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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1999-06-01

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 '■'Iii* t  Nlioe*ssazing  nm«_;jiAiii*i**   from  «   i'l'lt   101.9  ■<">■
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Cman & Rizk present
DMC DJ MIXING CHAMPIONSHIP
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JUN^i
NIGHTMARES UN WAX
Wfm
POIE& NEOTROPIC
JUNt^f
NORMAN JAY
__■' 1111*7 ni f i 11. _  i ii r'l TV 1.1 f i _ ■_■-_-__
p/i/s 01 Clarence. $7 door only 19pm
rrrc
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lau/icA Presents
PAUIVANOYK
lUNE^t
1-31
 IfESRATCH PERRYwlMad /fafesar
The onairu/ Upsetter in a raw live performance!
$30 advance. Tix available now-a don't miss!
nn&UJM                            DD^GRANDE                  HZJ LAUNCH
Call club for weekly                 ** „™ll. „,„„„„                       Prog, electronic
events 683.6695                       MB' "eMae> HlB "°'7                        w, Pascal
COMING SOON.. Mix master Mike 16/271. SASUJI 171011. 2 Year anniversary
{7/03], Terry Francis (
66 WATER ST. Club: 66
Sound system by:
7/06] and more...
3.6695 Office: 683.6527 Fax: 688.2552
Turbosound     Visual styling by: URBAN
I wvm.sonar.bc.ca
1  -s\spnRTS Features
Braid
Mojave 3
Looper
Mercury Rev
Sam Prekop
Euphone
editrix: miko hoffman
editrix-in-training:
barbara andersen
art director:
robert horsman
ad rep: maren hancock
production manager:
tristan winch
graphic design/layout:
rob n
production: julie colero,
ann goncalves, alia hussey,
Julian manyoni, katrina
mcgee, christa min, kirsten
weisenberger
photography &
illustrations: jason da
silva, ted dave, jay douillard,
richard folgar, quentin wright
contributors: barbara a,
paul b, cody b, Jeremy b,
nicolas b, brady c, jj c, julie
c, mike c, bryce d, glenn d'c,
trevor f, christine g, patrick g,
maren h, martin f, brian j,
anthony k, bill k, blaine k,
John k, cat m, christa m, janis
m, Julian m, nardwuar, caleb
s, scot, June s, tobias v, kirsten
w, quentin w
programme guide:
anna friz
charts: julie colero
datebook: barbara/miko
distribution: matt steffich
us distribution:
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publisher:
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Cover
Chicago's super-smooth players, Sam
Prekop (of sea and cake, solo, etc.)
and friend, as photographed by Richard
Folgar. Design by Rob.
© "DiSCORDER" 1 999 by the Student Radio Society of
the University of British Columbia. All rights reserved.
Circulation 15 000.
Subscriptions, payable in advance, to Canadian residents
are $ 1 5 for one year, to residents of the USA are $ 1 5 US;
$24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders
payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the July issue is June 16th.
Ad space is available until June 23rd and can be booked by
calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss,
damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or
in type. As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can
be heard at 101.9 fM as well as through all major cable
systems in the Lower Mainland, except Shaw in White Rock.
Call the CiTR DJ line at 822.2487, our office at 822.3017 ext. 0,
or our news and sports lines at 822.3017 ext. 2. Fax us at
822.9364, efnail us at: citrradio@mail.ams.ubc.ca, visit our
web site at http://www.ams.ubc.ca/media/citror just pick up a
goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC,
V6T1Z1, CANADA.
Printed In Canada
lo
HAVE YOU  SEEN THE  LIGHT
LATELY?
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COOLDOWM
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With ultra-funky grooves, seductive
melodies and airy, luxurious beats,
COOLDOWN make a stunning debut
with Ether.
Palinkas
Eats
ifeSBS&v
CAFE QUETZAL
3289 Main St.
PONCHO'S MEXICAN
RESTAURANT
827 Denman St.
This month's column marks the
start ola two-part series on Mexican restaurants in the cily. Before I start in on this month's restaurants for review, I should state
my bias towards Mexican food:
I love it. Even a mediocre Mexican meal kicks my butt. What
appeals to me is its simple yet
complex flavours. For me, a
good Mexican dinner is one lhat
is hot and spicy, without being
hot just for the sake of being hot.
If I could eat at a different Mexican restaurant everyday, I would
probably be a happier person.
Cafe Quetzal is located on
that section of Main Street tha.
is a no-man's land between 1 5th
and King Edward. It is small and
unassuming and I took these reasons to explain why it is usually
empty whenever I walk by. I have
always meant to go there but
never have, until now. The first
thing I noticed when I walked in
was the extreme prominence of
a TV, something I could overlook
if the food was good. I had a
chicken enchilada and a Dos
Equis. I have to admit that this
was not the best enchilada I have
ever had. The sauce was loo tart
and not what I expect of an enchilada sauce at all. The chicken
wasn't that great either — parts
of it were fatty and they used too
much dark meat. I hate dark
meat. The beer was good,
though.
I couldn't really recommend
going to Cafe Quetzal, which
saddens me. They were super
friendly and don't seem to get
that much business. If you are in
the area and feel like eating
Mexican you should go, just to
support a small operation run by
some nice folks.
I hardly ever get down to the
West End area, so this was the
first time I have ever been to
Poncho's, but it won't be the
last. At six o'clock, the place
was already beginning to fill up
and there was a big table reserved. I usually take these to
be signs of a good restaurant.
To start the evening off on a
good note, my friends and I
shared a pitcher of mango
margarita. Yes, mango, and it
was damned good too, especially on an empty stomach. I
ordered the Carne a la
Mexicano and my friends ordered vegetarian tostadas and
enchiladas. After about what
seemed like five minutes, our
food was being served. The
Carne a la Mexicano is a big
slab of meat in a spicy red
sauce that I can't for the life
r-nber
.  of
(thanks, no doubt, to the
margarita) with a chicken enchilada, rice, and refried beans.
This might sound weird, but I
couldn't get enough of the
beans. They were fucking awesome. Everything else was
equally as good and the portions were bordering on too big.
With the pitcher of margarita
and dinner for three, the price
sixty dollars.
Notte
i bad.
t for this month. Hopefully, I will go to more than two
restaurants next month, both for
your benefit and mine.*
"The dynamic duo of Miss Benny and Greg
Price provides Lotus Land's long-awaited
answer to the Bristol sound." (Georgiastraight)
I PHIL WESTERN
OUTlEflBl
1 Map Releases you should investigate..
Visit www.mapmusic.com for more info
on West Coast Electroniculture...
tr*
99 IN STORES
JUNE 8th!
NEW ALBUM
SUPPORT YOUR
INDEPENDENT
RETAILER
mmzrmm mmmmntwumm *,nwm
mm wmm wmumm wmmmmm wm&m.
jwilw wvm mw wmm mmms
CHICK OUT PCMMYWISC OMLIMt mf ttm&PCM JtlTWff 0OM»COM
Epitaph Vancouver
Special
ppwrf
BY JANIS McKENZIE & CHRISTA MIN
£o,c+£ ^M
Who would have
thought that Music
West (er, New Music West) could be so much
fun? By sheer good luck, I
ended up with one of those oh-
so-stylish wristbands and, after
a shaky start (when one of the
volunteers gave me some bad
information), got over my foul
mood and managed to see 10
or so bands and collect a handful of local and not so local recordings.
I missed Motorhead by a
r of n
, but did s
the nearly as loud JP5; missed
Plumtree's original set but did
catch their impromptu encore
almost an hour later, and I got
to talk to some of the most cheer-
who were out in force to catch
each others' shows. All in all, it
was the best Music West I've
been lo, and this month's CDs
are a pretty good indication of
the all-round quality Keep 'em
THE ORCHID HIGHWAY
Fourplay
(Naughty)
If Brian Jones were somehow
born again as a happier version
of his original self, he might well
be one of the guys in The Orchid Highway The boys'
1966 pop star haircuts, their taste
for sitars and psychedel
voured hooks, and the Revolver-
era Beafrles-esque drumming all
add up to make this a thoroughly
enjoyable EP. At four songs,
certainly does leave you wan
ing morel Here's hoping they'
release something longer som<
time soon (PO Box 54536
7155 Kingsway, Burnaby, BC,
V5E AJ6)
REAL MCKENZIES
Clash of the Tartans
(Sudden Death)
First of all, let me say that I am
not (as far as I know) related to
these guysl Perhaps then it won't
sound too creepy if I refer to their
frontman as the ever-devilishly-
handsome Paul McKenzie, who
has made gals swoon since the
days when he sang with The
Enigmas        The        Real
McKenzies don't do those old
songs about teenage barnacles
(etc ); instead, they sing about the
Stone of Scone and turn "Auld
Lang Syne" into something you
can, and should, pogo to. If, like
me, you were raised in a household that liked to exaggerate its
connection to the land of Loch
Lomond and all that, you'll want
to shed a tear over "Wild Mountain Thyme" and to shout along
lustily to "Scots Wha' Ha'e," but
whether your arse has Celtic pretensions or not, these kilt-clad
laddies will kick it for you. And
hard. (Moscrop PO Box 43001,
Burnaby, BC, V5G 3H0)
BUNKI
Acid Mudd
(Viva)
Sometimes things do really work
out for the best. I went to see
Blinlci at the Marine Club because I thought (going by the
name) that they might be a cutely
sloppy-sweet girl-pop band and
discovered instead a perfectly
tight four-piece doing synchronised rock jumping up and down
and looking like they were ready
to blow the roof off a stadium. It
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that support
them, will be in the September issue. The deadline for
entries is July 15,1999.
I 1
| YOU ARE A (Check one): |
I  BAND/MUSICIAN PROMOTER I
I     RECORD LABEL/DISTRIBUTOR _ UVE MUSIC VENUE I
■    MANAGER/AGENT STUDIO ZINE OTHER
(elaborate below)
!   NAME:  j
|   DESCRIPTION (15 words or less):
1
|                                                                                                     I
■   CONTACT(S):
!   ADDRESS
1                                                                                                 1
|   PHONE:
1   EMAIL:
FAX:                                               |
1   URL:
! FILL THIS OUT AND MAIL/FAX IT TO US BEFORE Julyl 5, 1999 ,
'    233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 fax: 604.822.9364
cl^gJffiStSS
took me a minute to get over my
initial shock at their obvious confidence (and competence), but
singer Tracy, who alternated between joyM rock goddess posing and ingenuous between-song
patter, finally won me over
Backed by three guys, she's the
one who writes the songs (and
she produced the CD
too), and they are
damned good songs,
with oft-clever lyrics, performed with a Cheap
Trick-like gusto and produced to have almost
Queen-like qualities.
(The doubled vocals are
exquisitely glam.) The CD
cover is on the cheesy
side, but if you can get
past that, and if you want
to hear some of the catchiest rock songs since The
Sweet (with way better
words), you've got to
have this Where else will you
find confessional songs that mention day-glo condoms and preteen
drinking and smoking, and get
stuck in your head for days on end?
(<athent@axionet.com>)
£o<m£M^^oJ
bed of demo tapes. It hurts sometimes, but one morning I woke up
clutching RADIO BERLIN I
couldn't help but cheer and clap.
They are a black forest sandwiched between The Cure and
Fugazi I can't wait to see these
boys live I've been told that
they're dreamy
lyrics from other bands went
through my head. / need some
more reverb/I need some more
treble ... (#107-1429 E. 4th,
Vancouver, BC,V5N 1J6)
Listening is tiring. It's like lectures where you sit down for an
hour and do nothing, but for
some reason, you feel like you
haven't slept
W
Icome to my Castle
.. uh, I think that's
omeone else's line.
Welcome. That's an appropriate
greeting, I suppose, because I am
a doormat of sorts. For the last
month I've been sleeping on a
Just when I felt the need to
dance, I found THE
SKAVENGERS. This is Ska
straight out of North Vancouver.
Dusty Leonhardt's songs skanked
in my head all day long. I wish I
had a Hammond instead of a
piano (1979 Rufus Dr., North
Vancouver, BC, V7J 3N2).
All that stomping made me
tired. I need to get mellow —
wait, that's the wrong subculture.
What the hell am I saying? Vancouver has no waves, but THE
REVERBERATORS manage to
surf something. The recording I
got is a little fuzzy and, since The
Reverberators are instrumental,
Brushes instead
of drumsticks.
Cleanliness instead of messy
pedals. Bed Pillows. Dreams.
(<chris_corday@bc.sympatico.ca>)
Popl I woke up to THE
SALTEENS who are not soda
pop, not bubble gum pop, more
like those sweet pop rocks that
explode inside your mouth
These Shindig winners had me
singing and tapping my foot.
(5361 Crescent Dr., Delta, BC,
V4K 2E2)
I feel like that princess with
the pea, except that I sleep on
cassette tapes instead of mattresses and the pea is that golden
demo that I hope to find soon,
but I know it'll be at the bottom
ofthe pile.*"
<r~* Radio
Inter
view
Who are you (names, ages, instruments)?
Hello, we are the Hookers of Fire. We are the
three-piece suit of doom. Ryan Thomson is the gentleman responsible for the Truck Drive'n, shop
talkin, voodoo'n trail of satanic holy rolling wisdom, that has guided this rockin' roll juggernaut
through the likes of Henry Kotyluk (Francophobes
and Cutlets), Doug Luciuk (Move Star Collections)
and John Fothergill (Fothergill Productions & Websites). Ryan plays guitars and sings songs.
Mr. Curtis Lewchuk likes the various positions of
extremity that his brain has and will have been put
through in the time he has spent with the Hookers
of Fire. He looks forward to depravity, madness,
and more amphetamine driven,  rolling, good
Mr. Plow plays the fields and taps his foot in
rhythmic proportions. My age is your cat's age
divided by four. Lucky is our voice of wisdom.
Curt and Ryan, tell us about your old
bands in Saskatoon, The Funky Wet
Beavers and Piehole. Did you ever play
any gigs with fellow Saskatoon native
Mark 'Jungle' Kleiner? What was Mark
like back then?
Curt: I used to live in Saskatoon where I would get
drunk in Amigos Cantina. My friends and I played
in bands and we would play shows and take drugs
and drink booze. I played with Piehole with some
of my friends and then later joined Screaming for
Lou when they moved to Vancouver. Screaming for
Lou played with Sister Lovers at a CFCR Show This
was before I played with Screaming for Lou, but it
was one of the first times I took acid.
Ryan: The Funky Wet Beavers were a party exotic band. At least I though so, and my grandmother
was proud of me for playing in a band with such a
Canadian name, until my uncle told her what he
thought it meant.
(Part two:) Mark, Tim, and Erin played in Ned
Power Trip with Don of FWB and now of Porcellin
[sic] God Records and we just hung out, man. I
went to school with Mark. I think we both went
there because Joni Mitchell went there, but I got
kicked out before we became real high school buddies. Rock W roll made us friends.
How did Vancouver legend Mr. Plow of
Chick Magnets and Offday fame end up
being in the equation that is Hookers of
Fire?
Mr. Plow: An evening on the town ended with a
drunken conversation between myself and Curt at
the comfortable Columbia. First it was chatter, then
slurring, then yelling with the question of 'Hey, you
wanna jam?' Next thing I know I'm at CiTR Radio
Hell surrounded by firelogs and a mystery smell.
Do you always bring the 'flaming logs' to
your shows? What other stage props
have the Hookers of Fire used?
Ryan: Yup. Luck is always there but we've had
celebrities like God, Satan and Mother Nature.
Whoops, I lied. Come to a show. If you don't go,
you won't know.
Ask yourself two questions and answer
What's your favourite beer?
Ryan. I like Pilsner beer cause it has rabbits. My
friend George used to tell me about the rabbits.
Mr. Plow: I drink Red Devil. I love Red Devil. See
Red Devil. Taste Red Devil. Feel Red Devil.
Do you masturbate on the first date?
Ryan: Like before? Maybe. Depends on the girl.
Maybe after.
Curt: Yes I do. I'm into it.
Ryan: Yeah, um ... maybe uh ...
Mr. Plow: Why masturbate when you got a date?
Anything else to add?
Ryan: Thanx to Nardwuar, Evan and Caleb at
Radio Hell. You treated us like rock and rollers and
we liked it. And thanks to Marco, he's a Hooker of
Curt: I don't think so.
Mr. Plow: Never spit in the wind and step on
Ryan's cape. Come see what every one else doesn't know yet. Us.
Discography:
We're Not Monkeys, We're the Best Band in the
World (four-song EP), Hookers of Fire Are Poor (full-
length cassette), Burning Bush CD, Crusty Comp
Vol.  I (various artists).
Contact:
Rail Roaded Record Company, #301-260 Raymur
Ave., Vancouver, BC, V6A 3K8, 604.255.0184,
www. hookersoff i re. com •
LANDSCAPE SOW MA£fff ENE
Who are you (names ages instruments)?
Craig Joseph Huxtable, 25, synthesizers, samplers,
programming, treatments and noises.
Craig, it's very rare when a band is influenced by a radio show, especially when
that radio show was on CiTR! Tell us how
you were influenced by Bepi Crespin's
Soup Stock from the bones of the Elephant
I got into electronic music in a big way in my
early teens. Being under 19 years of age and
living in the suburbs made it incredibly difficult
to find new music. No resources whatsoever.
That was when my friend Darren and I stumbled
onto CiTR. We caught on completely by fluke,
searching late night radio out of sheer boredom
on Friday nights. That was when we discovered
Lloyd's show Soup Stock from the bones of the
Elephant Man. Lloyd was top notch. Every show
I discovered a new artist or sound or scene. I listened every week until its demise some years
later, but by then I had been turned on to other
shows on CiTR that featured hardcore, acid
house, techno, ambient, you name it. Other than
late night CBC programming, CiTR is pretty
much the only place in this sad sack of a city to
All your songs are instrumental, yet your
song titles are very revealing. Earlier this
evening you were talking about a 'secret'
plan the US has to invade Canada. Is this
a possible song subject for Landscape
Body Machine?
The next L.B.M. album (to be released fall
99/winter 00) will in fact be titled Manifest Destiny. The title track is, of course, a reference to
the historic declaration by the USA that the American borders must expand to encompass North
America in its entirety. Some of this was religious
rhetoric and some political posturing. Anyhow,
there have been plans laid in the past (there is a
declassified plan made by the US military in
1935 on the web if you can find it), but recently
no overt plans have been made. I believe any
plans made public in the past have been abandoned in favour of a much subtler form of
takeover, one that has progressed quietly
throughout the 20th century. With the amount of
control that the United States has over the Canadian economy, our resources, and our culture,
one can't help get the feeling that they have all
but completely succeeded.
On a related note, I did the soundtrack for Van
couver filmmaker Patrick Harrison's short Free-
world. The film is about two Canadian soldiers in
post US takeover Canada. Recommended viewing
for anyone interested in the topic.
Is there still a strong goth scene in Vancouver? Are your fans gothic? Do you
resent being pigeon-holed as a goth?
The 'goth' scene in Vancouver is getting stronger
all the time. I mean, like any scene, it's only as
strong as the people who work to keep it going. If
it wasn't for a handful of DJs (Lady Maleficent,
Micronian, Pandemonium) it would be in the same
sad state it was a couple of years ago. The idea of
being perpetually depressed and arrogant has
never appealed to me, so in that respect, I do
resent being pigeon-holed as a goth. I enjoy the
clothes and the music to an extent and I guess that's
where I draw the line.
