DISCORDER
A publication of CITR 101.9 FM
J tomb <J&m
November 2000
Also featuring:Ashley Park
Paul Plimley
Jr Ewing
The The
The Lollies
Red Devils
International Noise Conspiracy their new album
relationship of command
Includes
"One Armed Scissor"
& "Rolodex Propaganda"
R 15 - Vancouver Richards
15.99 STRAIT UP $15.99
JFVIRGINMEGA
Robson & Burrard
604-669-2289
%f Jf / "The Price Of Reality",
" * Dead On The Bible" and
"CK Killer"
elivfifSthe simplest of message!
n of force: the system is fucked,
America is fucked, we're all fucked."
Melody Maker - "Amen make Slipknot
■ nk liko Belie & Sebastian having a teddy
bear's picnic at a flower show."
Ten orizer - "If Fred Durst is the
Charlie Sheen of the millennial metal cool,
then Casey Chaos is Clint Eastwood."
ft HM COME FOR YOUR pflrWs
** Produced by Ross Robinson
/w.ComaAmerica.com
Features tlie vocal contributions of Corey
({Slipknot), Fred Durst (Limp Bizkit) Jonathon
(Korn), Ozzy Osborne, Mark McGrath and more!
Includes the single
^Angels (Son''
with. Lajon (!
IN MEMORY OF JAMES LYI
AVAILABLE TUESDAY,
NOVEMBER T
? immortalrecords.com 66 WATER STREET VANCOUVER CANADA
Features
Red Devils Circus Sideshow
Paui Plimley
Ashley Park
(International) Noise Conspiracy
The Lollies
Jr Ewing
The The
Trans Am
Regulars
editrix:
barbara andersen
ad rep:
maren hancock
art director:
jenny watson
production manager:
christa min
photo editor:
ann goncalves
layout: jenny, christa, sa
bushor, chad christie, chris
frey, lori kiessling, wynne
waring
photography and
illustrations: chris frey, ann
goncalves, scott malin, kerry
Dear Airhead
Culture Shock
Vancouver Special
7"
Strut & Fret
Louder Than A Bomb
Radio Free Press
Under Review
Real Live Action
Kill Your Boyfriend
Charts
On The Dial
Datebook
19
23
24
27
28
30
Cover
inney, e
wild
production: minoo alipour,
howie choy, christine
glendinning, alia hussey, jen
in the seven year bitch t-shirt,
lindsay marsak, dare irene
naidu, katie riecken, kathryn
sawyers, ulrike schulze, erin
show, daryl wile
contributors: bleek, julie c,
mike c, bryce d, steve d, tess
d, eric f, jamaal f, robin f, alia
h, hancunt, shawn k, godfrey
I, christa m, ian m, luke m,
penelope m, sam m, sean o,
anthony s, erin s, nat x
on the dial:
bryce dunn
charts:
julie colero
datebook:
maren/christa/barbara
promotions coordinator:
alia hussey
hair stroking,
vindication, and
compliments:
"cloudy" riecken, "purple
dragon" westover
distribution:
matt steffich
us distro:
gabriel fresh
"Please don't put Trans Am on the cover," pleaded Luke
Meat, author of the article on P. 16. He didn't want us
to call attention to the fact that, in spite of all his
marvelous questions, the band didn't have much to say.
Well, sorry Luke. We wanted full colour and this was
the only picture that fit the bill. photo by chris frey;
layout by Chris Frey with electronic assistance from
Jack Duckworth.
© "DiSCORDER" 2000 by the Student Radio Society
of the University of British Columbia. All rights reserved.
Circulation 17,500.
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DiSCORDER Magazine.
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always, English is preferred. Send e-mail to DiSCORDER at
discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can
be heard at 101.9 fM as well as through all major cable systems
in the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.24? 7, our office at 822.3017 ext. 0, or our news
and sports lines at 322.3017 ext. 2. Fax us at 822.9364, e-mail
http://www.ams.ubc.ca/media/citr or just pick up a goddamn
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1,
CANADA.
printed in canada
Fri Nov 03 wmodern
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PU BAHS j ei6„.
& DJ ASSAULT r,o wax)
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CROSSFADE TumtaWist Series
DJ CRAZE
CHARLES WEBSTER
(Presence)
in room 2
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(Mr.Bongo/Disorient)
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VIRGIN &XFM pre ;ent the
FAT BOY SUM
CD LISTENING PARTY
J by...
