few collaborations, and a
couple of solo works, Warren Elite
(violin/piano), Mick Turner (guitar),
and Jim White (drams/percussion) have yet to lose their captivating air of theatrical enigma. Guided by some loose oceangoing
narrative, She Has No Strings Apollo unfolds slowly in DIRTY
THREE time - a form of time that Is endlessly cyclical and
enveloping, like the shadowy embrace of some mystery. Still,
there's enough booze in their playing to make this journey more
than mere atmosphere - the waters often get choppy when they
are deepest with secret sources deep below the surface creating
turmoil and danger. Tossed around, we eventually wash up at
nighttime in some Australian harbor, gasping for breath, looking
at the expansive sky, white a band plays far away, whispering
some melancholy truth from the great beyond.
CD 19.98   LP 16.98
s/t CD
THE OWL AND THE PUSSYCAT went out to sea on a courtship
voyage in a skip laden with a serenading guitar and demure
organ. We know of the exotic nonsense that animated the waters
under their bow, what we didn't know was of the refuge recordings they blissfully made on our own coastal watefs! The tight-
house on the point of Galiano Island was ok on its own for awhile,
as engineers John Collins and David Carswell a.k.a. JCOC (Hew
Pornographers, Destroyer, Young and Sexy) rigged up the studio
to document their enchanted tunes! Featuring simple songs with
geritfe strumming, with just one listen you recognize this as the
latest collaboration from Lois Mafteo (The Pussycat) and Greg -
Moore (The Owl)! Now you too can seek refuge in the safe harbours of their stark Deauty! P.S. Owl and The Pussycat will
make an exclusive Vancouver appearance at ZULU March 27th
CD 16.98
Tranquil isolation
n J 969 Van Morrison released
his solo debut, 'Astral W
Very few people got it, fewer kept  j
it. The record 'was pulling magnetic north to pure obscurity, as 1969 had no understanding of
Morrison's venture into the folk-jazz slipstream. Now, to say
that NICOLAI DUNGER's Tranquil Isolation' stands next to
Morrison's opus would surely be a big claim. However, Astral
Weeks and Tranquil Isolation have something very surely in
common, in that they both point to a speck on the horizon: a
co-ordinate of sonic beauty informed by an understanding of
gospel-soul and orchestrated folk. Both records aim forward to
create a moment instead of simply capturing one, and thus
give rather than take. For Tranquil isolation, his friends Paul
and Will Oldham. Peter Townsend and Jessica Billey join
Dunger. Indeed, an incomprehensible sweet thing is coming
again - be among the few who get this record, and among the
few who keep it Zulu in-store performance, Wednesday,
March 5 at 5:00 PM.
CD 19.98 	
TNE MINUS 5       WmmmmmmmM
Down With Wilco
Once upon a time Scott
McCaughey was the lead
voice of the Young Fresh Fellows,
a steady, good-natured pop rock
fixture on the Pacific Northwest scene. Nowadays, when he's
not hanging out with the big guns of REM, McCaughey fronts
a kind of open-door tribute band to expansive, intelligent pop
music. His latest recording, Down With Wilco, features - you
guessed it - Wilco, as well as Peter Buck. Ren Stringfellow
Sean O'Hagan, and a few other reputable hired guns. As you
can see, the Minus 5 clearly has talent and experience to
spare. But how are the tunes, you ask? Very sweet, we reply,
with nice Beatles Brian Wilson and - you guessed it again -
Wilco inspired affectations. And by the way, they're playing a
Zulu in-store performance. Sunday, March 23 at 5:00 PM.
See you then.