In which ways has 'photo nudity' been a
factor in the equation that is Landscape
Body Machine?
A couple of months ago, James Meyer (photographer), Charlene Palen (make-up artist), and I set out
one very chilly January morning and took the photo
that you see here in Queen's park, New Westminster. Don't expect 'photo nudity' to be a regular feature. You know, it was like 2° Celsius out when we
took those pictures.
What is your most cherished piece of
equipment, and, if given an unlimited
budget, on what would the money be
spent? Come on Craig, let the tech-geek in
yourself ramble on, babyl
My favourite toy right now is the Roland JP8000
that I bought last year. I've always enjoyed a
hands-on approach to both writing and performance and this little baby is great for both. Given
an unlimited budget, I would completely lose my
mind. Uh wow ... I guess a home studio atop a
mountain in the Rockies. Lots of classics would be
on the shopping list, in particular an Arp 2600 and
a theremin.
Ask yourself two questions and answer
What is Landscape Body Machine's next
L.B.M. is looking for label, distribution, and touring support for the next year. Anyone who can help
with any of these aspects may contact me via the
information below.
A message for your fellow Canadians?
The sovereignty of our nation is at stake and this
country is taking it lying down. What Canada
needs is a revolution. As a nation, we need to get
off our asses now! The US is taking advantage of
us, the Canadian government is screwing us as
well and we've got to fight back! Fight the Power,
Brothers and Sisters!
Discography:
Structure: collection of works 1992-1996 (Liquid)
Contact:
Landscape Body Machine c/o Craig Joseph
Huxtable, 2051 E. 4th Ave., Vancouver, BC, V5N
IK5, 604.255.1512, <l_b_m_@hotmail.com>*> by Jeremy Baker
photos by Jay Douillard
i Vancouver. Did you
DiSCORDER: You guys were late arriving ii
guys have any problems?
Chris Yeah, our van broke down
Tell me about your van.
Chris: It's fixed. It cost us $900. It broke down eight miles south of Waterton,
South Dakota  We were driving along and it started smoking and we pulled
over, popped the hood and there was this big flaming fire — not as flaming as
Todd, but still flaming
Some shows got canceled?
Chris: Yeah, we didn't get to go to Winnipeg or Calgary.
;. You didn't miss much. This is your second time to Vancouver; can
you tell me anything about your last Vancouver experience?
Bob: It was at Seylynn Hall in Vancouver. It was a lot of fun — a lot of bands
and no stage. Everyone just stood on the floor There was a big field across the
way and I remember playing football. It was a lot of fun.
Your show at Seylynn Hall was an all-ages show. Do you prefer
the all-ages atmosphere or clubs?
Bob: Definitely all-ages.
Where was your last show?
Damon: Our last show was in Sioux Falls. It was in a university, an all-ages
show. It was good.
You guys have played a lot of shows. What number is this one?
Bob: Vancouver is 495. San Francisco will be show number 500.
What is the most rockin' city you guys have played in, excluding
Vancouver?
Damon: London, England.
Todd: Zagreb, Croatia.
i Chris: Chicago
I Bob: I was going to go with Chicago but gosh ... I don't know, this is a hard
. I'd have to say DC. Washington, DC.
Chris: You know what is a rock, rock town? Gainesville, Florida. Rock until
you throw up, that's the kind of rock town Gainesville is. Everyone there is
drunk, all the time.
Dan: Austin, Texas is like that.
Reminds me of Saskatoon. You guys missed that on your tour.
What can we expect out of Braid in the future?
Bob: [after some deliberation] There definitely be a single or EP out by the end
of the year
And you're going to Japan and Hawaii?
Chris: Going to Japan is one of those dreams come true that never was really
a dream. I never would have imagined ...
Bob: Playing in Vancouver was somewhat of a dream.
Are you guys spending any time in Vancouver?
Todd: No, fuck Vancouver; I mean, yeah, we're staying.
Chris: Hold on one sec You're listening to 101.9, smoke it. I love those things.
OK, sure. But this interview is for DiSCORDER. Do you want to
talk about your university days?
Bob: Well, that's where we put the band together in Champagne, Urbana
[Illinois] which is a university town.
Chris: I'm going to go back to school in the fall to become a cinematographer.
Any music video ideas?
Chris: Yeah, for the new album we are going to do some.
Dan: Hardcore underground porn.
I shouldn't ask you this but what are your musical influences?
Chris: Celtic, definitely. The Chicago Bears.
Any weird covers that you guys do? Like, say, maybe something
from a Disney Film?
Bob: No.
Has Puff Daddy contacted you guys to redo any of your old
songs?
Chris: Lauryn Hill is going to do some back-up on the new album. You know
I do some work for her
Dan: Like polishing her guitar"
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BARRYMORE'S MUSIC HALL
RAINBOW
KASHMIR
<r*- M
O
3
A
V
a a ojave 3 has come a long way from their
£L Jk days in the early '90s as the shoegazing
M^k M\band Slowdive, darlings of UK's Creation
m ^M 1/obe/. Two of Slowdive's original and
m y I principal members, Neil Hal stead and Rachel
Goswell, formed Mojave 3 and re-emerged in 1996 with a
new name, new sound and a new label (4AD, home of
Cocteau Twins, Pixies, Dead Can Dance, etc., and some
great new bands like Gus Gus and Thievery Corporation).
Their debut, Ask Me Tomorrow, satiated the demand for
new material by diehard Slowdive fans and acquired many
new fans along the way with their shift to a more organic
and acoustic sound incorporating pop and a subtle country
and western influence. Mojave 3's latest offering. Out Of
Tune, 1*1 far from just that. In fact, it maintains the familiar
sweet melancholy folk pop that Mojave 3 is all about. On the
afternoon of their Saturday show in Vancouver (supporting
Gomez at the Starfish Room) the band performed an acoustic
set at Chapters Books (I?) on Granville Street, to a handful
of well-informed afficionados and some bewildered
bookstore customers perusing the "Self-Help" and "Occult"
sections. After their pleasant but, due to its location and
partial indifference from the audience, slightly awkward
presentation, I had a chance to continue the typical
Vancouver "yuppie" experience, by sharing a Starbucks cup
of coffee with the chain-smoking Neil Halstead.
DiSCORDER: Out of Tune is Mojave 3's second
album — had you planned on doing a follow-up
to your debut?
Neil: When we started, no, because the first album is really
just a bunch of demos. I mean, when we did them there
wasn't really a band as such — it was really only when 4AD
wanted to release the record that we had to have a band.
But once we got a few gigs, we thought we'd like to do
another record.
How did the band get together?
Rachel and me were in Slowdive together. Simon, the
guitarist, is basically a friend from schooldays. He
used to be in a band called Chapterhouse. Alan is
just  someone we  know and we  needed
keyboard player. We've also got a pedal steel
player called Melvin Duffy who's, again,
someone we met along the way.
There [are] a lot of people who
still buy Slowdive records and
are big fans, some of whom
(including myself) thought
their    legacy   was    not
complete.     Why     the
radical change in band
name   and   sound?
We just thought that we'd
done as much as we
could with that sort of
sound, I think. I'm not
really into bands thot
put out records just
for the sake of it.
With Pygmalion
we all felt that
we'd done
=ugh.
kind
of     at
m       j
the point
ren't really
Wf             in,er
**sted      in
f              doing
other
[as
Slowdive],
1    think
we'd       all
worked
together   for
about   six
years.  We were
only   18
when we first signed to Creation and I think everyone felt
that they just wanted to do something different. That's just
the way it worked out.  I'm sort of glad,  really.  I'm
reasonably happy with what Slowdive did and I'm glad
we didn't really put out a record that I wouldn't have
wanted to put out.
Sometimes with a change in sound, a band's
image can change as well. Slowdive seemed to
have had a more gothic style in appearance, but
now you have long hair and a more casual sense
of dress — is that at all influenced by the new
direction in your sound?
I've had long hair for quite a while, actually — probably for
about four years. It kind of varies in length. I don't really
think about it, I guess I'm like anyone. I live in Cornwall
[England] — there's a lot of surfers there, so everyone
sort of looks the same. It's not really a fashion thing. I
think it's just whatever you're comfortable with.
Cornwall's a big, big surfing place. That's where
all the pictures for the album were taken.
I thought most of those photos were
taken in the States, they look like
road trip pictures. Do you like
the States?
There [are] a couple of hotels
that were from the States
— hotel shots. Some
of     them     were
taken on
enjoy   it
Did   you   hang   out
with Edwyn Collins
in Glasgow?
Everyone seems
to work with
him
you
ried,
anywhere,      I      guess
there's   good   and   bad
places  and   I  don't  really
know it well enough to comment
on it. I like the differences between
America and Europe, the fact that
there is so much more space. It's kind
of   weird   because   in   Europe,   you
obviously have a lot of different cultures in
quite a small space. In America, you've got
this big culture in a big space. So there [are] all
these   similarities   but   also   little   differences
between things.
Mojave   3's   sound   seems   to   have   an
American influence.
There's a lot of different influences. There's more the
American kind of stuff like Gram Parsons, Byrds, Tim
Hardin, Bob Dylan, Townes Van Zandt. There's English stuff
as well: Al Stewart, Nick Drake, Donovan, Bert Jancsh — he
wrote a lot of really good songs, like 'Needle of Death.'
He's great. He's still going, he does gigs in England. I go
and see him quite a lot. I guess most music comes from
America anyway, like rock 'n' roll or whatev er.
I noticed your vocals tend to be slightly Bob
Dylan-esque — is that conscious?
No, not really. I consciously try not to sometimes [because]
I'm not trying to be a Bob Dylan soundalike.
Judging by the album cover for Out of Tune and
various photos, you seem to be an avid fan of
surfing.
I surf a lot. It's kind of what I do when I'm not doing music.
All over — Morocco, Portugal, Spain, France, California.
All the surfing photos are from Cornwall. We recorded the
album down there so we were trying to get an idea of
location. We did about a week and a half in Glasgow
doing brass parts, a few overdubs.
Hampstead.
When I did stuff
with Bernard Butler I
met   Edwyn.   He's   a
very nice bloke.
What's   the    Bernard
Butler connection?
Bernard used to be in a band
called Slowdive, his very first band.
The first time I ever met Bernard he
said, 'You nicked my band name.' I was
like, 'What do you mean? We're not called
Suede' [laughs].
There's  a  song  by Siouxsie  and  the
Banshees called  'Slowdive.'  Is there a
correlation?
I think there was a connection. Originally, we were going to
be called Slowburn and Rachel was a big Siouxsie fan and
she  said,   'You  should  call   it  Slowdive.'   I  was  like,
'Whatever.'
Were you a Goth at the time?
Me, no, I was never a Goth. Rachel was. She liked all that
stuff but I was never into it, to be honest. I don't consciously
feel part of anything. I don't give a shit. You've just got to
make honest music. That's all I'm trying to do — that's what
I'm passionate about — and believing what you do for the
right reasons. I don't know where all the labeling comes
from. I guess it's relevant if you're writing about music, but
it's not really relevant to me.
It's a well-known fact that you and Rachel were
in a relationship at one point. Does this ever
cause any tension still being in a band together?
We were in a relationship for two years. I was 17 when we
started going out, 19 when we broke up, and I'm 28 now
so it really doesn't matter. Rachel is married now, to a
bloke from Toronto, actually. He's in a band called Cuba
and he played piano on the first Mojave 3 record. We
didn't split up because of the band, we just didn't want to
go out with each other any more. I guess the first year
after we split up, it was a little difficult but we got over it.
It's just one of those things. I always stay in touch with
people I've gone out with anyway. I'm not the sort of
person who doesn't do that.
What do you think of 4AD as a label?
I think it's changing now. It's branching out into dance music
and different sorts of things. They're not really the same
label they were in the '80s, which I think is a good thing. I
mean, it's taken them a long time to get to that point. I think
they've really got to rebuild what they are about and what's
happening with '90s music.
Are you happy writing in the style you do now,
or do you foresee another radical direction in
your music again?
We never make any big plans. Whatever happens when
we go in to record the next record will happen. So I guess
it will be different, but I don't know if it will be a drastic
change or not. There is always a lot of pressure to make
them sound exactly the same. That's the way record
companies like to sell records: if you put out five records
that are all exactly the same, you retain your fanbase
through it all. I'm not sure how valid that is.«
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c_z Mercttfy Rev have been through a few changes recently. They make a
loi less noise than they used to, albeit with more members. Once,
they had the plugs pulled oo them during Lollapalooza for being too
lc-d— now they're colling them the new Beoch Boys! By losing flute player
Suzanne Thorpe ond hooking up with Oasis' manager, the Rev have gone
mainstream and their new album, Deserter's Songs, Ts o much tomer beast
than their previous efforts. Rumours of rampant sobriety in the band, Ond
even more worryingly, a glow of health coming from most of the band
members, may cause concern amongst old-skool indie fans. After their
Bellingham show, keyboardist Adam was given the opportunity to convince
us that the band formerly known as crazy isn't quite ready for retirement
yet
He kicks off by scotching the rumours that the Rev no longer enjoy a
tipple: "W(&, some of the fellas tried absinthe lost time we were overseas,"
he says, referring to the trendy European rocket fuel, banned in North
America *l had enough to drink that night so I skipped out on it. They all
complained that it didn't settle well with them. We didn't have much of it. If
we could go back in time and Toulouse-Lautrec was there and we'd all been
nodding out on a big wooden table, I would have drank it, but on the tour
bus it just kindo loses its appeal. So skip the absinthe."
Hmm ..it seems they are not exactly the 24 hour traveling rock V roll
party that they were once revered as. How does he feel about their alcohol-
soaked performances of the past, in comparison with tonight's all-ages show?
"Yeah, we like this. I gotta say that there is definitely a time for experimenting
with drinking and stuff, and there is a time for being moderate and I'm sorta
getting into that time — everybody go at their own pace, everybody be
themselves, you know."
What about the current healthy aspect of the once pasty-faced rockers? Do
they watch whot they eat nowadays? "Yeah, sure. Less to do with losing
weight and more to do with paying attention to what I'm consuming. Just
trying to figure out what makes you feel good and what makes you feel
crappy. I guess that's sottpf a diet. It's not like I always stick to it, especially
At that last remark he looks ruefully down at the pizza crust he has been
picking at for the last fiveIjpnures. "You know, in France you get really good
shit. They cook for you. You go to the clubs and it's a point of pride — each
club tries to out-do the other clubs. Nothing fancy, but of a very high quality
— usually a good fish with some kind of side dish and a nice soup, and of
course, the wine is spectacular. All day long they feed you stuff like grape
leaves, chips and French bread. I like to cook, although I don't get
to cook on the road I like to make things with beans — rice, beans,
corn, and variations on chili. That's what I specialize in."
It seems the lads from Mercury Rev have revised their agenda.
White less likely to kick out the jams on stage, they have no objection
to spreading them over a loaf of bread in the dressing room. And that's
not all — they are now family men. Adam reveals that they took time off
from the tour to spend time at home. 'Thank; God we got to spend Easter
with our families," he says, before revealing that they are still open to a
spot of substance abuse. "I had my share of Easter candy, that's for sure
Although I haven't had a Codbury's creme egg yet this year buf I've been
known to indulge."
Exactly 47 audience members at the Bellingham concert were gracefully
conveyed from 4th and Burrard (in Vancouver) aboard the Zulu Records tour
bus. This was the first time in 12 years that Zulu owner Grant McDonaugh
had organized anything similar — the last was a trip to Seattle to see PIL.
Adam (whose band was recently described by Sebadoh's Lou Barlow as
being "Awful ... they're almost Canadian") earned bonus points by
spending time chatting with the Vancouverites and signing records. He even
boarded the bus to say hello to everyone. Although he later described the
bus as "Great! It looks really '60s," it was unclear if he was referring to the
vehicle or the passengers.
Okay, maybe they're not the hedonistic drink V drugs machine that
they once were, but Mercury Rev still have a lot going for them.
Deserter's Songs is the best thing they've done in years and if you listen
closely, you can still heor.a distant chaos that evokes their earlier sound.
Besides, few bands are as willing to share recipes and cooking tips:
"Here's what you  do,"   says Adam,   revealing  his chili-making
technique. "You put the tomatoes in a* fhe very last minute so they just
get slightly cooked and they don't get stewed. That's my secret. Hey ...
'Last Minute Tomato' — that could be a Mercury Rev song title!"•
i*.*1**^**  «*V
IntervleTr
-■ ■■«!    photosi
<4iionliii
FLASH & SHANTE PRODUCTIONS PRESENTS
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8 P. M. START
n umoss^m Sam
by BrA^y Cunfiel5    photos by Richard Jolgar
paling   Not that I w
be alool e vague maybe less
singing,    hushed
tniitic, personal. To my delight, he was
icoming, but, as always, a printed text
cannot well capture any of the charm of his accent
and delivery Certainly, for me at least, delivery is
part of what makes his  music so successful.
I  unabashedly love  his  music    This
look place at the Breakroom in Seattle,
Washington    Sam   Prekop's   new   project   —
featuring such great players as Archer Prewilt, Josh
Abrams, plus Chicagp..!U.nderground Duo's Chad
'orted by fine
is Aerial M and Archer
,er   made   it   lo
DiSCORDER: Why a solo album? Is Sea
and Cake in jeopardy?
Sam Prekop: No, it's just on a break. John
McEntire was busy with Tortoise for a little while
and he's also building a new studio. The solo thing
has gone a little further than I thought it might. I
wasn't sure if I was going to tour. It went a bit better
than I planned. Anyway, I saw that there was going
to be some time and I felt fhat I was ready to do
Did you approach this album any
differently than you would with Sea and
Cake?
Not really. I mean, I knew it was going to be
different, but fhe way I thought about it was pretty
much the same In the beginning, when I'm just
developing the songs, they could have been Sea
and Cake songs. I think so. In terms of how I started
the very rough architecture, I didn't change my
outlook. I don't think I would have the skills to write
like different people and stuff like that. I can only do
my own thing  That's fine.
You knew in advance that you were going
to make this a solo project?
Well, I think so I started at home. I have a little
home studio: it's computer-based, whatever. I
started thinking that it would be that stuff, but I was
starting to burn out on that. I was still learning how
to do it. I had been messing with it for quite a
while. I was spending too much time and not
getting stuff done. So I decided to come up with a
bunch of guitar-based songs. I hadn't really been
playing as much as usual', so il was nice to get
back to it, and it sort of made sense to use the
computer diversion to get me re-interested in writing
for the guitar again.
When you're writing songs, do you finish
them yourself, or do you take the basic
parts to the studio to be finished with
other players?
A lot of them on this record were like that, yeah.
Probably seven out of ten. My part of it was done,
pretty much, but once I started playing with the
group they changed it a little bit. They put a slightly
different direction to it. Is Sea and Cake closer to your singular
songwriting?
No. They're pretty similar processes, really, except
that in Sea and Cake, everyone has to stay until
the end and finish. Whereas these guys, they just
do their stuff. I mean, they were prepared, but once
we did the basic tracks they were basically gone
Then I worked with Jim O'Rourke on the overdubs,
the singing and the mixing, and all that stuff. So
with Sea and Cake, everyone has to stay until the
Did Jim O'Rourke have a lot of input in
helping to determine or achieve the
character that this album has?
I think so, yeah.
Is he a really active producer?
In a way. It depends on what you term 'producer.'
I mean, I wanted to get him to play stuff. He didn't
play a lot on it, though, [just] certain critical things
and the string arrangements, and stuff. So he was
like a collaborator as much as anyone else.