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(London, UK)
@ CLUB XFM/CHERRY BOMBS
presented by 104.9XFM and
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TEAM CHAMPIONS featuring: TONY
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with MC KINQYATA plus DJ Kemo
THE NEW DEAL
Sat Dec 16 phttfMjde
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w/DJ HOSCHI
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GRANDE VELVET Vancouver
Special
Coming to you live, from
the City of Vancouver
picket lines, it's... Local
Demos! This month's captivating
installment is an exclusively compact disc edition, owing to my
walkman, and the unbelievable
monotony of trying to keep a
decidedly disinterested public
from entering the Kitsilano
Community Centre. All you tape-
heads freaking out as we speak,
worry not, for my scooter has
been stolen. Why, you ask, is the
theft of my scooter a felicitous
occasion for tape lovers everywhere? Well, apparently when
your vehicle gets stolen, ICBC
pays for you to rent a car, so I'm
riding in style (Swift-style, that is)
complete with (who's got it?j
Tape Deck! Wow.
PANACEA come to us
straight outta Watford, Ontario,
and believe me, this one reeks of
Ontario. At least they're honest
enough to admit it, listing as
influences AC/DC, Led
Zeppelin, and Rush It seems
to me they overlooked Gowan
and Chris de Burgh, but I
digress. I could give a shit about
this CD, though it doesn't anger
me or anything, but I always
have to wonder where these
people get the money for such
great production, tray liners, etc.
Copyright 1996?! How the
fuck did this get in my box?
<liquid_fraczyk@hotmail.com>
This next disc was given to
me at a party by a couple of
guys who had just finished
recording/mastering it that day.
I was actually beginning to wonder where it had vanished to,
when it miraculously reappeared
in my life. They call themselves
FINCH, and they've assembled
a sort of mellow, rhythmic, slightly experimental electronica. It's
pretty good really, and perfect
for passing out to while huddled
in the doorway of a dark, forgotten ice rink. (604.689.7720)
Quesnel s JAY A. BECK
has been tearing up the indie
charts lately with his heavy-
grooving ditty "Ophelia." He's
back with a marathon of a disc
containing 43 tracks and clocking in at a whopping 79:59;
that's a box-set, for Christ's sake.
Anyway, the music's eclectic as
usual, running the gamut from
minimalist industrial death to
happy-go-lucky folk to cyber
poetry. Jay, do yourself a favour
and move your ass to the
big city so you can start
doing something with this.
<bjeck@mybc.
FIVE STAR LEMON is a
two man operation; one in
Vancouver and one in Toronto,
which couldn't be at all convenient. They create a kind of pretty acoustic indulgence, though I
wouldn't be caught dead playing it around any of my peers.
The vocals are very strong,
which ends up taking away from
the guitar; it's not that it's weak,
just simple. The cover of "4 am"
by Our Lady Peace sounds
exactly like the original and is
nothing to which an already
near-suicidal participant in organized job action should be
exposed. The song "INOT"
helps soothe the hurt with its
watered-down Pixies feel.
<judojames@hotmail.com>
Right from the beginning,
I knew EXPERIENCING
DIFFICULTY and myself were
not going to get along. The
name of their CD is Diffiencing
Expericulty; isn't it cute when
people switch parts of words
around? The first track is a mere
19:09 in length with no discern-
able rhythm. "Experiencing
Difficulty can be very difficult listening and is not recommended
for the amateur music listener,"
reads the liner. Well, label me
"amateur" E.D., but I wouldn't
recommend this shit to anyone of
any experience level. Hey,
track three's got a beat! The
more I hear, the more I hate.
http://sine.ranch.org/exp
You know what kind of
sucks? Getting a demo from
someone who lives in your building. Every time you see them,
you feel the guilt of knowing that
not only have you not reviewed
their disc yet, but it may be eons
Radio Free Press
wiiwi&uMwa
Our mighty edit
expressed the
that a lot of the zines we
review in this column are a little
on the, ahem, elderly side. This
is a criticism that we graciously
accept with a couple of qualifications. First of all, we both work
in service industries and don't
have a bunch of cash to spend
on new zines (but we'll take anything new that people give us).
Second, what's new in the world
of zines? Most zinesters are
lucky if they manage to put out
a couple of issues per year. So,
if we discover something we
like, we'll try to review the latest
issue—just don't expect it to be
Nevertheless, we are keen
to redress the balance. Luckily,
that shouldn't be too hard—
largely thanks to the annual
Word on the Street shindig that
took place a couple of weeks
ago at the big library downtown. It included a fringe show
in the basement, wittily called
Word Under the Street, which
focused on local zine and comic
book talent.