CD 16.98
Ugly Organ CD/LP
Go looking for Springsteen's isolation blues elsewhere,
cause you won't find them in Nebraska. Nebraska is no
longer annexed. Some argue it looks a lot like the cradle of
civilization these days, the way record culture is springing up in
this Fertile Crescent! Let's consider the phrase 'the grass is
greener in Omaha, Nebraska'. Why? Simple, Omaha N.B. has
been the 'other side' of the American emo/post/hardcore scene
for quite some time now. In fact, Omaha is home to Bright
Eyes. The Faint. Desaparecidos. Azure Ray and Cursive! Uh-
huh, thanks to Saddle Creek Records, the post-hardcore
sounds coming out of their huge, red curtained Sokol
Auditorium can now be heard in this and every other neck of
the woods! Oh yeah, members of Cursive perform in Bright
Eyes- we think you like em. AVAILABLE MARCH 4TH
CD 16.98   LP 14.98
Rice Lightning CD
We are sending this one out to
Toronto. Back off! We got
some shit out here that is going to
make your rock scene consider
reinvention. That's right BLACK
RICE is driving to Toronto to kick ass at North By Northwest. If
you know what they sound like - come down and buy their CO
and put a little of your boot in their gas tank. If you dont know
what they sound like.. .well, this is the sound of youth going
crazy, taking the good parts of punk and rock and making
entertainment out of dissonance! Like Three Inches of Blood,
this band won Shindig and will buck the trend and actually
make a name for themselves! Another Vancouver 8and to
watch in 2003!
CD 10.98
Feast of Wire
The sound of dusty, southern
American sophistication, like a
red wine stain on sun-bleached
earth, CALEXICO are the players'
players that everyone loves to love. They can do anything and
do it wed, which they've proven over and over on their past
four albums plus - like super duper session musicians, picking up whatever is necessary to make their music work and
come alive, always game for something new, adopting styles
without pretension, in no way contrived or disrespectful.
Feast of Wire has more of the same, thankfully, and there's
much to be thankful about, from the rootsy Sunken Waltz to
the plaintive Black Heart to the lighthearted Attack El Robot!
Attack! to the jazzy Crumble. Cross breeding genres never
sounded as good and sure as this. And hey - check them out
live, March 5, at Richard on Richards.
CD 19.98   LP 16.98
Tomorrow Right Now CD
Not to be mistaken with Vancouver's premier post-rock
ensemble, Beans is — in this case — one third of the now^
defunct Anti-Pop Consortium Tomorrow Right Now represents
the first in a promised trilogy of solo recordings from the members of that epochal avant-rap trio — a crew which, despite its
name, always managed to make music that was as strangely
infectious as it was infectiously strange. This album amplifies
the Arty-Pop Sanitarium approach to the point of sheer futuristic delirium. You wilt be singing these hooks, yelling these
rhymes and making these noises for months to come. Your
friends will think you're mental. AVAILABLE MARCH 11TH
CD 19.98
NICOLAI DUNGER Wednesday March 5th 5PM
Venture into the Swedish slipstream with this blonde mans blues!
THE MINUS 5 Sunday March 23rd 5PM
Down with Wilco and down with Zulu - Scott McCaughey and Pete
OWL AND THE PUSSYCAT- Thursday March 27th 5PM
A Vancouver exclusive! Lois Matfeo and Greg Moore shine in-stnre
Delhi 9
We are all greatly
indebted to the
Viennese Institute for
Composition, as it was this excellent scholastic setting that regimented the extensive studies of Richard
Dorfmeister and Rupert Huber. otherwise known as
Tosca. And we are also greatly indebted to the
Viennese chilled-out lounge scene, as it was this
now-famous setting that embraced the freewheeling
evenings of romantic DJ hedonism by which Tosca
has gained the reputation they enjoy there, here and
everywhere. Naturally, counterbalances lead to the
best results: academia and popular culture need each
other like the sun needs the moon, the left needs the
right, or we need a good drink after work. The people
love downtempo, we love the people - Tosca satisfies
all our needs.
2CD 26.98   4LP 29.98
SONGS OHIA- The Magnolia Electric Co. CO
Collection CD
AZITA- Enantlodromla CO (w/membership
CASS McCOMBS- Not the Way CO
MOMUS- Oskar Tennis Champion CD
GO BETWEENS- Bright Yellow Bright
Orange CD
JEFF PARKER (of Chicago Underground
Quartet)- Like Coping
TURBONEGRO- Ass eobra S Apocalypse
Dudes CD (reissues)
Collection CD
HELLACOPTERS- By The Grace of God CD
- Heroin 2CD
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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