He's quite a busy producer these days.
Was it hard to get his time?
It wasn't too hard. We'd sort of talked about it
before a little bit. Before that, he did a Sea and
Cake remix. He'd said he was into the stuff and all
boundlessly
enthusiastic, you knc
into it. I mean, he v
asked and then it :
decided that I wai
about stuff, so he was really
s probably the first person I
*t of fell in line after that. I
id to do it with Jim. If he
robably would
be a lot different. I don't know what it
like.
Was this part of art effort to make this
project different from Sea and Cake once
it got going?
Not really.
This album seems even more refined than
The Fawn, to me. I think that the key
things I associate with Sea and Cake are
even more distilled here, almost working
better. Is this progression an intuitive
thing?
Yeah. Basically, I just sort of treat the whole thing as
a body of work, so it's part of fhe same lineage. I
just work on getting better at it. I know there is
room to improve, so I'm excited about doing
another record.
Are you going to do another solo record?
I hope so, yeah. I think it would be a shame not
to. During this tour the playing has been really
great. I think it would be a shame not to realize the
potential.
A couple of your bandmates are from the
jazz scene in Chicago. Has this changed
your show at all? Is there more of an
improvised element now?
Yeah, there're some extensions. Mainly because
we still don't know how to end. But that's okay.
We're making that a plus [laughter].
There is a lot of sharing of musicians in
Chicago, of people playing wifh other
groups, but you don't seem to do that as
No. I think it's because I don't have translatable
skills to other projects [laughter]. I've sang on the
latest Spinanes record and the Stephen Prina
record. That's really the only stuff.
How did the Spinanes thing come about?
I'm not really sure. I'm really good friends with
Rebecca now [and] part of the record she did with
John. I don't know. She just asked and I said I'd
try.
Moving    back    to   your    approach    to
songwriting: do you have any formal
history   with   jazz   music,   or   is   this
something    that    you're    just    feeling
through?
I have no training. I mean, I don't know the names
of chords. I know the names of strings [laughter].
But there's a lot of jazz character to your
recordings. Is jazz a kind of music you
listen to a lot?
Not really so much now. I used to a lot more. I
didn't set out fo make this a jazz record, or
something. I went in that direction once I figured
out who was going to be playing on it. I didn't
want to say, 'Don't do what you do.' I didn't have
this big plan before, or anything, that it's got to be
more jazz-like. In fact, I was worried about that. I
didn't want to do a fake jazz record. That would be
the worst thing that could happen. So I'm very self-
Reviews of your music often bring up jazz.
It seems to me that the jazz thing is there,
but it's running along more in parallel. It
seems more like a sincere approach to
music making that just comes out the
same, rather than from intentionally
'taking on jazz.'
I would never ... I can understand why it's said all
the time, but it's really not my process, you know.
It's mainly because I'm clearly not playing rock
guitar. But it depends on what you term that. So, it's
far more complex. It's something that people use
when writing about my music. I mean, I have a
hard time saying what I do exactly.
You don't like talking about it?
I [wouldn't] mind if I was better at it. If I could say
something other than 'It's kind of jazzy.' I'm in the
same boat [as reviewers].
In terms of reviews, are you happy to find
the cumbersome, basically irrelevant term
'post-rock' becoming less common?
I guess it never really bothered me too much. I
mean, if you take the term literally, it's so wide
open. Yeah, all right, that's fine. Something other
than rock, although that's not really entirely true
either. I mean, it's helped to focus attention on our
stuff, which is fine with me. I'm all for it. Say
whatever you want.
Turning away from music, tell me a little
about your painting. Is this more than a
hobby? Do you show in galleries?
I have a show up right now, which is my first solo
show. I tend to do it less because of music. I plan
on having more shows.
What do you work in?
Oil. They're small oil paintings.
And you do record covers. You did the one
for your solo record, but you've done
others as well?
I'm really into designing layout and all that kind of
stuff.   Mostly   for   Sea    and   Cake.   Most   is
collaborative, to an extent. Archer Prewitt and I are
really into it, and Eric Claridge, the bass player.
The cover of The Biz is his drawing.
You have designed some stuff for Tortoise
as well?
Well, they just based their first record's cover on a
painting I did. I should have designed it, though,
because it didn't come out to my specifications.
Especially the reissue.
Did you do art college?
Yeah, two years in Chicago and two years in
Kansas City.
One last question: why don't you have
lyrics pages in your records? Are lyrics
secondary to you?
I could do a lyrics page. I always have to do it for
the Japanese versions. I figure here people could
just figure out what I'm saying, I guess.
That's exactly the problem.
It's gotten much more clear over the years.
It's clearer, but you're singing much softer.
Not   that   I'm   asking   you   to   change
[laughter].
I guess I could do a lyric sheet. There's no strong
reason I haven't, but somehow I haven't. I guess
maybe it just seems a little weird to me. It sort of
feels like you're setting it up as poetry or something
— like it needs to be seen. I do work on the lyrics.
I don't disregard them.
I bring it up only because, as we were
driving down here today, my friend had
a mix tape playing that had some Sea
and Cake songs on it, and he was singing
along. Some words I could understand
and others I couldn't, but he was singing
along throughout the whole song. Who
knows what he's singing. It's kind of
Maybe I should do lyrics upon request.* euphone
One of the highlights of my musical journey to New York last fall was my chance to see Ryan Rapsys in action. Rapsys, current drummer/artiste
responsible for the magic lhal is Euphone, has a resume a mile long {Heroic Doses, Joan of Arc, Sweater Weather), and it's no surprise why
— this guy's got the mad skills Hooray for a new crafty drums-plus album, The Calendar of Unlucky Days, which enlists the help of fellow Heroic
Dose-r Nick Macri, and provides me with the chance to talk [albeit, electronically), with my slicks V skins idol extraordinaire.
by julie colero
(By the way, the answers to this e-mail interview were completed
by both Ryan and Nick together in Nick's very small bedroom.)
DiSCORDER: What is the current Euphone roster and
instruments played?
Current Euphone roster is Ryan Rapsys and Nick Macri In the
studio, the sky is the limit as far as instruments played. A partial list
of instruments played on The Calendar of Unlucky Days: drum kit,
bass guitar, organs, electric guitar, samplers, drum machines,
sequencers, saxophone, glockenspiel, melodica, steel drum,
timpani, assorted percussion, electronic drums, etc. However, the
Euphone live setting is stripped down to just bass guitar, effects,
tapes (provided by Nick), drum kit, drum machine/sequencer, and
synthesizer (brought to you by Ryan, sometimes all at the same
Ryan, where did your involvement with Joan of Arc
begin and end?
Ryan: Tim from JOA and I have been friends for years, so it
seemed natural that we would collaborate on each other's music.
Tim played guitar on the first Euphone record and, in return, I
played on A Portable Model Of Tim came on tour with Euphone to
help out on guitar and, in turn, I played drums on a few tracks from
Live in Chicago: 1999. I imagine the collaboration between Tim
(JOA) and I will be an ongoing one.
Does your connection with Joan of Arc have anything to
do with your label switch? Your previous two releases
have been with Hefty, a label seemingly more suited to
your musical style (labelmates Slicker, John McEntire),
as opposed to Jade Tree, a label more well known for
emo and hardcore music (Joan of Arc, Promise Ring,
Jets to Brazil)?
Ryan: Yes, somewhat. Tim Kinsella introduced us to Tim and Darren
of Jade Tree and they expressed interest in releasing Euphone
material. I think Jade Tree was interested in branching out musically
(i.e., moving away from the 'emo' tag), while I was interested in
exploring other possibilities and channels for my music Emo and
hardcore are styles of music that I definitely grew up playing and
listening to. So it seemed like a good match.
Tell me the story of Heroic Doses. How did the
connection with Bill Dolan of Sive Style happen?
Ryan: After 5ive Style disbanded, I was playing with Jeremy
Jacobsen (The Lonesome Organist). Billy had seen me play with him
and asked me to start a band. We were jamming for awhile with a
rotating cast of bass players before asking Nick to join permanently.
We released a record on Sub Pop in June of 1998 and toured to
support the record with the likes of Hum, Swervedriver, and Sunny
Day Real Estate. The state of Heroic Doses is somewhat up in the
air right now as we are quite busy with Euphone, whil
Billy is currently working on a new 5ive Style record.
We'll see.
Bill Dolan is credited with helping on the
Euphone EP, Breaking Parole. Did the guitar-
driven H.D. style take a back-seat to the
drums and sampling on those tracks?
The strengths of Euphone are more rhythm based, so
the songs that Billy played on were already writter
and arranged. His parts were more of an 'icing on the
cake,'if you will.
When playing live, how much of the recorded
sound gets lost? Does the addition of more
musicians aid in capturing the original sounds?
The live setting and the studio approach are two diffei
animals to us to be approached in two different ways. So
rare that we ever try to 'sound like the record' and most e\
up being different from the last. We have thought about adding
other musicians to the line-up in order to play some of the recorded
material true to form, but, for the time being, we are really enjoying
just being a duo. It is fun for us to re-interpret and re-approach our
songs for the live thing, and hopefully it is fun for the audience to
watch two guys wrestling with a bunch of machines while making a
whole lotta racket.
What kind of equipment do you use, live and in the
studio?
In the studio, we use whatever is around us at the time. Kind of a
'do the best with what you got' approach. The home studio set up
consists of a Teac four-track reel-to-reel and a small Mackie (1202
VLZ) mixing board, but we have also done recording in beautiful,
swanky 24-track analog studios. It really varies from session to
session and depends on the recording situation. Whatever is in the
room at the time might get banged on or dropped in order to get a
new and interesting noise. For example, when we were recording
with Rick Valentin at his Studio Tedium, we ended up using the
chimes hanging on his front door as percussion on the track 'Needle
and Crate.' There really is no right or wrong and no limit to what
equipment we use in the studio because it usually ends up being a
spur of the moment thing. Just so long as it is interesting to us. We
have used everything from expensive samplers (Ensoniq ESQ-1 and
the Yamaha SU-10) to, quite literally, banging on pots and pans.
Sometimes the pots and pans just sound better, you know? Live,
we pretty much stick to our current configuration (for now, as it is
ever changing) which consists of, for Ryan, Gretsch four-piece drum
kit, Roland DR-5 drum machine/sequencer, and a crusty, old
Yamaha noisy-ass cheapo keyboard. We run the drum machine
and keyboard through an old Peavey PA head (which serves as
an amp and a mixer) which is, in turn, run through a Dietz 1x15"
bass cabinet for that thumpin' low end. We are going for that 'kicker
box in the trunk of an Oldsmobile' kind of sound. [And for Nick],
Fender Jazz bass, Ampeg SVT amp, Mesa Boogie 1 x 15" speaker
cabinet, a bunch of effects pedals (depending on who is in town
and who will let me borrow their stuff!), and some homemade tape
loop stuff run through a Sony hand-held tape recorder.
How multi-faceted are you? How many instruments do
you play? There is a recent trend with drummers picking
up samples and other electronic tricks to make
themselves self-sufficient.
Ryan: The idea behind learning to play other instruments (than
drums) was almost out of necessity. I was struggling trying to find
people to play with, but at the same time I knew I had all of these
ideas inside. So, short of pulling all of my hair out, I decided to try
and learn, at least to a limited capacity, the guitar and piano.
Learning this actually broadened my understanding of drums, made
me more aware of the importance of accompaniment.
Some dumb 'myths of the drummer'
questions for Ryan: do you get
more fans if you're the only
member of a band? What's
your take on the horrors of
making a 'drummer-face?'
Ryan: Wait a minute, I thought
nobody noticed the bass player! But
it's the drummer? Fuck this! I quit then! •
As far as drummer faces are concerned,
jusf let whatever feelings or emotion:
running through me at the time come through. If
ns I have to make a really creepy fao
get my idea across, then so be it. People have   f/
made fun of these expressions, but I was told   >}
a*.      not to take them seriously and to move on. *i§|
Also, not so drum related, what is that tattoo on the
inside of your forearm?
Ryan: Actually, it is drum related, but I've never told anyone what
What does the future hold for Euphone
and related
projects?
Ryan: Well, we hope to continue putting out a
s many records
before the apocalypse as possible. And, what w
ith US relations
with China deteriorating, it just may be sooner than
we think. 1 don't
want to talk about that, though. The sounds
we've yet to capture are                             r^_JB__
the sounds of our own    afate                  _______&
voices    singing    on Jgfflt  <■               ^Z
record. So, there is a JB
great       possibility  1||
there will be some J|H
vocals on the next Jjm
record. Who? Well, Wt
1 don't want to give |9B
■Is
anything away, but H
we've          worked -WB
together      before   ijfl
And 1 intend to take   ^m
the lead on a few IjjsE
numbers.
And finally, HOW   11
DID YOU GH TO BE WM
SUCH     A     WICKED^HB
DRUMMER?        Share ^^H|
your secrets, the tricks of
_tf_Jh
the drumming trade...
Ryan: 1 don't really know how to    1
mm
l:
tackle this one except that looking   ;„ .
■i
back on it, I've spent the better half of   ■
9H__
my     life     in     my     bedroom     with  H|
■
headphones   on    absorbing    music,
1BH
practicing, even though it never really
IBi
felt like practice. 1 learned that there isn't H
^Pl
a right or wrong way, there's just 'your'  H
Ii
way and people either
i
accept it or they don't. 1
don't really have any ^
—Cnone that
I'm allowed
to share,
%
anyWay#        m
m          m
• %„
<r* Grumpy
Old Dog
Quick. What's one thing
that Bob Dylan and
Alanis Morissette have
in common? It certainly isn't
songwriting talent, or vocal ability
for that matter. And while Alanis
may want to be an American, she
isn't yet. She still comes home to
Canada every once in a while.
It is, however, a Canadian
company that links these two. The
link between Dylan and Morisette
is mbanx, the clever and oh-so-
hip bank that isn't the Bank of
Montreal, but kinda is. Mbanx is
branchless. (They are "a whole
new way of banking") It's new
because customers bank at machines, by phone, or over the
Internet. No tellers and no service charges, just a flat fee of $ 1 3
a month no matter how much they
make with your money.
When mbanx launched, it
was to the tune of Bob Dylan's
"The Times They Are A-
Changin'." Much to the chagrin
of the aging hippies, Dylan's lyric
was sung in tune (something he
never needed to do) to the image of children running through
open fields in what must have
been the heartland of the Cana
dian prairies. The company dealt
with a great deal of negative
publicity but held their line. They
must have known how quickly
we'd all forget, because, despite
their use of a classic Dylan tune
in an ad campaign, the mbanx
folks have enough customers and
enough money to keep themselves rolling.
Enough money that they took
it upon themselves to sponsor
Alanis' Canadian tour. You may
not have noticed the print advertisements promoting her shows,
but if you had looked carefully
into the top left-hand corner, peeking out from behind that big
Alanis head was a nice, subtle
mbanx logo.
Business as usual. Corporate
sponsorship is nothing new.
These days, multi-national corporations are sponsoring everything, including sports stadiums,
university campuses, and public
librairies. There must be some
kind of tax credit I don't know
But sponsoring a tour? Back
in 1997, Toyota sent Phil Collins
on tour. At the time Atlantic
Records insisted that the tour was
BY BLAINE K
so expensive they couldn't afford
to pay for it alone [no surprise -
- they were pushing Phil Collins).
But what's wrong with Maverick
Records that they can't afford to
send one of their hottest selling
acts on tour? It isn't enough that
we have these massive labels
making decisions about what we
a bank making a decision about
who we can and can't see.
Says Alanis on the mbanx
website: "It seemed like a natural relationship that we work together." What's so natural
about a musician, a record label, and a bank getting into bed
together?
So mbanx wants to produce
concert tours. Doesn't that make
them just like du Maurier? In fact,
I'm more impressed with the integrity of the cigarette company,
which sponsors jazz festivals and
cultural events that acutally benefit local musicians and communities, and not just a group of
executives smiling in their New
York offices, pleased with themselves and how they were able
to get a tour — and resulting album sales — for nothing.•
CASTING CALL
Television Series ' HOSTESS '
Producers looking for a new face !
Vancouver based Filmworks Prod. & Recipe Prod. Prtn. Producers are
seeking a new face to fill the role of' HOSTESS ' for the series they
are producing for the US network VH1 I
Producers are looking for;
- a Woman between the age of 25-34
- experience/background in research/journalism
- knowledge of today's popular music/scene
- interest in art/music/travel
- up-beat/positive/fun personality
- ability to relate to a wide audience demographic
- some experience in front of the camera/audience
If this sounds like you, please forward your Head Shot/Bio.
Letter about yourself and recent example of your work
(if possible ) on VHS or your CD. no later than June 15,1999 to:
Producers
Filmworks Prod.
c/o 5837 Blenheim St.,
Vancouver,B.C.,V6N 1P9
Serious inquires only
Producers members of The Canadian
Film & Television Producers Association
Series will be signatory to A.C.TR.A.
'Pilot' episode to be shot In Montreal this September 99
Kinetoscope
FILMS • VISUAL MEDIA BY A. NALPAS
THE CELEBRATION
dir. Thomas Vinterberg
Would anyone have taken
Zavaltini's manifestos seriously if the
Italian Neorealist school hadn't pro
duced a number of memorable films
and influenced numerous other
great films? Likewise, would anyone
take the Dcgme 95 manifesto seriously, would anyone even bother
reading it, if Thomas Vinterberg's
The Celebration (the first official
Dogme 95 film) wasn't so thoroughly impressive, and if the acclaimed Lars Von Trier wasn't one
of its creators? Though much has
been made of it, there's nothing
about the Dogme 95 manifesto that
guarantees that a film produced
according to its tenets will be even
remotely interesting. Similar to some
of the texts that served as the foundation for Italian Neorealism, the
Dogme 95 manifesto is largely concerned with issues of "truth," "purity," and stripping away the trappings of the modern cinema. The
marriage of this kind of approach
to filmmaking with a narrative like
that of The Celebration, where a
family's veil of lies is finally laid bare
and destroyed, makes for a particularly powerful combination — the
directorial approach employed and
the film's narrative drive share much
Vinterberg's use of handheld
video camera work avoids seeming gimmicky because it "makes
sense," given the film's family reunion setting, given the fact that such
a reunion would be documented
with video equipment. But in this
case, the probing quality of the
jerky, kinetic camerawork and the
oftentimes rapid-fire editing mirror
the protagonist's probe into his family's dark past, and the manner in
which the narrative has been shot
and constructed complements the
tension and mania of the reunion
perfectly.
INSTRUMENT
dir. Jem Cohen/Fugazi
This one's been a long time in the
making. I first heard about this
project in 1997 when Jem Cohen
was in town to promote his brilliant
entries in that year's film festival, Lost
Book Found and Buried in Light. At
the time, Cohen indicated that completion of "the Fugazi film" was imminent. I awaited the film anxiously.
Finally, the result — Instrument —
has been released on video and is
being screened internationally on
a very limited basis. Like other
Cohen projects, the film has a collage feel to it, due in large part to
its varied-format source material (super 8, I6mm and video footage,
colour and black and white). Not
surprisingly, given the band's talents
as a live outfit, the film features
some phenomenal concert footage
— most memorably for me, an early
gig in a Philadelphia gymnasium
which climaxes when Guy suspends
himself upside down from a basketball hoop during a scorching
version of "Burning," and a stunning version of "Shut the Door" from
a 1997 Olympia gig. It also features a couple of hilarious television
MuchMusic interview, the other
from an unbelievably awkward
public access cable interview with
a suburban Maryland high school
student. And much ofthe film shows
off Cohen's considerable talents as
a cinematographer and an editor.