The Word Under the Street
show seemed to spur a few local
zinesters into finishing new
issues of their projects. We're
referring primarily to ourselves,
but also to the makers of a pub-
month.
Yes, ladies and gentlemen,
the new issue of Turf is now
available. It's full of delights,
including an interview with the
cutest man in hip hop, Kid
Koala, and a fantastic "Better
Boyfriend Bureau Survey." It also
has a running theme about
work, which was particularly resonant for us. We're very grateful
for the youth pension plan form
and fake doctor's note.
(#4, 1 1 25 Pacific Drive, Delta,
BC V4M 2K2)
<turf@telus.net>
http://www.turfzine.com
Speaking of really great
Vancouver zines, there's also a
new issue of Brad Yung's ever-
popular Stay As You Are. We
don't really need to go on about
this because Brad already sells
a bunch of copies, and we're
really jealous. Let's just say he's
a post-modern comic-book
genius and leave it at that.
Harumph. Time to let the new talent come through, if you ask us.
(#6, $2, PO Box 30007,
Parkgate PO, North Vancouver,
BC V7H 2Y8)
<bradyung@home.com>
http://i.am/wastinqmylife
Word Under the Street also
provided the opportunity to discover new talent. Perhaps the
before you get to it. And then
you have to explain this to them
again without sounding insincere. I don't even remember how
long it's been since my neighbour Derek gave me a copy of
his band SLOGAN'S demo
(Slogan, by the way, just
played an all-ages out at the
Java Joint with The New
Town Animals and The
Evaporators). This week I got
him all riled up by telling him
that I
about
refused
•hen, lo and behold, i
to play in my discman.
Motherfucker. So anyway, coming next month, Slogan and
tapes, tapes, tapes. Oh, and
don't forget to call the mayor
and complain about this strike
shit! Tell him you caught the
Plague from all the rats in your
garbage-laden back alley or
something. Threaten to sue. •
CiTR
101.9 fM
DJ PROFILE
BRYCE l)Ui\i\
"THIRD TIME'S THU CHARM"
TUESDAYS, »:30-11:30 AM
Record played most often on your show:
Anything by Rocket From The Crypt.
Record you would save in a fire:
A Promise Is A Promise by The Lyres.
Record that should burn in hell:
Anything by Limp Bizkit.
Worst band you like:
Do I really have to answer that?
Last record you bought:
New: The Pinkz 7". Old: Mitch Ryder & the Detroit Wheels 7"
First record you bought:
Duran Duran, "Hungry Like the Wolf" 7".
Musician you'd most like to marry:
Since I'm already engaged, I cannot in good conscience answer that.
Favourite show on CiTR:
How can you make me pick just one? Motordaddy, These Are The Breaks, Parts Unknown.
Strangest phone call received while on-air:
I've been pretty lucky over my nine years here that I can honestly say that I have not received any, but
in order to appear somewhat exciting, the "fast talker" has graced my show a number of times. •
most striking publication that we
picked up was Poser. This is
one of a number of gay zines
that have appeared around
these parts recently. It features
writing on life as a queer punk
rocker plus some very pornographic photos. Yikes!
(Issue #3 for $2 or trade from
1457 Bentall Centre, Vancouver,
BC, V6C 2P7)
If that's not offensive to you
then perhaps we should let you
know that yet another of our fave
zines, Negative Capability,
has a new issue out. It's the continued oh-so-un-PC rantings of
New York/San Francisco's Josh
Saitz. It has to be the slickest, as
well as the sickest, per-zine out
there, and young Joshua should
certainly be applauded for total
dedication to his cause.
Impressive stuff indeed.
(#3 for $3 US from Box
225338, San Francisco, CA
94122-5338 USA)
<josh@negcap.com>
http://www.neqcap.com
Equally impressive is
Chickfactor, the only zine that
managed to score interviews
with members of the notoriously
shy-and-retiring Belle &
Sebastian. Number 13 is
available now, and it's a doggone doozy! Editrix Gail O'hara
and friends are still jet-setting
between New York and
England, meeting towering pop
people and scoring some rare
yet humble interviews. In this
issue they converse with Colin
Blunstone of '60s psych-pop outfit the Zombies! And if that
wasn't enough they also speak
to Naomi Yang of Galaxie
500/Damon & Naomi,
among many others. Over 60
pages of indie heaven can be
($5 US to Gail O'hara at 245
East 19th Street, New York, NY
CORVID REVUE
AUTUMN 2000
10003, USA. Of course, in a
just world you could buy this at
the corner store.)