However, I couldn't help feeling a little disappointed by the final product because the film suffers from inconsistency, as well as
from a certain conventionality, a
certain stiffness. I got the feeling
that the collaborative approach
that was used to sort through
Cohen's footage and edit this material down into something cohesive had ended up being detrimental to the project.*
staff picks
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'-_ -
BY KIRSTEN WEISENBURGER
who rebels against her orthodox
Jewish parents, becomes involved
in the labour movement, and falls
in love. Although Esse's character feminizes Dreamland and
gives the novel a central conflict, Baker's portrayal of textile industry
cosmic carnival next door. The
death of a wrongly convicted
killer is mirrored in the execution
of a misunderstood, and ironically heroic, circus elephant
KEVIN BAKER
Dreamland
(HarperCollins, 1999, 519
pages)
I wish there was such a carnival
as fiction offers, not the FM rock
junkie rides of mall parking lots,
but real honest-to-goodness
freaky carnivals featuring fire-
eating pirates and accordion-
playing fat ladies.
And I wish Kevin Baker's
Dreamland (HarperCollins)
wasn't billing itself as historical
fiction. Well-researched fiction,
maybe, but I wish it wasn't trying to sell itself as one of those
epics that spoon-feed us history,
candy-coated by characters who
are supposed to make us know
what it was really like at one
given time or another. Not that I
wish Dreamland were less credible, but I would rather appreciate Baker's writing as fiction than
convince myself that I am having
a history lesson Any novel featuring Carl Jung and Sigmund
Freud as living, breathing characters, to me, has to contain an
element of comedy, irony, and
fantasy But then again, I prefer
to see Dreamland as a
carnivalesque yarn, a sideshow,
featuring a hard-boiled cast of
comic book types rife with heartrending cliches.
Really, I'm just in it for the
Dreamland is the tale told by
Trick the carny dwarf to his assorted troupe of freaks, a tale that
sends us out into the fray of the
city of dreams and onto the
streets of the Bowery and Manhattan's Lower East Side. Multiple plots ensue, we follow criminals, factory workers, politicians
and gamblers, all separate stories that become increasingly intertwined as events accelerate
and drift back towards Coney
But to view Dreamland as just
another Coney Island freak show
would be to sell the novel very
short. Baker has painstakingly
researched the teeming metropolis that was New York, circa
1910. Although he toys a bit with
chronology, the novel attempts to
be factually accurate in an at
tempt to portray a slice ol New
York City at a given time.
In his acknowledgments,
Baker observes that, "in writing
about the American past ... the
facts often sound so novelistic that
I was often at pains to make the
reality sound even vaguely plausible " Indeed, I found it difficult
to disconnect imaginatively from
Dreamland's fantastic midway
and believe thot the novel was
based on what Baker refers to as
truth And that is not a criticism. I
wanted to be there, in the corrupt
ond turbulent streets and in the
sweltering multilingual tenements
in midsummer; to suspend my disbelief only to believe again in the
New York of Baker's informed
dream, somewhere between
Michael Ondaatje's In the Skin
of a Lion and Katherine Dunn's
Baker does try to invoke our
conscience. Dreamland is, after
all, a novel of the '90s for all its
hard-boiled poise. His central plot
and love story revolve around
Esse, a young sewing machine
operator on the Lower East Side,
much Dickens
linst the novel's
;nderworld
I Ofcc
*,the
contrast is delibera
and the factory workers'
struggle does inject
Dreamland with humanity, but at times it also
weighs the novel down.
But then again,
what is a yarn about
struggle and poverty
and crime, told by a
Iff,
se? Trick i:
little
little
Dreamland
starts his own city of tiny people, who share  the aspirations
of the very factory workers and
newspaper boys who come to
watch his little city under the big
top    And the dwarf
city's fire department
is equally as unprepared   for   infernos
such as the one which
engulfs Manhattan's Triangle Factory, where
ladders don't reach
high enough and textile
jaded post-modern
dwarf. He is also taken
in by the dream. He
falls in love and attempts his tiny utopia.
Trick's dream of the
New World plays itself out and
we gather at his feet
When events do turn back to
the midway, we understand the
novel's most delightful attribute:
the sweet parallels and juxtapositions of the city versus its micro-
KEVIN IKKEI
Crowds gather to watch an inevitably doomed one-armed lion
tamer, while readers follow the
marked gangster Kid Twist as he
stays with his lover rather than
leaving town to save his hide.
Meanwhile, Trick the Dwarf
through w<
o their
, Rr,
eaths
And Freud? Why,
he traipses through
Dreamland, hemming
|     and hawing his own
|>     preoccupied  impres-
I;     sions of New York, is
S|     perhaps Baker's own
I     little joke. With protege Carl Jung at his
side, the father of psychoanalysis is mostly
occupied with his own
disturbing dream sequences instead of the
folding around him. In
response to the new
city, Freud has indiges-
Freud at Coney Island,
t the n
, Freud i
On Coney Island, n
less, Freud declares America a
mistake, and we are snickering
behind his back. Meanwhile,
Jung frolics like a child.* 7:
inch
T^ :■">■ vy--     .   v
tfimm*
BY THE INVISIBLE CLAIRE
I've written 27 editions of this column over almost three years, under two different names. With an average length of approximately
seven records per month, that makes 189 records! Unbelievable.
My educated guess is that the average 7" is about eight minutes
long. That given, one could offer the very conservative estimate that
25.2 hours of my life have been spent researching small round creations for DiSCORDER It's time for the fabulous Julie and whatever
alter egos she chooses to develop to take over. Bye bye.
L'il Red Wagon is a small but
resourceful label based in
Welland, Ontario, and its new
indie-pop compilation, BUMPING UP AND DOWN, features some minor and major
masters of the genre B'ehl start
the show off with a perky tune
called "Mies Pleez" which features excellent harmonies. Kitty
Craft (in my humble opinion,
one of the best and brightest of
lo-fi entrepreneurs) displays
trademark smoke and slide on
the appropriately (but rather depreciatingly) titled "Lo-Fi."
Naysay document drone and
buzz via discordant robot-boy
vocals and some fancy guitar-
pickin' — is that cello I hear?
The Philadelphia duo
Tummybug create a rather
silly song about Bill Nye the Sci
ence Guy out of distorted guitar
and girly ranting. The words to
"Science Fiction" are pleasingly
pedantic. A quick, enjoyable,
'60s-tinged song about fashion ("I
Mock You With My Monkey
Pants") by Bunnygrunt finishes
off the disc. Connoisseurs of
adorability, take note. (L'il Red
Wagon, 195 Denistoun Street
#203, Welland, ON, L3C 6P1)
Oh dear, street punk poseurs
SNAP-HER are back with three
songs about drugs and rebellion
on the Nice Girls Don't Play Rock
& Roll single released by UK label Household Name. The only
thing I find interesting about this
band is its inclination towards
hilarious hairdos. (Household
Name, PO Box 1 2286, London,
SW9 6FE, UK)
"My Thousand Years with
Robots" by one-man pop sculptor FROM BUBBLEGUM TO
SKY, features an amazing
rhythm section. You will love these
rolling, stuttering, agitated drums!
She ain't Lois, she ain't
Madigan ... wait a sec, I'm
thinking too far away The most
obvious resemblance is to Miko
of Vancouver's Gaze. How's that
for seeing the forest for the trees.
(Put it on a cracker, PO Box
22944, Gainesville, Florida,
32602)
Sweet Babboo, a New Jersey
label specializing in lo-fi and
noise releases, has put <
, ther
deserving of any credit
sic fan. "Hello Hello Hi" is quite
new wave, handclaps and all. I
am inclined to compare From
Bubblegum To Sky with Wolfie
the major difference being that
the latter makes me want to kill
(see Seven Inch, April '99) and
the former does not. Dig it. (eenie
meenie, 8316 Melrose Avenue,
Los Angeles, CA, 90069)
A hand-screened, silvery,
rather anonymous sleeve is the
only packaging SHANNON
WRIGHT seems to need. Strumming an acoustic guitar and sing-
Shannc
it very well, indeed Faint hints
of melodica (I may be wrong)
make a brief appearance on
"Wish You Well." "Captain of
Quarantine" showcases Shannon's lovely vocal style At first, I
couldn't put my finger on why
Shannon sounded so familiar.
Hing bones. "Prediction" comes
from a more garagey angle, but
retains shades of the ghostly.
"Requi*es*cat" features the vocal
stylings of bassist Dan Majewski.
:entn
fe
eing
Bellingham's NOGGIN
New Brunswick, NJ's AZUCAR
Noggin, one of the noisiest bands
around, freak out with guitar and
violin on "lyrics that lead right to
the heart of the matter," a song
which plays equally well at 33
and 45. Noggin's violinist is,
perhaps, better known for his
work with Behead the
Prophet No Lord Shall Live,
but I shall always think of him as
"the old man who hung out at the
Seattle Riot Grrrl convention in
1996 " Azucar's track is less abstract, but that's not a difficult feat
Blurry radio voices, violin, and
tape errors highlight this slow,
dark, bassy song (Sweet
Babboo, PO Box 255, New
Brunswick, NJ, 08903-0255)
Fans of Slant 6 need mourn
no longer! QUIX'O'TIC,
Christina Billotte's new band, has
created three spooky and highly
original songs for us to relish.
"Heliotrope" is pure expert weird-
ness: bass guitars untuning themselves, percussion clicking like rat-
Eve
the a
is to hint
resurrection and revenants. (Ixor
Stix, PO Box 2 1 81 1, Washington
DC, 20009-1811)
The Ebb & Flow, The Come &
Go, The To & Fro by LULLABY
FOR THE WORKING CLASS
is a beautifully bound 7" which,
unfortunately, was not capable of
holding my attention for very
long. Lullaby..'s songs are leisurely, to say the least. There is
beauty to be found in this record
— expert piano, violin, cello, mandolin, steel guitar, a boy troubadour and his troubles — but oh, it
drags. (Saddle Creek, PO Box
8554, Omaha, NE, 681080554)
"Ice Cream Headache," on
LEATHERBOY s Sf. Clair EP,
possesses falsetto singing, orgasmic gasps, and a drum roll from
Hell. This four-song 7" is also
notable for its Flaming Lips
cover, "Godzilla Flick." (Junior
Varsity, PO Box 1857, Bozeman,
MT, 59771)
A living-room recording by
Northwest legends THE
SONICS has been exhumed and
re-released by Norton Records.
House Party features four garage
masterpieces complete with saxophone and organ. These songs
are neat, but seem kind of generic
these days, probably thanks to
the 500 gajillion clones currently
pumping out '60s-inspired garage rock vinyl. Get the real
thing. (Norton, Box 646 Cooper
Station, New York, NY, 10276)**
JL*.
>fXsfXA^~JLA.A.
*u yyviA^M.
The people that you love? That man. that woman, they don't feel
the same way that you do. When you kiss him, he's thinking about
television, not your warmth. When you hold her hand, she wants to
let go because you feel heavy, you're slowing her down like when
she walks her dog. He stays with you because you keep him
from sleeping in. You're good for him, like carrots. She keeps
calling you because she needs someone to talk about to her friends.
That girl at the library? She hates you. You scare her because
you're always staring. She smiles because she's uncomfortable,
like when a stranger tickles you. But that guy who lives on your
street, he wants to hold you. He thinks about you all the time. Do
you remember his name? Do you know who I'm talking about?
You're busy trying to make her happy, so that you can be too.
And if you keep believing that he loves you, at least you can
pretend that everything is okay. •
FIZZY BANGERS ' LESS THAN JAKE
TEEN IDOLS ' TEFtFtORGFtUPPE
GOOD RIDDANCE • CHIXDIGGIT
GREEN DAY • LIVING END ' THE MUFFS
BAD RELIGION • HI-STANDARD
AEROBITCH • NERFHERDER • BIGWIG
UNDECLINABLE AMBUSCADE ' FURY 66
ATARIS ' UNWRITTEN LAW ' AFI
DILLINGER •*** ' SPREAD • AVAIL
SWINGIN' UTTERS • THE BARFEEDERS
CITIZEN FISH • BLINK  182 • SNUFF
GOOBER PATROL • KILLSWITCH
ENEMY YOU • NO USE FOR A NAME
CONSUMED • MR.  T EXPERIENCE
LAGWAGON ' GWAR • DICKIES
SAMIAM - DOGPISS • ALL • NOFX
59 TI IVIES THE PAIN - BRACKET • MISFITS
NO MEANS NO - DESCENDENTS
DANCE HALL CRASHERS ' LIMP
GUTTERMOUTH • JUGHEADS REVENGE
CIRCLE UERKS **• OFFSPRING • 20 %
MAD CADDIES - THE CRIMINALS
SCREECHING WEASEL • NICOTINE
ONE MAN ARMY - STRUNG OUT
YOUTH BRIGADE • TILT • SPAZZ
THE DAMNED • D.O.A.   • PULLEY
88 FINGERS LOUIE - THE VANDALS
PENNYWISE • NO FUN AT ALL' WtZO
SICK OF IT ALL  • A.O.D.   • ANTI-FLAG
7 SECONDS • GROOVY GHOULIES
RANCID • DIESEL BOY -  WHITE FLAG
FRENZAL RHOMB • H20 • BODYUAR
THE QUEERS  'D.I.   • BLACK FLAG
CAUSTIC SODA  ' SATANIC SURFERS
THE BROADCAST ' MEN O' STEEL
AGNOSTIC FRONT • DOWN BY LAW
USELESS ID ' POISON IDEA • HOTBOX
THE REAL MCKENZIES ' SUBHUMANS
BUCK WILD ' LUNACHICKS ' DWARVES
BOUNCING SOULS ' TRIGGER HAPPY
ONE HIT WONDER ' TEN FOOT POLE
THE ONLY
COMPILATION
FEATURING
EVERY BAND
)9 um&ss^m Under
Review
ALBUMS • ZINES • RECORDED MEDIA
(Owned & Operated)
This is a 22-song "best of" collection picked by All fans and
remixed by the band Excellent
The song choices are all pretty
good: they've included all the hits
and they sound amazing. In all
seriousness, I thought they had
actually re-recorded most of the
songs. The lone exception is in
"Simple Things" — that cool drum
fill near the end is buried
The two highlights of this collection are "Crazy," a great
Alvarez song heretofore only available as the B-side to "She's My Ex,"
and a new version of "Just Like
Them." Descendents singer Milo
Aukerman wrote this song with his
college band, Milestone, and All
later covered it Now that Descendents and All are one big happy
family, they have a version with
Mib singing, and it is truly phenomenal.
As I said, with a couple excep-
no "Wonder" or "# 10 (Wet)," not
to mention nothing at all from the
now album — this is a must-have
for All fans, even if you already
have 'em all.
Trevor Fielding
ALLIANCE ETHNIK
Fat Comeback
(Delabel/Virgin)
AE is a French band, comprised
of a bunch of guys with different
backgrounds: African/North African/Arab mostly The lyrics are
mostly French and peppered with
English and Arabic and French
urban slang. It is hip-hop; it has
issue-laden songs, decent orchestration, sampling, and scratching
with understated humour underlying the whole album.
It avoids the all-out angry mode
that some current groups (like
Arsenik) fall into. R&B, Motown,
and Latin rhythyms are spread out
here and there, which adds to the
NATACHA ATLAS
Gedida
(Mantra/Beggars Banquet)
Vocalist and former bellydancer
Natacha Atlas' cultural roots
extend far and wide from a family
of Sepharic Jewish/Muslim/Christian mix through connections in
Morocco and Egypt via an upbringing in Brussels and the UK.
She has collaborated with Jah
Wobble, Apache Indian,
Transglobal Underground
and soundtrack composer David
Arnold, the latter two lending their
production skills to Gedida, her
third release
On Gedida, we find Ms. Atlas
singing in French, English and an
Egyptian dialect of Arabic over a
bed of smooth breakbeats and lush
string arrangements infused with
tonalities of arabic scales On one
track, "Bastet," we even hear her
rap in Arabic (!) over some smart
drum & bass patterns "The Righteous Path" contains arabic hand
percussion mixed with Dick Dale
like surf guitar All the while, Ms.
Atlas sings with a voice so com-
pellingly like a siren's song that it
leaves you wishing for an a capella
trock as a break from the constantly
busy beats The final track, "One
Brief Moment," offers the only diversion from this program with Ms
Atlas singing in English over
Arnold's lush orchestrations. The result sounds like the soundtrack to the
closing credits to a tragic bve story.
Gedida should please fans
whose taste cross over any perceived boundaries of world beat
and urban music
PC
BADMARSH AND SHRI
Dancing Drums
(Tommy Boy/Outcaste)
Badmarsh and Shri head up
the roster of a relatively new label,
Outcaste, whose mandate appears
to promote the healthy crop of recent Asian-influenced electronica.
If this particular release is any indication, Outcaste will most certainly be a label to look out for.
This duo integrates programmed materials (Badmarsh)
with live instrumentation (Shri) for
a fusion that is aimed at the
dancefloor but works just as well
for the armchair raver. Most of the
tunes feature fast breakbeats and
programmed tablas propelled
along by Shri's fretless bass playing. The augmentation of the occasional excursion on flute and/
or tablas by Shri adds a human
warmth to the various programmed
beats and samples Though largely
an instrumental affair, the track
"The Air That I Breathe" [not the
Hollies tune) features vocalist Tina
Grace. This exception, howeve
only makes one grateful thi
Badmarsh and Shri did not incc
porate more of this type of lightweight pandering into their overall effort as this song lacks the edge
that the rest of the disc has. At
times some of the tracks ("The
Asian Detective," "Lament") take
on a cinematic quality but stop shy
of directly referencing anything
typically Hollywood-esque.
Also worth checking out is
Outcaste's fine compilation, The
Untouchable Outcaste Beats, Volume I, to both Badmarsh and Shri
PC
THE BOWLING GREEN
One Pound Note
(Blue Planet/Nothing)
The Bowling Green is the
handiwork of one Micko
Westmoreland, a technomuso who
moonlights as an actor (in Todd
Haynes' Velvet Underground]
though perhaps it's the other way
around. Either way, there is something here for olmost any armchair
raver: campy disco, frantic
breakbeats, techno bleeps, cinematic soundscapes, jazzy references, tech-step darkness and the
like Though the mixture is distinct
enough to moke it sound like it all
often comes off sounding like Luke
Vibert (aka Wagon Christ)
without his usual charismatic grin.
While One Pound Note may
come across as a product of a talented bloke well-versed in all the
requisite pop references and tech
tools, it fails to stand out as an exceptional release in the deluge of
all things being sold off as
"electronica." Then again, perhaps
this very perception has now become cliched
DJ Satyricon
CHICAGO UNDERGROUND
TRIO
Possible Cube
(Delmark)
This disc starts off with a kicker and
then moves through a wide range
of moods Somehow, an overall
sense of unity arises just the same,
os if maybe behind the surface
there is a guiding thematic. Yet this
ground seems based less on formal rules than on subliminal action
— a philosophy of flow and becoming. Their last recording for
Thrill Jockey, as a duo, was good
but this one is great. This time, multi-
instrumentalist Rob Mazurek and
percussionist and vibraphone
player Chad Taylor are augmented
by Noel Kupersmith on bass as
well as guitarist Jeff Parker.
It's all for the best; this is a successful recording. And it's not just
jazz that they do. Lots of good
ideas are worked through here.
Short songs bridge more complete
pieces, giving the CD a feeling of
dynamic continuity. By the way, if
Mazurek and Taylor's names sound
familiar, that's because they are
being drawn into the Tortoise
orbit. Recently, they've added real
quality to Sam Prekop's latest,
helping to complete his tunes in a
way I don't think even the regular
Sea and Cake line-up could
compare. Bringing this milieu
around itself, the last song on this
disc is "La Jetee," a tune also covered by both Tortoise and Isotope 217. For my taste, these
guys get it best.
Brady Cranfield
THE CRABS
Sand and Sea
(K)
This album proves that even perfection can be improved upon. I
was instantly enamoured of The
Crabs' last release on K, What
Were Flames Now Smoulder,
which showed off the sweet pop
talents of band members Lisa and
Jonn, and continue to enjoy it for
its sing-along, feel-good-feel-sad
qualities Now, on the latest release, a third party has been
added to the mix — Ms. Sarah
Dougher (aka Ms. Multi-talented,
of The Lookers, Cadallaca
and on and on)
I listened to this album five times
through the morning I got my hands
on it, and was quick to swoon to
the duets and harmonies that Lisa
and Sarah share Jonn's songs are
as catchy as ever, some of the best
pop I've heard in ages. Sarah adds .
an extra special touch to an already incredible band with her
vocals and keyboards, making this
my favourite Crabs release to date
This album has more than enough
catchy songs to sing on a sunny
day, and the artwork by Nikki
McClure is beautiful to boot Sum-
Julie
THE CREATURES
(Instinct)
Are we to believe that Siouxsie and
Budgie have been vacationing in
fancy discotheques and shiny office blocks? After all, previous
Creatures albums took their inspiration from the Siouxses' holiday sites: Feast, recorded in Hawaii, had a deeply Polynesian feel
to it; Boomerang, recorded in
Spain, was Iberoandalusian at the
core. Anima Animus, though quite
obviously of genus Creature and
not Banshee — plenty of marimbas,
plenty of high-order percussion —
seems, at first listen, to be more
opaque, more generic, than its
predecessors. The vicarious tourist
expecting exotic jungle rhythms
feels thwarted, cheated! Where
are the mythical birds, quaint
shrines, primitive chants? Ah, but
then the veil of invisibility is drawn
away, and we see that the ultramodern urban landscape is as bizarre as any Antipodal clime.
Clubster Siouxsie floats ecstatically
on "Another Planet," watching
unnameable things "coming out the
walls, seeping in."
There's "an eye in the glass on
the parquet floor" — cyborg parry
guests being sloppy again!
Hypersiouxsie meets a simulacrum
of herself in "I Was Me," declaring: "I walk through the dawn in a
daze, same lips, same hair, the
same stare." Once the vision has
had rime to settle, nothing seems
generic, appropriated, or out of
character, and even the illusion of
modernity disappears. The blips
and bleeps which age so grace-
lessly are — and have always been
— merely props for an inimitably
gorgeous voice and the elegant
sensibility which accompanies it.
THE DELGADOS
(Mantra)
Why I've never heard of The
Delgados before is a mystery to
me. Peloton, the second fulHength
release from this Glasgow four-
piece, can only be described as a
brearhtakingly brilliant album. The
standard setup of drums, bass and
guitars melt and swirl seamlessly
with flutes, pianos and strings to
create a set of songs that truly defy
comparison. Ranging from catchy,
upbeat all-out pop to downright
dark and moody, each song takes
a wonderfully crafted set of lyrics
and gently bleeds them into a complex slice of sonic euphoria Add
to that the sultry calm of singer
Emma Pollock's heavenly lilt and
you've got an album that should
have taken the music world by
storm, but never did This is the disc
that The Cranberries always
meant to make before getting
bogged down in their own self-
righteous crapulence. Let me put it
this way — remember the first time
you listened to OK Computer? For
me, Peloton evokes the same level
of awe and excitement I don't ihink
I can pay the band a higher compliment than that.
Brian Johnson
FUGAZI
Instrument (OST)
(Dischord)
Fugazi is solid, priceless, gold.
This is blinding It's the Fugazi you
thought you'd never see. It's the
soundtrack to Instrument, the Jem
Cohen documentary of the band.
This album is largely instrumental. The songs were recorded from
'89-'97, most on eight-track reel-
to-reel. It's slower, less urgent than
Fugazi's studio albums. The demo
of "Arpeggiator" is almost half the
speed of the version on End Hits,
and the guitar is flat, not piercing.
"Me and Thumbelina" is seven different speeds in less than a minute.
"I'm So Tired" confirms that Ian
MacKaye is perfect.
All these songs can be heard
on the video. The opening scenes
with "Slo Crostic" are gorgeous,
but Instrument is not perfect because Jem Cohen is not Fugazi and
Fugazi is not film. The video is a
nice companion to the soundtrack,
not the other way around. This is
Fugazi if they were in your basement.
This is the soundtrack to my dreams.
Christa Min
GROOVERIDER
Mysteries of Funk
(Higher Ground/Columbia)
A delicious blend of smooth d'n'b,
as expected Innovative use of eq-
ing in more of a techno fashion
and large-samples complete very
"full" tracks. Jazzy trumpet wanderings and female vocals on "Time
& Space" differ greatly from warehouse rumble-echo chords of epic
breakbeat in "Where's Jack The
Ripper?" while maintaining excel-
t production quality througho
Not c
ialis
Photek, closer to the lush wanderings of Jonny L and finger.
Mystery does abound in this album. Shimmering chords and a
sense of sadness sometimes brings
the feeling closer to one of Detroit
than London, or perhaps it is a joint
feeling of the same sense of human loss to machine society prevalent in both. An excelbnt, lush, easy-
toaetHntoyet-stilldeep d'n'b CD.
Tobias
JOE HENRY
Fuse
(Mammoth)
The newest Joe Henry is just plain
miserable and mopey, with lots of
overdubbed drums and loops, delays and reverbs. In fact, the production sounds kinda similar in a
lot of ways to that now familiar
Sarah McLachlan sound fuse's
jazzy undertones also remind me
of Mark Eifzel's 60 Watt Silver
Lining album. And much like said
Eitzel album, it's enjoyable in small
doses but gets a bit tedious after a
while. Essentially, fuse consists of
leisurely drawn-out grooves with
lush instrumentation (trumpet, saxophone, trombone, strings, piano,
vibes) and gutwrenching vocals. It
will probably appeal to the mature
and discriminating listener who is
into artists like Nick Cave, Uoyd
Cole or Leonard Cohen
Smooth mood music.
F red derf
HOSPITAL
Hospital
(Noisebludgeon)
Local noise-mongers Hospital
make the kind of music that only a
special few can appreciate, and
everyone else runs away from in
fear and confusion I'm sure they
realize this. Like Merzbow,
whom they most resemble, Hospital creates shrieking, distorted
sound works that, despite their intensity, have quite a bt of individual
quality. A dynamic three-piece —
with J. Anzai on saxophone and
vocals; K. Churko on guitar,
theremin and vocals; and B.
Wilson on drum machine and vocals — I wonder how and why they
choose to play the instruments they
do. I'm being a little funny here, of
course. I actually really dig what
they're up to. My only criticism is
that they sometimes come across
as too definite, too decided upon.
What I'm getting at is that there is
always a danger of becoming too
formal and regular. Think of all the
same-sounding garage punk
bands — there's a reason why ihey
all have different costumes.
Care must be taken even with
noise. It seems like the field is wide
open, but I think the same shadowy, intuitive guidance that might
inform someone doing ony other
kind of music applies. The process
and result may be more abstract,
but generally the approach bears
some similarities. Anyway, variation is probably hard to do when
everything is turned up to 13, or
louder. I figure Hospital probably
already realize all this. Also, I
guess there is nothing wrong with
following through on an agenda
either. I just feel lhat with a little
more restraint, more could result.
Along this line, for example, Hospital's most exciting stuff is when
their instruments emerge from the
din. Anyway, I have often won-
bondage comes out as fairly homogenous, very loud noise. You
might think that such gratuitousness
doesn't quite correspond to the odd
experience of informed constraint.
Although I am not a practitioner, it
seems like the thrill with bondage
might come from the act of restraint
more than unbridled, pure release.
All that said, Hospital get the nod.
Good work, boys.
Brady Cranfield
KULA SHAKER
Peasants, Pigs and Astronauts
(Columbia)
It's been three years since Kula
Shaker released their debut al-
zD
<r**' bum, K Their second album follows in a similar vein, mixing classic rock with a sprinkling of Middle Eastern melodies throughout the
1 2 songs on this album Bob Ezrin
(Pink Floyd, The Wall) produces
this album and hasn't shied away
from bringing out the classic rock
textures in the vocals. The lyrics are
unfortunately trite on most songs
and the fantasy themes running
through many of the songs sound
like they were stolen from Zeppelin, The Beatles and others
Kula Shaker is a talented band and
this album showcases that once
again, but hopefully they won't rely
on their influences so heavily the
next time out
Cody Beales
LATIN PLAYBOYS
Dose
(Atlantic)
Latin Playboys are one of what
seems a myriad of Los Lobos
frontsperson David Hidalgo's side
projects. He is joined on this venture by bandmate Louie Perez and
hotshot studio guys Mitchell Froom
and Tchad Blake. The CD was
obviously recorded in Hidalgo's
house with much monkeying
around later in the studio. On
added to highlight a boy's chagrin
at going to the drive-in in the back
of his padre's beat-up truck. Yes,
Dose has a Mexican-American
feel to it, but somehow it's all gone
horribly, actually, wonderfully
wrong. The songs ricochet from
style to styb; a Mexican-American
tune, such as 'Palatero," will utilise
drum machines and tinny vocals,
whereas the title track's tone poem
aspect reminds us that when we
die, everyone "end[s] up looking
brown." A wild ride through, and
an ingenious modernisation of, Mexican-American culture and music.
June Scudeler
MAKE-UP
f Want Some
(K)
Many of these songs, initially released by various labels as 7"s,
are familiar to me. The Make-Up
should pay me for all the publicity;
considering that I'm not a huge fan,
I sure have given them an enormous amount of press over the
years. Now, here's the interesting
part: despite my longterm familiarity with the band, I never really
noticed just how much sexuality the
Make4Jp ooze. I took them for a
bunch of fashion-obsessed, somewhat flat and monochromatic gospel revivalists. No, indeedy — the
Make-Up embody lust from excessively moussed coif to pointy
leather toe. How could lines like "I
been touching you with my thumb,
I been speaking to you baby,
unnnhh, using my tongue" and "I
sucked your neck, it was something
else" just slip past me for so long?
Did I think those grunts and
screams were vocalisations of distress? Am I so oblivious? Don't
answer that.
Barbara
MARK
Chocolate Covered Bad
Things
(Catsup Plate)
I was at the Anza Club waiting for
Gaze to play A man with fluffy
orange hair, wearing glasses with
a bar over the bridge, jeans and a
blazer was sitting beside me. He
looked interesting. He took out a
cigarette and I looked at his shoes.
They were dirty, but they were
mainstream. The kind that all the
cool kids wear. That man was
Mark Szabo. Later that night, he
got up on stage and introduced
his band, Cappozi Park. I had
to write an exam the next day,
so I left early, but before I left, I
bought this CD   Mark's voice
Chocolate Covered Bad Things
is filled with synthesizers, echoes
and suspicious lyrics I don't know
if those sounds are supposed to
separate Mark from other guys
who sing and write songs, but me
being the sucker that I am for
singer/songwriters, I fell for Mark.
I'm anti-technology when it comes
to singers like him. His voice is
strong, but he would never use it
to hurt anyone but himself. His
voice, his diminished chords, his
acoustic guitar, and maybe Marcy
Emery on back-up vocals are
I'm not saying that Mark should
ditch Cappozi Park. That band's
one of the best in Vancouver. I just
want him to lead two lives. One
with Cappozi Park and one with
Christa Min
JAY MCSHANN
Still Jumpin' the Blues
(Stony Plain)
There is nothing standard AT ALL
about this 1 1-track collection of
standards performed by The King
of Kansas City Jazz, Jay
McShann. Pianist, arranger, and
singerMcShann is backed byThe
Duke Robillard Band on this
CD, which also features KICK ASS
vocalist Maria Muldaur The
latter does such a smokin' job of
"Come on Over to My House" that
she sounds like the ghosts of Ma
Rainey, Bessie Smith, and Alberta Hunter feelin' each other
up in the gin-soaked back room of
a juke joint. I can't believe it was
recorded in Edmonton. Still Jumpin'
the Blues follows 1996's Hootie's
Jumpin' Blues in a series which
aims to provide an overview of
McShann's 60 year recording career, as well as givin' us some of
Hancunt
MUSUMGAUZE
Hussein Mahmood Jeeb
Tehar Gass
(Soleil-moon)
Bryn Jones, aka Muslimgauze,
has been a prolific music producer
combining elements of rhythm and
texture with aspects of Arabic culture for the belter part of two decades. His musical approach
burned with a singular vision that
he constantly defined and refined
into a distinctive ouevre.
Mr. Jones recently passed
away at the relatively young age
of 37, leaving behind a back catalogue of over 90 releases. As
Muslimgauze, Jones took as his
inspiration the often volitib political situations of the Middle East,
most notably Palestinian. He wisely
avoided rhetoric in favour of fash-
is of empo-
lomng    percus
instrumentals as a
thetic meditation:
struggles taking place in the Middle East's troubled recent history.
Muslimgauze's latest release,
or at least this one, finds Jones forgoing the industrial harshness of a
number of his previous efforts in
favour of a more stripped down
dub-wise approach. The sonic
experimentations of Jamaican dub
pioneers (i.e., Lee Perry, King
Tubby) with regards to rhythm
and spaciousness, has often found
a sympathetic partner with the
melodic and rythmic aspects of
Persian based music. Wih Hussein
Mahmood Jeeb Tehar Gass, Jones
seems to have integrated the various components of these distinctive
musical forms better than most
other artists who have tried to go
down this path.
Though Bryn Jones' passing
has robbed the music world of a
distinctive voice, he leaves behind
a rich body of work well worth
expbring. Hussein Mahmood Jeeb
Tehar Gass is a fine addition to the
legacy of Muslimgauze
DJ Satyricon
MIKE NESS
Cheating at Solitaire
(Time Bomb)
This disc has garnered an amazing amount of publicity over the
past month and, after his well-received New Music West appearance, every major music media
outlet seems to be talking about
Mike Ness. After spending more
than a month listening to my promo
copy, I'm glad to say that the attention is well deserved. Yes, this
is a country album, but don't let
that put you off — as a self-proclaimed indie-rock kid, I wouldn't
listen to Leanne Rimes if you put
a six shooter to my head. Please,
believe me, this disc is different.
Wonderfully absent is the shiny,
vapid pop crap that "new country" artists have been putting out
for the past few years. Ness sets
himself apart with songs lhat ring
true and a real sense of believabil-
ily. He's like a modern version of
Johnny Cash — a '90s version
of the Man in Black — and when
he sings of heartache and loneliness, we feel the pain along with
him. His gritty voice and passionate lyrics are far more genuine than
anything I've heard Shania
Twain inflict upon us and he
doesn't have to bounce around in
a micro-mini to get our attention,
either. Ness has taken country back
to the ranch and made it raunchy;
as he puts it, "I've got this god-forsaken world by the balls," and he's
twisting just hard enough to wipe
the shit-eating grin off of Garth
Brooks' face. I've always thought
that country music deserved better
talent than it had, and Cheating at
Solitaire is an example of what the
genre can do. Mike Ness, I brand
your ass the new king of country.
6r/an Johnson
Q-BURNS' ABSTRACT MESSAGE
Feng Shui
(Astralwerks)
After seeing Q-Burns' Abstract
Message live in a very energetic
performance, and the extent to
which Mr. Burns created the music
live, the production level of the CD
impresses me all the more. Mr.
Burns' live performance was, although a bit rough around the
edges and at times almost too
much .. errr youthful energy, an
excellent example of how an electronic musician can bring the studio element to the stage and perform the majority of it live, and with
only one person to do so
The first track on Feng Shui,
"He's a Skull," is perhaps the most
typical of the sound OBurns creates, combining jazz-influenced
rhythms with house beats and a
wandering, but well done and not
at all trancey synth line. Also in the
package are the live vocals of Mr.
Burns himself, which were actually
more humourous live than the semi-
serious tone laden with echoing
whisper effects on the album. The
whole album is well produced, and
crosses borders in defining what is
electronica and what is house.
SAINT ETIENNE
Places to Visit EP
(Sub Pop)
Ah, Saint Etienne are back in
high profile with the new EP/mini
album, Places To Visit, the first new
material to surface since last year's
Good Humor (apart from a limited
7" release on an obscure French
label early this year). It seems as if
it's an exclusive recording for Sub
Pop, their US label. This CD has
six songs of sheer delight. It's so
difficult for me to be unbiased
about this band, since I love everything they do, but lhat is because
they are dedicated to quality —
there's a reason they have such a
devoted fanbase. The mood on
here is perhaps more reminiscent
of their previous albums, such as
Foxbase Alpha or So Tough) without all the sampling.
One of my personal favourites
is the song, "We're in the City,"
simply because of its superb
dancebeat production by the talented UK re-mixer/producer Trou-
ser Enthusiast, who's worked with
the Saints before as well as Pet
Shop Boys and other various
English pop/dance acts. Sean
O'Hagan of High Llamas fame
has been hanging around everybody lately and St. Etienne is not
excluded from his list of cool
friends. He injects his trademark
sound and production abilities on
"52 Pilot" which is unmistakable
(incidentally, check out the Sub Pop
7" release of this track with previously un-released B-side, "Garage
for Gunther," a must for
completists).
By the way, even Jim
O'Rourke had his hand in the
making of this EP — how's that for
indie credibility?
Christine Gfroerer
SATSUMA
Hello My Name Is...
(Independent)
A satsuma is a tasty little Japanese
orange. Scott Acomba is Satsuma. Satsuma pumps out some
tasty music. So the Satsuma monicker is an applicable one.
Acomba has been playing around
Vancouver wilh his solid-but-ever-
changing band as Satsuma for a
couple of years now, but I didn't
think it would be possible that when
an album wos finally cut, that it
could have lived up to the hype of
the live show. Wrong.
Hello My Name Is... is a rarity
for local indie albums, in that it
stands up to multiple listenings. This
has to do with the solid production
by Pure guitarist Todd Simko, who
is building himself quite a reputation as one of the best local producers in this city
Strewn amongst the album's
tracks is the standard '60s-
influenced rock of tunes like "Everybody Loves a Parade," the ethereal feel of psychedelic tracks such
as "Chewing the Scenery" and the
flat-out rockers of "The Honeymoon
is Over," but there is also the weird
Residents-like samplings of tracks
like "Linus" and "Can U Diggit."
The fact is that this album is a
veritable smorgasbord of damn
fine music. I would go out on a
limb and say this early on that this
album will definitely be on my year-
end top ten list.
Mike Chilton
SCOTT 4
Recorded in State
(Satellite)
Now that it's okay to like country
and western again, there is a glut
of recent releases which remind us
what a diverse genre it can be.