Or even at Chapters, where
we were amazed to find a very
well written zine from Nepean,
Ontario called Otaku #5. Hey,
we don't shop there, alright? We
were just passing by, had some
time to kill... Ahem, anyway—
this fanzine has a lot ir
with hand-written per-
Cometbus and Van
Johnny and I Don't Give a Fuck.
As well as obvious format similarities, all three titles represent
the finest in punk posterity, offering wonderful personal anecdotes and observations of the
punk community and society as
a whole. The size is mini; the
subjects are humongous.
(A couple of bucks to Jeff Otaku
at 1 14 Canter Blvd, Nepean,
ON K2G 2M7)
Also covering the big topics
is Dave Hatton's BC-based lit-
zine, Corvid Revue Volume 2
#1. Dave is a quiet, unassuming
fellow with more opinions and
smarts than he lets on in casual
company. Dave is also a very
good writer and has been making zines for years. In the past
he's explored the topic of war in
an ongoing "Corvus on War"
column which also made
appearances in Bleek's own
Speck. A new series focusing on
bigotry, titled "Corvus on
Racism," is well thought-out and
has highly evolved material.
Also, this issue closes off with a
fascinating and scathingly informative expose on the Merritt
Mountain Music Festival.
($2, stamps or trades to Corvid
Revue, 2659 Jackson Avenue,
Merritt, BCV1K 1B1)
Phew! After all that bang-up-
to-date, top-quality stuff, we'll
probably be stuck for stuff to
review next month. Have pity for
us and send us your zines, damn
7 ~o*/-.e/m>.^ WOO Kill You
Boyfriend
DAVE COOPER
Suckle: The Status of Basil
(Fantagraphics)
You know how sometimes something will appear
out of nowhere and blow everyone away? The
odd thing is that often, when you look back on
the body of work its author has done, it was good
too. Maybe it all had to do with being at the right
place at the right time with the right idea, but
Canadian cartoonist Dave Cooper's comic
Weasel is the most talked-about comic of the year.
But we're not going to be discussing the one
comic every fan should have on their shelf. (I'm
not kidding, Weasel is utterly mind-boggling.)
See, the thing is, unless you're a huge Cooper
fan, you're not going to know that Weasel is a
quasi-conclusion with no connection to a concoction of Cooper's design—the Basil trilogy.
It started with Suckle: The Status Of Basil. Put
out by Fantagraphics in '96, it is not for the faint
of heart. It's set in the future, with lots of sex. So
yeah, this book isn't for kids. The beginning, of
course, tells of the genesis of Basil. He is born,
he sets out to explore, and he discovers. Basil's a
cute little guy who is sweetly naive and ignorant
of pretty much everything. Starting out in a barren
wasteland, Basil finds himself confronted by all
sorts of odds and ends—like a huge hollow sculpture of Cooper, machinery with no use, and foreign-looking, uncivilized plants. The rest of the
story revolves around Basil's growing awareness
of his sexuality, as well as finding a city that leads
him to meeting more than his fair share of
"friends." Scammed and taken to a live theatre,
Basil witnesses a graphic rape before discovering "Acting!"
It's an intense moment, wherein Basil discovers a virtual goddess and her religion, and experiences a subsequent epiphany of bliss. The
author drags the reader through the whole gamut
of emotions. He also envisions a future that's gone
two steps forward and five steps back. Thankfully,
Basil's a good guy; he's just a little confused. It's
almost like Cooper is using Basil to figure out that
enigma we call "woman." There are several
female archetypes in this comic. Mostly they fall
into the two standard categories: the virgin and
the slut. The pedestal or the muck. Throughout the
rest of Suckle the reader is invariably thrown for a
loop. Cooper is quick to show both sides of everything.
Artistically, Cooper has been compared to
Robert Crumb on more than one occasion—by
Crumb himself, for example. But whereas Crumb
:el!er
mid s
strength is his imagination. Every piece of metal
and fauna is natural, but unfamiliar and alien.
Everything has it's own language and symbolism;
Cooper sure likes those symbols. This comic
exudes all kinds of sex, yet it remains subdued
and subliminal. It's all in the shapes, baby.