Scott 4 follow the belief that the
best country music is simple Ameri-
can folk music — perhaps a
strange platform for three English
boys. Their songs give more than
a nod in the direction of the classics and their stripped back sound
is perfect for evoking moods of
melancholy and despair. Unobtrusive electronic drums and occasional synth effects do nothing to
spoil the mood, allhough the more
uncomplicated Iracks such as "Miss
Goddess Nr 2" and "Philly's
Song," which ape Neil Young's
maudlin' mood, are probably the
most effective. The freaky blues of
"Choke Bore" show that they have
more than one trick up their sleeve
and let's face it — a change is probably inevitable for them. The time
will come again when anyone with
a Stetson and a steel guitar will be
hunted down and stoned to death
in the streets for crimes against fashion, which is a shame because
excellent albums like this should be
heard no matter what the papers
are writing about.
Quentin Wright
SPARKLEHORSE
Good Morning Spider
(Capitol)
Welcome to the wonderful world
of Sparklehorse — and the
multiple personalities of Mark
Linkous. Good Morning Spider is
structured like some of those earlier Guided By Voices albums
containing not so much 17 (traditional verse/chorus) songs, as a
few tunes interspersed with experimental bits and pieces and atmospheric interludes. Linkous hits everything from spastic fuzzed-out pop
songs, to '80s-sounding new wave,
and quirky semi-electronic creations. But Linkous seems most comfortable doing fragile and meandering songs which usually use
some combination of acoustic gui
tar, drum machine, organ/piano,
and lethargic vocals — sometimes
embellished with horns and strings.
Good Morning Spider is extremely diverse, bringing to mind
bands as diverse as Giant Sand,
Garbage, Lynyrd Skynyrd,
Vic Chesnutt, and The Cars
This is a refreshing listen. Interesting lyrics, too.
Fred derf
CASSANDRA WILSON
Travelling Miles
(Blue Note)
One great jazz musician deserves
another, n'est-ce pas?
Cassandra Wilson's homage to
Miles Davis is gorgeous, sensual,
and evocative, placing Traveling
Miles alongside other "must have"
tributes such as Joni Mitchell's
Mingus and Shirley Horn's I
Remember Miles. Wilson's orginal
lyrics for "Run the Voodoo Down,"
"Seven Steps," "ESP" and "Blue
and Green" are poeticly perfect,
thankfully avoiding the Real Book
cheese that usually happens when
vocalists lyricize instrumental tunes.
Personnel include Jeffrey
Haynes, Dave Holland, and
Olu Dara, with guest
appearences from Angelique
Kidjo and Pat Metheny, among
others. My favourite track on this
very fine disc is definiHy "Run the
Voodoo Down." It seeps in with an
aching cornet, then slowly slides
up your thigh wilh its signature bass
groove, Miles' smack-induced funk
grinding from behind until you submit, submit, submit to Cassandra ...
Hancunt
VARIOUS ARTISTS
DROG Canadian Recordings
1996-1999
(DROG)
So quirky, so haunting, so moody,
so ironic, so catchy, so ... Canadian! Dave's Records of Guelph,
better known to most as DROG,
has helped invent and redefine
what most think of when one says
"Canadian music." Since the label's inception in 1993, such
DROG artists as the Rheostatics
and The Inbreds have gone on
to break musical barriers and make
North American music media pay
attention to what Canada has to
offer culturally, even if only in a
This sampler, which presents a
track from almost every release
DROG has put out between 1996
and 1999, gives the listener a true
overview of the DROG "sound"
(1996's Welcome to Planet DROG
covered the years 1993-96). This
sound is mostly acoustic folk-rock
(acts like the Rheostatics being the
exception), offbeat and original
— a sound which other labels are
trying to copy.
Why is this sampler so quintes-
sentially Canadian? The way I look
at it, I could see myself listening to
any part of this CD while on a road
trip from Victoria to Halifax and
back. I could see myself humming
these tunes while playing shinny
at the local rink. Most of all, I can
see some other Canadian listening to these tunes and saying,
"hell, I think that new Alanis
Morisette song is better than
any of this crap."
Mike Chilton Real Live
Action
TONY WILSON SEXTET
Thursday, April 15
Starfish Room
I wonder why guitarist Tony
Wilson is not better known, even
outside jazz circbs. His songs and
arrangements have the kind of
mood ond aesthetic that (say) so
called post-rock bands strive for
Yet everyone who was present for
this show seemed more like close-
knit jazz aficionados than anything
else — which is fine — but to my
ear, Wlson is able to bridge the
gap ond draw a larger, more varied audience What's going on?
Certainly the band is not at fault
Not with such supportive players
as Peggy Lee on cello, Dylan
van der Schyff on drums, Paul
Blaney on bass, Dave Say on
saxophone and Kevin
Elaschuk on trumpet While they
might not have been the tightest,
most rehearsed sounding outfit this
particular evening, they played
with real feeling and commitment
to the music In this case, such relative looseness might even be for
the best Wilson's work is arguably more about feeling than
schooled virtuosity anyway. The
groove seems more important
than demonstrations of pure technique. This approach might be
reflected in Wilson's admiration
of such players as Albert Ayler,
Sun Ra and Monk. These players project a unique sensibility
through their playing that particularly deals in the gray, abstract
areas of vibe, swing and soul.
While such factors are probably
indivisible from technique, there
is also a matter of proportion and
approach involved, too. In other
words, feeling or touch To me,
Wilson comes from this same
place His long, subdued, almost
meditative works unfold organically. Even more raucous or improvised passages are not disparate or abrupt, instead fitting into
the established mood. This doesn't
mean that there are no dynamics
here, they're often just low key and
blend together well with the
whole. For my taste, Wilson's
work is best when subtle, mellow
and underplayed, although I also
dig it when he rocks out Really,
there is a lot to gel into here.
Brady Cranfield
AMOUR FOU
Sunday, April 18
Cafe Deux Soleil
I've only recently started getting
into local jazz, so forgive my innocence here, but these guys are
a happy discovery for me. A
young four-piece with John Anzai
and Chris Kelly on alto saxophones, Travis Baker on Bass and
Skye Brooks on drums, Amour
Fou thoughtfully works the avant
jazz tip. I was not surprised to
hear them cover Zorn. The playing was all solid and the band
interacted well, overcoming sound
problems My only criticism is that
they mostly played faster, busy
tunes I would have loved to hear
more variety, like Masada might
do, for example sure they rock
out, but they are also not afraid
to be slow, soft, spare and haunting. I feel that such a turn would
only improve their set That said, I
don't want to knock the material
they did play It was great, particularly Anzai's originals. Besides, maybe what I saw was only
one side of Amour Fou. Maybe
they have many other moods yet.
After all, the unconscious is a deep
and surprising well.
Brady Cranfield
HARD RUBBER ORCHESTRA'S
Big Night
Thursday, April 22
Vancouver E. Cultural Centre
The Hard Rubber Orchestra
is not a diverse group, consisting
almost entirely of young(ish) white
males playing brass instruments
Their music, too, is typically masculine — aggressive and overly
complicated, the quiet moments a
self-conscious counterpoint to eardrum-threatening movements of
total volume. And although they
could never claim to be the death
metal of jazz, their performance
of Paul Dolden's "The Hear Tears
... for Saxes and Brass," might re
mind a few listeners of their old
Venom or Bathory albums. Like
the best of that maligned musical
genre, this exhilarating onslaught
of noise and dense melody raised
the question: "Are these guys for
real, or what?" Accompanied by
a pre-taped heavenly choir of
drunken angels, this 16-minute
nightmare was deadly serious, yet
strangely funny. Pretty fucking hilarious, actually, and without a
doubt the evening's highlight.
Although the Hard Rubber Orchestra were the main draw tonight, the opening half consisted
of a curious pot-pourri of lesser
known talent. Eddie d's carefully
edited video of music-making
household objects would look great
on Sesame Street (high praise!),
ond if you dig modern dance,
Susan Elliott's controlled piece
would probably quicken your
pulse. Lori Freedman's asthmatic clarinet solo, "No Man's
Clan," was both wonderful and
bizarre. All this craziness ended
when Veda Hille took the stage.
Her too-brief set neatly showcased
her warm personality and beautiful songwriting, providing a welcome respite from the mannered
sincerity of the earlier performers.
While being neither the most
original or technically brilliant
artist on stage tonight, Hille easily took the laurels for entertainment, proving that honesty and
talent wins every time.
Quentin Wright
LIVE REVIEWS
RUFUS WAINWRIGHT
Saturday, April 24
Richard's on Richards
The paper said 7:30 The poster
said "8:00 sharp!" I will tell you
about the show But first, I will make
you wait And wail Rufus Wain-
wright was hold on. Are you
annoyed yet? What if reviews
were like shows and I made you
wait forever because I was a star
writer, too cool to care if I were on
time or not? Maybe I'm just a nerd.
Rufus finally came on stage,
apologizing for his sister Martha
who was not able to make it (I
swear I saw her earlier on the dark
stage, wearing white socks pulled
up to her knees). He was accompanied by a good bass player, a
nervous guitarist and a loud drummer Everyone in the club loved
Rufus. It was kind of sickening,
actually He could've asked for
naked men to dance on stage and
people would've started to get
buck. No matter what he did, it
was so charming, so wonderful,
so cute. Rufus screwed up a lot
during this show, but no one cared
because he admitted that he was
making mistakes and everyone
burst into giddy giggles
The last time I saw him play, it
was in front of a crowd of teens
who had never heard of him He
was uncomfortable at that show, I
think. This time, he was too relaxed,
his fingers were clumsy, his voice
got lazy. He attempted to sing an
Edith Piaf song, but he gave up
half-way, skipped a few bars, and
played the last part of the song.
But a less than perfect Rufus Wain-
wright is still pretty good.
I wonder if so many people
would've been at the show if it
weren't for that damned Gap commercial. Rufus is going to be disgustingly rich and famous, and he
can act the part pretty well right
now. But he still turns around when
people in the crowd call his name.
Morrissey would never do that.
Christa Min
OUVIA TREMOR CONTROL
MUSIC TAPES
Friday, April 30
Starfish Room
I knew it was going to be an interesting evening when the presence
of a film projector was overshadowed by the presence of a giant
pink metronome on stage. My belief (hope?) was only strengthened
when I realized that the metronome
was not alone — it had company,
including, but by no means limited,
to a television, a clapping contrap-
wooden hands, and several small
sculptures  The Music Tapes'
performance was filled with gimmicks. How else to describe a band
that uses the sound of bouncing a
red ball (the kind most often found
in elementary school gym classes)
against a metal pad as percussion?
I must admit, however, that the
performance was entertaining. It
isn't often that people pay much
attention to the opening act, let
• abne stand to watch their performance. Now if only I'd paid more
attention to the music
The Olivia Tremor Control
didn't bring much for show and tell
— just an advance copy of the new
Apples In Stereo record that
was played over the PA while the
Olivias set up, and a film projector complete with film to accompany each song I remember being wowed by OTC the first time I
saw them and was pretty much
hoping for the same thing to happen tonight. And during the hour
or so in which they played their
psychedelic pop gems, I was never
bored or thinking about anything
besides what was happening on
stage or on screen Besides, how
often does one get to witness anyone playing the musical saw?
Cat Moore
MAP MUSIC SHOWCASE:
PILGRIMS OF THE MIND
PHIL WESTERN
Thursday, May 6
Sonar
I arrived just in time to hear Mike
McCuaig finishing off a smooth
set of tech-house. Unfortunately, I
missed Cooldown's set, and set-
tbd in as Srephan Novak of Pilgrims of the Mind come on wilh
his bleached hair and proceeded
to play a slamming bouse set similar to the one he played at the X-
Mas II ambient event last December. Starting off with some chunky,
dubby house tracks, he moved into
progressively cheesier material. I
prefer his fusion of dub and house
over the more accessible "funky
house" that was played later in the
set. I also found less of the music
to be "live" than Phil Western's.
I enjoyed the house tracks and it is
obvious that if POTM gets a 12"
out on vinyl, they will go far in this
funky-house loving city. What
made the set more interesting for
me was the DJ scratching turntablist
style alongside him This added a
more fluid, changing, and unpre-
dictabb element to the otherwise
fairly straightforward tracks.
After Stephen came house DJ
Craig Ness, who I found to be a
disappointment. Very simple mixing and relatively cheesy tracks did
not provide much of a setup or intro
for the industrial sounds of Phil
Western, who finally came on at
1:50am. By this time, the majority
of the patrons had left and I myself
was just able to keep awake as
the first track off Phil's The Escapist
album hit the speakers. We were
also graced with Ben Sharazi of
Arturo playing live on guitar,
adding an industrial edge reminiscent of Skinny Puppy and
Download (Phil is Philth of
Download) Layers of distorted
beats, dubby echoing samples,
and live guitar screeches combined
to create a more full sound then
even found on The Escapist —- the
best way to describe it would be
"Pink Floyd techno," combining
aspects of industrial, trance, and
dub with live guitar noodling. Unlike the minimalists (such as
Plastikman) who emphasize
subtle changes in the repeating
beat structure (like Phillip Glass)
and the Detroit techno camp who
emphasize the rhythmic, beautiful
patterns of strings (Carl Craig),
Phil Western creates a stable beat
pattern that changes littb, focusing
instead upon the rock sounds of
the keyboard and guitar. While interesting, I found it to be a bit tiring in the end
After sticking it out until
2:20am, I had to leave. I left feeling impressed with the local talent we have in this city, and have
high hopes for Robert Shea's
Map Records.
Tobias
DJ SOUND WAR CHAPTER VI
Saturday, May 8
Robson Square Conference
Centre
Someone please explain. I am so
confused. Is there jealousy and
animosity in Hip Hop? Or is it all
about Love?
DJ Precise, Verbal Stylus,
Emotion, and Mad Flava were
oil winners I could feel the love in
the air. There was lots of hugging
and "props," but there was yelling
and fists waving all at the same
time. Then there were these random chants and cues and signals.
What the hell is going on?
I think I understand DJ A-
Track. I have faith in Contents
Under Pressure. They give me
pleasure and enjoyment. I was
happy to see B-Girls, but they
were out-numbered by groupie
giHs. The sound was good in the
high-class Robson Square conference room, except sometimes the
sound would cut out because of
electrical problems. Everybody in
the crowd knew each other or at
least were close to Emotion, the
MC winner. I was scared that a
fight would break out, but everybody else was so happy. It was
like a TV talk-show or the WWF. I
couldn't tell what was real.
Bendy bodies, fast tongues,
and precise scratching made me
uncomfortable. I started smiling.
Everyone was excited and content.
I had to get out of there. All that
love and confusion was scaring
me. Not a single person wearing
all black and staring at his shoes.
Robert Smith, where are you
when I need you?
Christa Min
elsewhereless
by Rodney Sharman and
Atom Egoyan
May 7, 8, 13-15
Vancouver Playhouse
This work flirted with dated conventions and archaic identity politics. It whispered memories of aged
syntax. But when one felt prepared
for disappointment, it never came.
Experienced listeners know about
artists; they recreate the past, recreate the present, or invent the future. What is strange and invigorating about Egoyan and
Shannon's chamber opera is its
disinterest in testifying to any one
of these directions, the storytelling
and music spins out without trying
to impress or comfort anyone. Suspending such practices kept the
audience in rapt attention.
Sherman's music and Egoyan's
script avoided conventional manipulation insofar as there was no
ebb and flow leading of tension to
a spbshy, cathartic climax Instead,
intensity took the form of steady,
engaged anxiety, as the scenes
shifted back and forth over a span
of 15 years in an unnamed African country. Conductor Owen
Underhill made conducting look
easy, and did a basically perfect
job Marcus Nance was magnificent as Malcolm, the young local serving the Canadian consulate. His unreliable employer — a
creditably paranoiac Benoit
Boutet as Antoine — thwarts
Malcolm's university plans. Condemned to elsewherebssness, he
teaches himself English, literacy,
and politics with the help of
Antoine's life partner Eugene, a
smartly cast Willy Grenzberg
Learning the extent to which his bss
of formal education has hindered
him, Malcolm loses the country
bumpkin awkwardness to become
an insular, mysterious, gun-toting
badass. Two separate consulates
get to know a very different
Malcolm, and his position as a
servant becomes ever bss appropriate. Consulate number Iwo, Belh
(Fides Krucker), has only nominal control over her new household, while her husband Andrew
(Curtis Sullivan) remains wisely
tight-lipped throughout the demise
of the country's old order.
Initially, dates were displayed
for the viewer to make sense of the
timeline. As the opera progressed,
Marcus' demeanor and the music
sufficed to demonstrate the time
line. The switching back and forth
occurred more rapidly as the audience became more comfortable
with the method. Little superfluous
dialogue was needed to explain
matters because illuminated
screens included material that either rounded out the scene's input
or magnified the intensity through
hard images of a troubled land.
Throughout the unfolding of
events, the music never pushed the
drama around It remained responsible; not swelling into a critical
cadence that demanded Antoine's
death. Indeed, one had no idea if
fate would punish him at all. The
rate of alternation between time
frames did not allow for that kind
of treatment. The alternative was
for musical contexts to acquire further connotations and depths when
placed along a particular timeframe's dramatic development and
vice versa. Such methods recast the
best musical ideas of Wagner as
an alchemist rather than a god.
Elsewhereless has lasting
beauty because it attempts more
than to induce a good cry. The
problems it addresses, the monster-
making of power and powerless-
ness, are too serious for that, and
deserve a sophisticated response.
At the same time, this chamber
opera is not awash with amazing,
distracting technique either. Egos
interfere with art; there is no
showcasing which tarnishes the
delivery of this outstanding product.
A particular variety of humility is
imparted upon the viewer when confronted with perfect integrity, and all
the pbnet-smashing of popular culture becomes rather hollow afterward. This piece risks raising everyone's standards of everything.
John Keillor
_Z
^
<59 CiTR
charts
WHAT'S BEING PLAYED ON 101.9 FM
The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"),
7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by
our djs during the previous month (ie, "June" charts reflect airplay over May). Weekly
charts can be received via email. Send mail to "majordomo@unixg.ubc.ca" with the
command: "subscribe citr-charts"*
June 99
1 torn waits
2 underworld
3 man or astroman?
4 the black halos
long vinyl
epitaph
mule variations
beaucoup fish
6 saint etienne
7 mogwai
8 pedro the lion
9 kym brown
10 alpha yaya diallo
12 legion of green men
13 thievery corporation
14 twilight circus sound . .
15 funki porcini
16 asian dub foundation
17 julie doiron
18 euphone
19 dj krush/t. konob
20 the kingpins
22 lily frost
s/t die
Johnstown
places to visit
come on die young
the only reason i feel
pygmalion
the message
syrup & gasoline
floating in shallow water
abductions...
ultimately empty million ...
conscious party
will you still love me?
calendar of unlucky days
ki-oku
let's go to work
instrument
touch and go
young stay pretty
Stella
sub pop
matador
independent
grenadine
eighteenth st
ninja tune
london
jntry
23
24 friends of d martinez
|25 the dave hillyard 7
26     coyote men
28     pan sonic
pizzicato five
31 the skalars
32 nighmares on wax
sleater-kinney
35     trans a
hard to kill
atardecer
vs. el mundo
bad generation
playboy & playgirl
change up
carboot soul
asphodelic
the hot rock
future world
stomp
dischord
violet inch
nettwerk
knitting factory
hellcat
matador
matador
asphodel
kill rock stars
thrill jockey
June 99 short vinyl
1 rondelles
2 donnas/toilet boys
3 forbidden dimension
4 kassos
5 fireballs of freedom
6 hellacopters
7 disgusteens
8 harry dean stanton
9 rizzo
10 old time relijun
11
5arch
12 built lo spill/marine research
13 hentchmen
14 n. case/whiskeylcwn
15 drags
16 longstocking
17 various artists
18 the parcels
19 rizzo
20 roads to space travel
dub narcotic disco plate
split
i kiss yer shadow
it would be my pleasure ...
down right blue
nothing personal
you don't miss ...
shy master
dub narcotic di
s/t
split
my catalina
split
i killed rock and roll empty
will you stay? k
self portrait permafrost
s/t brentwood estates
shymaster cher doll
meatballs for lunch deSoto
o plate
lookout
vendor
sub pop
longshot
rx remedy
cher doll
front porch
bloodshot
June 99 indie
home jobs
1       citr all-stars
linda/baby
2       radio berlin
distance
3       full sketch
soundtrack
4       reverberators
el perro loco
5       clover honey
talk about me
6      forecasts farewell
behind the red sun
7      team strike force
lager + lime
8       the radio
kinder surprise
9       salteens
nice day
10    belle bete
love stains
11     nagasaki fondue
nobody
12    space kid
machine gun
13    daddy's hands
statistic wigs
14    new electric riot
teenage blues
15    jP5
fuzzyhead pills
16    thee goblins
golden tokens
17    cathode ray
tempe
18    skavengers
i won't forget you
19    siobhan duvall
i
20    dave diamond
the diamond mine
A. -_«^pd-_
2 johnny guitar
3 children of paradise
4 the conformist
5 written on the wind
6 in a lonely place
7 shadow of a doubt
8 the passion of anna
9 I'atalante
10 peeping torn
bertolucci
hitchcock
bergman
what we listened to
luscious jackson
plumtree
panda bear
8 bouncing souls
9 tight bros. from way back when
10 CiTR radio
do you remember ... ep
electric honey
mass teen fainting
s/t
one and one is one
playboy & playgirl
pro forma
hopeless romantic
runnin' through my bones
irw,ii ftummu
h\A Jason 'DciSlLvcl
Hffiv&®tw*aErs3m®i&&L
& f^gssss© On The Dia
YOUR ON-AIR GUIDE TO CiTR 101.9 FM
SUNDAYS
AREYOUSERKXJS7MUSIC 8:30AM-
12:00PM All ol Hme is measured by
its art. This show presents the most
recenl new music Irom around the
world. Ears open.
THE ROCKERS SHOW 12:OO-3:0OPM
Reggoe inna oil slyles ond fashion.
BLOOD ON IHE SADDLE alt. 3:00-
5:00PM Real-cowshikaught-inyer-
bools country
WIRELESS alt. 3KW-5-00PM Afler
nearly 20 years on CiTR, it's Brent's
lasl monlh, so enjoy him while you
can!
UPGLOSS & CIGARETTES alt 5:00-
6:00PM British pop music from oil
decades
SAINT TROPEZ alt. 5:00-6:00PM
International pop (Japanese, French,
Swedish, British, US, etc.), '60s
soundtracks and lounge Book your
jet set holiday now!
QUEER FM 6.-00-8-O0PM Dedicated
to the gay, lesbian, bisexual, and
Voncouver and listened to by
everyone Lots ol human interest
features, background on current
issues and great music liom musicians
ol all sexual preferences and gender
identities.
HEUO INDIA 8:0O-9:0OPM
GEETANJAU 9:00-10:00PM
Geelanjali features o wide range ol
music Irom India, including classical
music, both Hindustani and Carnatic,
popular music Irom Indian movies
from the 1930's tothe I990's, semi-
classical music such as Ghazals ond
Bhajans, and also Quawwalis, etc
THE SHOW 10HX)PM-1K)0AM Strictly
Hip Hop — Strictly Underground —
Strictly Vinyl Wilh your hosts
Checkmate, flip Out & J Swing on
the 1 & 2's.
THE CHILL-OUT ROOM 1:00-
4:00AM DJ Clutch spins hip4iop.. .DJ
Decter spins techno. So chill out with
us Have a nice day.
MONDAYS
BLUEGRASS FOR BREAKFAST 6:00-
8:00AM
BREAKFAST WITH THE BROWNS
8:15-11:00AM Your favourite brown-
slers, Jomes and Peter, offer o savoury
blend of the familiar and exoHc in a
blend ol aural delights! Tune in ond
enjoy each weekly brown plate special.
Instrumental, trance, lounge and
ambience
BLUE MONDAY alt.  11:00AM-
1:00PM Vancouver's only industrral-
electronic-retro-goth program. Music
to schtomp to, hosted by Coreen.
THE ETHER TABLE alt. 11:00AM-
1:00PM
SOUPE DU JOUR  l:0O-3:0OPM
Feeling a little French-impoired?
Francophone music Irom around the
globe, sans Celine Dion.
THE MEAT-EATING VEGAN   3:00-
4:00PM I endeavour to feature dead
air, verbal flatulence, a work ol music
by a 20-cenlury composer — can you
say minimalist? — and whatever else
appeals lo me. Fog ond dyke posiHve.
EVIL VS. GOOD 4:00-5:00PM Who
will triumph? Hardcore/punk Irom
beyond ihe grave.
BIRDWATCHERS 5:00-6:00PM Join
the Sports department for their eye
on the T-btrds.
POLYFILLER alt. 6:00-7:30PM
LADY DEATHSTRIKE alt. 6:00-
7:30PM
PIRATE   RADIO   7:30-9:00PM
Formerly "Love Sucks," now al o new
THE JAZZ SHOW 9dOPM-12dOAM
Vancouver's longest running prime hme
jozz program. Hosled by the ever-suave
Gavin Walker. Features at 11
June 7: Duke Ellington's score ployed by
the Ellington Band for ihe movie
Anatomy of a Murder
June 14: Speak No Evil: tenor sax/
composer Wayne Shorter's
masterpiece with pianist Herbie
Hancock and trumpet great Freddie
Hubbard.
June 21: Various artists performing at
this year's |azz festival
June 28: People: a rare album by
drummer Roy Haynes with alto
saxophonist Frank Strozier (Haynes
is appearing at this year's jazz fest!)
VENGEANCE IS MINE 12:00-
4:00AM Hosted by Trevor. It's punk
rock, baby! Gone from the charts but not
from our hearts — thank fucking Christ.
TUESDAYS
THE MORNING AFTER SHOW 6:00-
8:00AM
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM 9:30-
11:30AM   Torrid trashrock, sleazy
surf and pul satin'punk provide ihe perfect
scissor kick lo your head every Tuesday
man There's no second chance when
Kung-fu is used for evil wilh drunken fist
Bryce. KillyaaN
TRAGIC ANIMAL STORIES
11:30AM- 1:00PM Tales ol puppy
love gone awry, and of baby ducks
crossing the street, all backed up by a
sod soundtrack ol various indierock
bands lor your own enjoyment ond
education. Cry in your beer, please.
ECHOES FROM THE SUGAR CUBE
FACTORY 1-00-2-00PM
BELT OUT THE BLUES 2:00-3:30PM
Music lor families and little people.
THE SLIPPERY SLOT alt. 3:30-
5:00PM
SKINTIGHT BUFFOONERY alt.
3:30-5:0OPM
BBC WORLDNEWS SERVICE 5:00-
5:30PM
RADIO ACTIVE 5:30-6:00PM
Activism, issues and fucking up the
corporate powers that be.
FLEX YOUR HEAD 6:0O-8:O0PM
Hardcore and punk rock since 1989.
hftp://llexyourhead.
vancouverhardcore.com/
SAREGAMA 8:00-9:00PM
Featuring traditional (classical, light and folk) and contemporary South-
Indian music.
RADIO ELLINIKATHIKO 9:00-
10:00PM Greek radio filling in for
La Bomba for the summer.
WITCHDOCTOR HIGHBALL alt.
10:00PM-12:00AM Noise,
ambient, electronic, hip hop, free
jazz, Christian better living LPs, the
occasional amateur radio play,
whatever.
VENUS FLYTRAP'S LOVE DEN alt.
10:00PM-12:00AM Join Greg in
the love den for a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here ... and
bring some ice.
AURAL TENTACLES 12KWAM-VERY
LATE Warning: This show is moody
and unpredictable. It encourages
insomnia and may prove to be hazardous to your health. Ambient, ethnic,
funk, pop, dance, punk, elecHonic,
synth, blues, and unusual rock.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-9:OOAM
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
SPIKE'S MUSICAL PINS AND
NEEDLES 9:00- 10:00AM Spike
spins Canadian tunes accompanied
by spotlights on local artists. Weekly
"Vintage Vancouver" segment takes
a look back at this city's musical
past.
BABYLON AFTERNOON 12:00-
2:00PM
DJ IN A COMA 2:OO-3:O0PM
MOTORDADDY 3KJ0-5KJOPM "eat,
sleep, ride, listen to Motordaddy,
repeat."
RACHEL'S SONG 5:10-6:00PM Info
on health and me environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainability in ihe urban context.
SOLID STATE 6:00-7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
AND SOMETIMES WHY alt. 7:30-
9:00PM sleater-kinney, low, sushi...
these are a few of our faveohwrit things.
BY THE WAY alt. 7:30-9:00PM
Let's give alternative media a chance
- VIVA VINYLI 7"s new and old,
local cassettes and demos.
FOIXOASIS 9:00-10:30PM Featuring
the latest local and international
releases in folk/roots/world music,
phone interviews, in-studio guests and
more. Requests always welcomed!
STRAIGHT OUTTA JAUUNDHAR
10:30PM-12*00AM LetDJsJindwa
and Bindwa immerse you in radioactive Bhungral "Chakkh de phutay."
Listen to all our favourite Punjabi tunes
— remixes and originals.
HANSKLOSS'MISERYHOUR 12:00-
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
THURSDAYS
FIRST FLOOR 3:00-6:00AM
DON'T SAY THAT ABOUT MY
MAMA 6:30-8:30AM
REEL   MUSIC   8:30-10:00AM
Soundtracks and classical.
FILIBUSTER alt. 10:00-11:30AM
Part accordion-tinged musical
meanderings, port experiemental
weirdness, with a little bad hill blood
thrown in lor good measure.
STAND AND BE CUNTED alt. 10:00-
11:30AM DJ Hancunt urges women
to get down with their cunts while
listening to women in jazz, funk, rap,
soul, worldbeat, disco and beyond.
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander, Baffin
Island to Portage La Prairie. The all-
Canadian soundtrack for your midday
snock!
SIEVE & MKE 1:00-2*>0PM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
(hardcore).
ONOMATOPOEIA 2:00-3:00PM
Comix comix comix oh yeah and some
music. With Robin and Jules.
BOMBSHELL alt. 3:00-5:00PM
RHYMES AND REASONS alt. 3:00-
5:00PM
CULTURE CRAP 5K»-5:30PM
SHAPE UP alt. 5:30-6:00PM
REELS TO REEL alt. 5:30-6:00PM
Movie reviews and criticism.
OUT FOR KICKS 6KX)-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.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO
HELL 9-O0-11:00PM Local muzak
from 9. Live bandz from 10-11.
COCKED AND READY alt. 11:00PM-
1:00 AM
NOCTURNAL TRANSMISSIONS alt.
11:00PM-1:00AM You adjust the
lighting, DJ Satyricon mixes the
sounds. Radio that could only happen
after the sun's gone down. Songs and
soundscapes for the naked city.
PLUTONIAN NIGHTS 1:00-
4:00AM late nightvinyl. Occasional
skips. Cheers.
FRIDAYS
CAUGHT IN THE RED 6:30-8:30AM
Trawling the trash heap of over 50
years worth of real rock 'n'roll debris.
Stick out yo' can.
ONE LOVE 8:30-10KX)AM Anything
and everything from the wonderful
world of music, as long as harmonies
can be sung, and the melodies be
SKA-TS SCENE-IK DRIVE! lOtfOAM-
12:00PM E-mail your requests to
Diska_T@hotmail.com
THESE ARE THE BREAKS 12:00-
2:00PM DJ Splice brings you a
Hipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats.
Versatile at any style.
UTTUE TWIN STARS 2:00-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM
NOIZ 4-O0-5-00PM self-titled.
BBC WORLDSERVICE 5KK)-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-
9:00PM
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS    9:00PM-12:00AM
Hosted by DJ Noah: techno, bul also
some trance, acid, tribal, etc. Guest
DJ's, interviews, retrospectives,
s, and more.
alt.
Rant, phone-in and kiss your mother
with the guests.
DEAD AIR alt. 12:00 AM-VER Y LATE
Exceptionally interesting girl talk.
SATURDAYS
GET TO THE CHORUS alt. 6:00-
8:00AM
THE SATURDAY EDGE 8:00AM-
12:00PM Studio guests, new
releases, British comedy sketches, folk
music calendar, and ticket giveaways.
8-9AM: African/World roots. 9AM-
12PM: Celtic music and performances.
ALAM MAZEKA 12:00-1:00PM
Arabic music.
POWERCHORD 1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
LUCKY SCRATCH 3:00-5:OOPM
From backwoods delta low-down
slide to urban harp honks, crooners
and tunesters in the blue degree.
Blues and blues roots with your hosts
Anna and Andy.
RADIO FREE AMERICA 6:00-
8:00PM Extraordinary political re
search guaranteed to make you think.
Originally broadcast on KFJC (Los Altos, Cal.).
LIVEI AT THE HI-HATH alt.
10:00PM-1:00AM "Sho' 'nuff
bumpin'I "-Popular Muiic. Phone,
write or call for reservations. Dance.
Admission $6.00.
PIPEDREAMS alt. 10:00- 1:00AM
SOUL TREE alt. 1:00-4:30AM From
doo-wop to hip hop, from the electric
to the eclectic, host Michael Ingram
goes beyond the call of gospel and
takes soul music to the nth degree.
EARWAXalt. 1:00-4:30AM "noiz
terror mindfuck hardcore like punk/
beatz drop dem headz rock inna
junglist mashup/distort da source full
force with needlz on wax/my chaos
runs rampant when I free da jazz..."
Out. -Guy Smiley
REGGAE LINKUP 4:30-8:30AM
Hardcore dancehall reggae that will
make your mitochondria quake.
Hosted by Sister B.
WHOM
HOW
esident      Tobias Van Veen
Klion    Shane Vander Meer
dinalor A
ike   Chow
i Manager Aaron Nakama
raffk Director Jannine Lasaf
'•"> President    Anlhony Sch
[i3CPCBeD[_]C_^1T^D^cC£
mondays     8am     —      11 am
[fl ©cbDcD
gni__DQc_9D[ia
cflrami © Doaas© *
COMING ALL OVER YDltf? AMMD
JULY 31/99
we want you to get on the mic!
get involved and do interviews, discussions, music, themes, readings,
rants, live performances and Smut, for more info contact anna at 822-1242
or come by room ?33 of the SUB at UBC and check Out CiTR for yourself.
E3ye-by<s, Miko
Geez. Miko has been an alarmingly excellent editor
since the responsibility was first thrust upon her almost
three years ago.We're going to miss herterribly,but we're
also glad that she made it out with her sanity intact.Miko,
seen to the left may not be the world's greatest bowler,
but she sure can keep a magazine together.The devoted
but disorganised folks who make up DiSCORDER's"staff
wish Miko lots of luck and happiness forthe future, Now
go get some sleep!
Love,
Rob,Maren,Tri5tan, Barbara
and the rest of the DiSCORDER kids!
IS E^gSBSISa Datebook
IWi»Mi»-JJdgllgt«
FRI MAY 28 Hellacopters, Quadrajets@Starfish; Plaid Tongued
Devils@Gate
SAT 29 Dave Sikula Quartet@Sugar Refinery; Sunny Day Real
Estate@Richard's (early show); Perfume Tree@Chameleon
MON 31 Bodner@Sugar Refinery; St. Etienne@Richard's
TUE JUNE 1 Robbie Williams@Rage; UK Subs, Dr. Know, Dayglo
Abortions@Brickyard
WED 2 Folk Noir@Chameleon; Molestics, Jades@Brickyard
THU 3 Cinester 10th Anniversory@Blinding Light; Ken Aldcroft
Trio CD Release Party@Sugar Refinery
FRI 4 CiTR PRESENTS BUILT TO SPILL,
DELUSIONS@Starfish; Molestics@Legion Auditorium (2250
Commercial Dr.); Neurosis, Skin Lab, Jar@Palladium; Joi@Wett Bar;
Surrey Food Bank Fundraiser (feat. DOA, Koark, Carbon
6)@Bridgeview Hall; Ten Days Late, Cartels, Downway, Victoria
Pork@Brickyard
SAT 5 CiTR PRESENTS BUILT TO SPILL,
DELUSIONS@Starfish; The Beans@Sugar Refinery; Jennifer
Abbott's A Cow at My 7bb/e@Blinding Light; Raffi@VICF, Vanier
Park (5:30 pm); Slick@Chameleon; Rich Hope CD Release Party
(feat. Solarbaby, Palace Flop House)@Brickyard; Mothertrucker,
Daggers, New Electric Riot@Picadilly
SUN 6 Jennifer Abbott's A Cow at My 7bb/e@Blinding Light;
Galactic@Richard's;      Technics      DMC      DJ      Mixing
Championships@Sonar; Heavy Metal Sunday@Brickyard
MON 7 Bongo Pop@Naam
TUE 8 Ten Foot Pole, Reset, Bigwig@Slarfish; SRL: A Scenic Harvest From the Kingdom of Pain@Blinding Light
WED 9 Murder City Devils, The Black Halos@Starfish; SRL: A Scenic Harvest From the Kingdom of Poin@Blinding Light; South Hill
Benefit Overflowing@Western Front; Choke, Removal@Brickyard;
Shane McGowan@Rage
THU 10 New Electric Riot, Liars@Brickyard; New Waveaoke,
DSK, Moon@Starfish
FRI 11 CiTR PRESENTS METAL FEST 99 (feat. HURT,
ABERRATION, ZUCKUSS, SIK FUK)@Columbia; DDT, All
SUBMISSIONS TO DATEBOOK ARE FREE!
TO HAVE YOUR EVENT LISTED, FAX ALL THE
RELEVANT INFO (WHO, WHERE, WHEN) TO
822 9364, ATTENTION "DATEBOOK." DEADLINE FOR THE JULY ISSUE IS JUNE 16th!
You Can Eat, New Big Shoes@Starfish; Sarah Brightman@GM
Place Theatre Bowl; Bob Dylan@GM Place; DJ Ease (of Nightmares on Wax)@Sonar
SAT 12 CiTR PRESENTS METAL FEST 99 (feat. CYSTEM,
VOLATILE, PUNISH, AUTUMN X)@Columbia; Secret
Three@Sugar Refinery; Uzume Taiko@Playhouse; DOA,
JP5@Starfish; Sector 7, Francophobes, Namesake,
Retreads@Brickyard; Spacious Couch@Chameleon; Johnny Legend
and his Rockabilly Bastards, Lowbrow@Picadilly
SUN 13 Neotropic, Pole@Sonar
MON 14 Bailter Space, Technicians@Srarfish; DJ Norman
Ray@Sonar
TUE 15 Leesun@Naam
WED 16 Dead Cats, Crowned King@Brickyard;
Fryertuck@Chameleon
THU 17 The Moleslics@Starfish; Ortmar Liebert, Luna Negra
XL@Vogue; Slick 60, Fueled By Ignorance, Subatomic Level,
Hiatus, DJ Gary Sayer@Brickyard; PHH!K@Performance Works;
Paul Van Dyk@Sonar
FRI 18 Phrapp, Koark, Carbon 6@Columbia; Elevator Through,
Dirtmitts, Kinski@Brickyard; Green Room, Millenium Project@Starfish
SAT 19 Strong Like Tractor, Another Joe, Ziggy's Fix, Chick
Magnets@Brickyard; Planet Smashers, Automatic Slim@Starfish
SUN 20 Heavy Metal Sunday@Brickyard
MON 21 Echo & the Bunnymen@Richard's; Lee "Scratch"
Perry@Sonar
TUE 22 Cibo Matto@Crocodile (Seattle, 21 +)
WED 23 Reggae Rocksteady@Pic Pub; Cibo Matto@RKCNDY
(Seattle, all-ages); Art opening (feat. Jesse's Girl, Slick)@Brickyard
THU 24 Pat Metheny@Orpheum; Slam Poetry@Sonar;
Summerfesl@VECC; Duke of Medulla, Speedbore@Brickyard; Pat
Metheny@Orpheum
FRI 25 Metalwood@Srarfish; Afro Cuban All Stars@Vogue; Junk
Records Showcase (feat. Spitfires)@Brickyard
SAT 26 Lookout! Records Showcase (feat. Groovie Ghoulies,
Maow, Tonics, Come Ons)@Brickyard; Meralwood@Srarfish
SUN 27 Mixmaster Mike@Sonar; Heavy Metal Sunday@Brickyard;
Dino Martinis@Starfish; Klezmatics@Richard's
MON 28 Esthero@Richard's; Liquid Soul@Starfish
TUE 29 Boredoms, Lonesome Monsters@Richard's; Liquid
Soul@Starfish; Amanda Marshall@QE Theatre
WED      30     Bloque,      Rumba     Calzada@Richard's;
Bunchofuckingoofs, LES. Stiches@Brickyard; Wil Bernard 4-
tef@Starfish; Bill Frisell@Vogue
VENUES • BARS • THEATRES • RESTAURANTS • RECORD STORES
The Abyss 315 E. Broadway  (side entrance) 488 6219
Anderson's Restaurant Pazz on the Creek) 684 3777
Anza Club 3 W. 8th  (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge   1585 Johnston (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
Blinding Light 36 Powell St. 878 3366
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)    873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities   1022 Davie  (at Burrard) 689 3180
Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Croatian Cultural Centre 3250 Commercial (at 17th) 879 0154
Denman Place Cinema   1030 Denman  (Wfesl End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Fifth Avenue Cinemas 2110 Burrard (at 5th) 734 7469
Firehall Arts Centre  80 E. Cordova  (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre  (UBC) 822 2678
Garage Pub 2889 E. Hastings (downlown) 822 9364
The Gate  1176 Granville (downtown) 688 8701
The Good Jacket 225 E. Broadway (at Main) 872 5665
The Grind Gallery 4124 Main  (Mt. Pleasant)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main (Mt. Pleasant)
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards  1216 Bute (near Denman St)
La Quena  1111 Commercial (the Drive)
The Lotus Club 455 Abbott (gastown)
Lucky's 3972 Main (@ 24th Ave.)
Luv-A-Fair  1275 Seymour (downtown)
Maximum Blues Pub   1176 Granville  (downtown)
Medialuna  1926W. Broadway
Minoru Pavillion  7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (Gaslown)
Naam Restaurant 2724 W 4th  (Kitsilano)
Orpheum Theatre Smithe & Seymour (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium  1250 Richards (downtown)
Paradise  27 Church  (New Westminster)
Paradise Cinema  919 Granville  (Granville Mall)
Park Theatre 3440 Cambie  (South Vancouver)
Picadilly Pub 630 W Pender (at Seymour)
Pitt Gallery 317 W. Hastings (downtown)
Plaza Theatre  881 Granville  (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave)
Puff/Bealstreet #14-712 Robson (at Granville)
Purple Onion   15 Water St. (gastown)
Queen Elizabeth Theatre Hamilton & Georgia
Raffels Lounge   1221 Granville  (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's on Richards   1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
322 6057
738 3211
873 4131
224 8007
606 6665
251 6626
685 7777
875 9858
685 3288
688 8701
608 0913
738 7151
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
687 6794
738 6311
Russian Hall 600 Campbell (Chinatown)
Scrape Records 17 W. Broadway (near Main)
Scratch Records  109 W Cordova  (Gastown)
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Singles Going Steady 3296 Main (at 17th)
Sonar 66 Water  (Gastown)
Starfish Room  1055 Homer (downtown)
Starlight Cinema 935 Denman (West End)
Station Streel Arts Centre 930 Station  (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Stone Temple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Vancouver E. Cultural Centre  1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club 2215 Granville  (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert 1020 Granville  (dowtown)
Video In Studios  1965 Main  (Mt. Pleasant)
Vinyl Rekkids 76 W. Cordova (gastown)
Virgin Megastore 788 Burrard (at Robson)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre   1405 Anderson  (Granville Is.)
Western Front 303 E. 8th Ave (near Main)
Wett Bar 1320 Richards (downtown)
Whip Gallery 209 E. 6th Ave  (at Main)
W.I.S.E. Hall   1882Adanac (the Drive)
Women In Print 3566 W 4th  (Kitsilano)
Yale Blues Pub  1300 Granville (downtown)
Zulu Records 1869 W. 4th  (Kitsilano)
874 6200
877 1676
687 6355
291 6864
876 9233
683 6695
682 4171
689 0096
688 3312
488 1333
683 2004
681 8915
988 2473
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
689 3326
669 2289
331 7909
685 6217
876 9343
230 6278
874 4687
254 5858
732 4128
681 9253
738 3232
u
<r*
99 Hdu Maurier "Vancouver's premier
—, ^international #
musical event"
- Alexander Varty, The Georgia Straight
june
24
to  July  4
nineteen  ninety
nine
PAT METHENY TRIO
WITH LARRY GRENADIER & BILL STEWART
thu 24 june Guitar genius
PRESENTS
DUKE ELLINGTON'S COTTON CLUB REVUE
fri 02 JULY featuring Smithsonian jazz
8 pm Masterworks Orchestra
Duke's looth Birthday Celebration
|   THE VOGUE THEATRE   |
iCUBANISMO!
fri 2s )une Dazzling Cuban dance band
8 pm + Watuzzi Jazz
HERBIE HANCOCK & WAYNE SHORTER l+i
JESSE COOK
sun 27 june        Fiery flamenco guitar
8 pm + Tango Paradiso
KEB'MO'
mon28|une        Grammy Award winning Blues
8 pm + Susan Tedeschi
Move over Bonnie Raitt
CAETANOVELOSO
tue29|une Brazilian pop icon
BILL FRISELL & THE WILLIES
weo30|une       Versatile virtuoso
8 pm + Patricia Barber
Spellbinding songstress
TS MONK WITH NNENNA FREELON
thu oi iuly Visceral swing & sultry vocals
8 pm + Russell Malone
Bluesy, soulful guitarist
BLUE NOTE 60TH ANNIVERSARY
fri 02 iuly featuring Renee Rosnes Trio/
8 PM Kurt Elling Quartet/
Charlie Hunter & Leon Parker Duo
A jazz spectacular
COWBOY JUNKIES
sat03 july Songs with a deep, fluid groove
8 pm + Kyle Eastwood Quintet
Up-and-coming bassist
|   STANLEY THEATRE"]
OLIVER JONES TRIO
mon 28JUNE        Swinging piano master
spm + Eve Smith
|   VANCOUVER PLAYHOUSE   [
DECIDEDLY JAZZ DANCEWORKS
PRESENTS SOUL JUGGLERS
29-30june Soulful & dramatic jazz dance
1    RICHARD'S
3N RICHARDS 1
THE KLEZMATICS
sun 27 june        Wild dance grooves
9 PM               + Talking Pictures
ESTHERO
MON 28 JUNE
9 PM
Trip-hop sensation
+ Rita di Ghent & the
Sprawl Project
BOREDOMS
tue 29 june         Japanese underground
9 pm                  deconstructionists
+ Lonesome Monsters
BLOQUE
9 PM
Colombian psychtropical funk
+ Rumba Calzada
JOHNNY NOCTURNE BAND
FEATURING KIM NALLEY
thu oi july         Ferocious swing
9 pm               + johnny Ferreira and
the Swing Machine
|   FREE events  1
Gastown Jazz, Jazz at the Roundhouse,
Granville Island Jazz, CBC Jazz Cafe, Pacific
Centre Plaza, Lonsdale Quay, Eaton Centre
Metrotown Plaza, Tom Lee Music Hall,
Waterfront Centre Fountain Terrace
|    FESTIVAL CLUBS    |
Starfish Room, Performance Works, Studio 16,
Western Front, Dr. Sun Yat-Sen Garden, Arts Club
Backstage Lounge, Blue Note Bistro & Lounge,
Capone's Resturant & Live Jazz Bar, Cellar Jazz
Cafe, Chameleon, Cloud Nine, The Cotton Club,
Fairview Pub, Legend's Grill & Tap Room, Mojo
Room, Monk McQueens, O'Doul's, Purple Onion,
Rossini's, Spencer's Lounge, Yale
I   VANCOUVER EAST CULTURAL CENTRE   |
JOE LOVANO TRIO
fri 25 june Master tenor saxophonist
8 pm + Kate Hammett-Vaughan Quartet
MATTHEW SHIPP TRIO
sat26 june        Spirited improvising pianist
8 pm + Loos
JOHN NUGENT QUINTET
FEATURING RANDY BRECKER & AL FOSTER
sun 27 june        AII-starBand
8 pm + Brad Turner
SAM RIVERS TRIO
mon 28 june       Tenor sax inside/outside
s pm + Paul Plimley with William Parker
& Gerry Hemingway
Adventurous free improv
ROY HAYNES GROUP
TUE29JUNE Veteran hard bop drummer
8 pm + Theo Jorgensmann Quartet
German clarinet wizard
VINNY GOLIA LARGE ENSEMBLE
wed 30 june        Contemporary jazz/world/classical
LOUIS SCLAVIS TRIO
thu 01 july Virtuoso French reedman
8 pm + Biggi Vinkeloe Two Bass Hit
Stellar Swedish saxophonist
ED BICKERT& BILL MAYS
fri 02 july Two swinging jazz giants
8 pm + Stan Tracey Quartet
British piano legend
DAVE DOUGLAS' CHARMS OF
THE NIGHT SKY
satosjuly Trumpet virtuoso
8 pm + Castor et Compagnie
I tickets and information-]
BCTEL JAZZ HOTLINE 872-5200
TICKETMASTER 280-4444
WWW.JAZZFEST.MYBC.COM
PROGRAM GUIDES AT ALL LOWER MAINLAND
STARBUCKS, HMV STORES, BCTEL PHONEMART
STORES, & TICKET OUTLETS
CBC*j§»>radi6)JV£
The Vancouver Sun PAVEMENT
Tenor Twilight cou>
Just in time to beckon the summer.
PAVEMENT the beautiful. PAVEMENT
the brave — the Terra Twilight and the
playfully insane. Don't wait for your
grandchildren'*} explain this album to
you, little decoder. Malkmus may have
miles ot style to spare Gosh knows ha
certainly has plenty to say. What does it
all mean, we wonder' StiH coUege rock
lor literate dropouts, PAVEMENT turns
the earth again, digging up stony, smartass, retrofitted VOs-cum-now with more
than enough attitude. Malkmus, you pop
star, you Stipe, what kept you?
AVAILABLE JUNE 8TH
CD 16.98    LP 14.98
LABRADFORD
ELuxoSocdap
With a consistent
somber and introspective mood,
LABRADFORD have developed from the stark, cool,
mechanical drones of their earlier work towards a
deeper, more resonant and spacious sound, such as
with Mark Nelson's solo proiect Pan American Now
using samplers, very lengthy tape loops as well as
strings and dulcimer, this fifth release is even more
atmospheric, minimal, at times almost soiriful and
always totally captivating. Always a Zulu favorite,
LABRADFORD s E Luxo So happily brings us to tears.
CD 16.98    LP 14.98
1	
* y hi
*__ i
Various Artists
SUCK IT AND
SEE2CD
Take this one home in
brown paper! Howie 8 s
Pussyfoot label gets into
porn and thinks you should
too (we, however, support the discretion of the individual buyer — clothing optional). Good old Howie B.
plus Fantastic Plastic Machine, Naked Funk. Love
T.K.O and many, many more let you know what turns
them on. And for some reason the collective outcome
was prolific enough for 2 CDs full of erotic tinged,
naughty electronic music. Yup, there's something for
everyone. Come on, aren't you just a little curious?
Don't worry mom and dad, it's only music. Dirty = fun.
2CD 22.98
Two Long Term Performers:
(Available June 4th)
BARRY
ADAMSON
TheMuiky
World of Bany
Adamson co
A seminal member of Nick
Cave s Birthday Patty and Material, Adamson s
solo career has charted anything but an expected
course. First under the pretense of creating soundtracks for imaginary films, and then later just creating
harrowing soundscapes, Adamson's vision rests in the
dark realm where noir-beat, sophisticated ja_z. smoky
nightclub vibes, and fragmented dialogues predominate. This collection, which also feature new unreleased
material, runs the full sonic gamete offering song
choices par excellence, and through its great scope,
beautifully dissects his heart ot piercing darkness.
RED HOUSE PAINTERS
Retrospective co
Enjoying cult status success as a member of <JAD
Records' enigmatic performers, it wasn't until last
year's Songs For A Blue Guitar that these PAINTERS
first received their due praise. Capturing elements from
the great singer-songwriters Tim Buckley. Leonard
Cohen, and Neil Young, the RED HOUSE PAINTERS
always managed to imbue their craft through acoustic
fragility with grace, poignant lyrics, and a sense ot
dolorous urgency. Featuring a fine selection from their
varied discography, this retrospective release is the prefect record to watch the day creep across your porch.
each CD 16.98
ALL PRICES IN EFFECT UNTIL JUNE 30, 1999
MARK
Chocolate Covered
Bad Things co
Having cut his teeth on the
likes ol Scott Walker, Capt.
Beefheart and Everybody's
Talking' era NHIson, local impresario MARK S2AB0 has delivered a wise and somcally
diverse full-length release. Introducing his accompanying
band. Capozzi Park, Chocs late Covered Bad Things whimsically shifts between folk-pop musings, tender romantic
moments, and shimmering curtains of free-jazz prog.
Chocolate Covered Bad Things — I want some!
CD 14.98
___!_*_ Tr#IS£i
§ **» mm
U-flM-fltt.
L_L-a....»
ra   «__^_ia
JOAN OF ARC
Live In Chicago
1999 cd/ip
JOAN OF ARC make advanced
post-hardcore with a smart
pop sensibility. This third album
finds them drawing on fheir resources to great effect,
sometimes tangential and unconventional. With plenty of
good playing and studio savvy. Llva in Chicago should bring
JOAN OF ARC a much-deserved bigger audience. Equally for
fans of the Chicago scene in general as much as such post-
punk acts as Modest Mouse or Gastr Del Sol More than
emo, it's plain good.
CD 16.98    LP 16.98
Mm
(INTERNATIONAL)
NOISE
CONSPIRACY
The First
Conspiracy co
The new agenda. The new
strategy. The new sound from the new noise! On the G7
Records label, (INTERNATIONAL) NOISE CONSPIRACY is the
new recording project ftom Dermis lynen of Fhe Retdsed!
Detouring into the straight talkin' terrain of soul and garage,
this sounds more in tune with the deconstructjve rock of
The Make Up and Defla 72, while stSI maintaining the energy and urgency of his now legendary antecedents. A great
record for your investigation, lets hope this is the First
Conspiracy of many more ta come!
CD 12.98
RED SNAPPER
Making Bones co
RED SNAPPER have become part of Matador's aggressive turn towards things
electronic. Not that RED SNAPPER are strictly a digital band, though. Live
instruments also feature prominently in their eclectic music. Either way, they've
got a laid-back, sometimes jazzy, sometimes funky sensibility that should appeal
to fans of such bands as Nightmares on Wax. Good beats to sit down with.
JUNE OF 44
Anahataco/LP
As torchoearers for progressive hardcore, JUNE OF 44 is
the benchmark of high performance Other players often refer
to their experience and authority.
Truth be told. JUNE OF 44 have a simple pfan: they stick to
the integrity of their project. There is no pretension here just
solid dedication. On Anahata JUNE OF 44 go deeper within
themselves, refining their sound and style with restraint and
purpose. The result is as thoughtful, dynamic and powerful
as ever. Not post rock, just smart rock. AVAIL. JUNE 4TH
CD 12.98    LP 12.98
RACHEL'S
Selenography cdap
These young, very Romantic
chamber music enthusiasts
progress musically further away
from their post-hardcore origin
(although their basic ethic otherwise remains deeply rooted),.Sounding more ECM than
Quarterstick/Touch and Go, only traces ol rock remain in
this beautiful, long awaited new work. As haunting as
always, Selenography — a term referring to lunar topography — is perhaps their most understated and mature
. recording. Well-crafted and studious music for quiet times.
AVAILABLE JURE 4TH
CD 16.98    LP 16.98
Various Artists
SHORT MUSIC FOR SHORT PEOPLE
CfyLP
Simple plan, simple procedure: Gather up 101 best old
school punk rock bands and invite them to each perform
a 30 second hardcore Wast. No problem. Now if I could only
list the participants for you! Could you imagine the record
release gig? Anyway, here are the heavy weights: NOFX.
VANDALS, BAD RELIGION, CIRCLE JERKS, DAMNED.
SAMIAM, GUTTERMOUTH, BLINK 182. MISFITS and many,
many more!
CD 12.98   LP 12.98
CD 16.98
OTHER TITLES  PAVING DIVIDENDS
PAVEMENT * Carrot Rope CD-EP, $10.98 (IMPORT)
THE MELVINS - The Maggot CD, $24.98 (IMPORT)
GUTTERMOUTH - Gorgeous CD, $20.98/ LP, $14.98 (IMPORT)
Various - LOUD FAST AND OUT OF CONTROL 4CD Boxset, $89.9
DIESEL BOY - Sofa King Cool CD, $20.98 (IMPORT)
LOVE BATTERY - Confusion A Go Go CD, $24.98 (IMPORT)
Soundtrack - EXTREME CD, $19.98
SUICIDAL TENDENCIES • Freedumb CD, $24.98 (IMPORT)
BUNK 182 - Enema of the State CD, $19.98
ANI DIFRANCO/UTAH PHILLIPS - Fellow Workers CD, $20.98
JOHN ZORN/MASAOA - Live in Taipei 1995 2CD, $32.98 (IMPORT)
BUFFALO TOM - Sodajerk CD-EP, $9.98 SALE
STARS OF THE UD - Avec Zaudenum CD, $26.98 (IMPORT)
ME FIRST AND THE GIMME GIMMES - Are A Drag CD, $20.98 (IMPORT)
JOAN OF ARC - Live in Chicago 1999 CD, $17.98 /LP, $17.98 (IMPORT)
BRAND NEW UNIT • Empty Useless Air CD-EP, $11.98 (IMPORT)
Guttermouth - Gorgeous CD, $19.98 / LP, $14.98 (IMPORT)
PEDRO THE LION - The Only Reason... CD-EP, $12.98 (IMPORT)
1869 W 4th Ave.
Vancouver. BC
V6J1M4
tel 738.3232
STORE HOURS
Mon to Wed 10:30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00

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