Cooper's art is textural to the point of goopiness.
Thankfully, with each new book the blobs of stuff
everywhere dissipate. Some of his older stuff is
just gross. In Suckle, though, there's just enough
goopiness to soften the story and make it a little
dirty. Brilliant. Now the interesting thing about
Suckle is that it has a happy ending. Not so in
his next book, Crumple: it's a part of the same trilogy, so I'm going to wait right here for you to get
Suckle and get caught up. Go on, I'll be here
when you get back. •
check out discorder online
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Drop us a line: info@citygigs.com
sm^gsassB Damn, I thought I was in
dire straits this month, until
I started cleaning up my
office and uncovered more than
a few wayward records. Who
would have guessed ultimatums
from big boss-types could prove
so rewarding? Apart from the
sucky bits like crawling around
on the floor under my desk on a
hunt for ancient CDs and sorting
through thousands of "Dear Julie
Claire" nol-so-form letters, I did
find a couple of good bits and
pieces (and about 2000 hi-
literslj. Anyways, time to get
back to the music, the thing that
makes us all get down on our
hands and knees.
There's a new RIFF
RANDELLS single... and it
doesn't suck! Okay, so the
band's done some major shape-
shifting over recent months, losing Sean and Mar, gaining the
ever-grating Gibby, and they've
started wearing hot pants (A-
rawk, what are you doing?), but
they're still that same fun-loving
bunch of girls who just wanna
rock! Their a-side cover sounds
good, Cathy and Anne-Marie
can actually sing, and with the
music already there for them, of glam and gore ahead of
they can't lose. The b-sides, Riff them. (Peeps' fan address: 225
Randells originals, aren't at all South Hardy Drive, Tempe, AZ
original, but they've obviously 85281)
found that a formula gets you More brilliant than all those
places. With a North
American tour behind
them and their eyes on
some hot state-side
labels, these girls are
starting to fit in with the
crowd they usually just
,ake o
vith.
Yeah! (Mint, PO Box
3613, Vancouver, BC
V6B 3Y6)
On the Riff Randells
tip, coming off with only
slightly worse style, are
THE PEEPS I guess
's got
jhave —
one of these bands. The
Peeps are slightly more out of
tune and a lot trashier. The Riff
Randells I could at least take out
on the town (unless they're
drunk, whoa!), but these girls
would scare off all my buddies! I
like the Peeps; they've got their
sound not quite down, but in a
very hot and sexy sort of way.
They're on Sympathy, so you
can bet they have a long career
girls piled on top of each other
are the singles by MASCARA
SUE and THE MACHINE
GUN TV. Courtesy of a super
mystery package and a label
that always pleases, these two
Japanese releases kick it noisy-
style in a fantastically pleasant
manner. Mascara Sue's
"Dreamy Sleep" single dishes up
four amazing songs full of
3296 Main St. @ 17,h
876.9233
M0N-SAT11AM-7PM
SUN 12PM-6PM
www.singlesgoingsteady.com
GARAGE, Oil, SKA, HIP HOP,
HARDCORE, EMO, ANARCHO-PUNK
LPs • 45s • CDs
New & Used
COME VISIT VANCOUVER'S HEADQUARTERS FOR NEW VINYL
TOP $ PAID FOR PUNK VINYL
scratchy/scratchy tape manipulation mayhem, often sugar coated with the cutest nonsensical
vocals. Oh, and some screams.
Lots of weirdness here. This is
what DHR might sound like if it
didn't have that damn political
agenda. The bombin' bass and
static sounds sweeten out into
piano plunks on the last track, an
almost cohesive piece which
would be suitable for use as a
robot lullaby.
The Machine Gun TV is even
more of a sure thing. The beats
are hard core, and there's plenty
more messed up noise to be
had. With all these crazy spooky
sounds and painfully high-
pitched stuff going on, it's hard
to figure out what's best about it
all. I suggest that you all add
these singles to your home collections. You could get downright creative with a bit of fancy
gear and the inspiration found
here. (Detector, 6524 Harco
Street, Long Beach, CA 90808-
2242)
If it's gonna be all about creativity, it'd be about time to give
the mad props to To Rococo
Rot. Why do Germans make
such cool electronic music? I was
daunted by the 7" format at first,
but it proved optimal to the
sounds incorporated. "Smaller
Listening" and "Numbers In
Love" are both strong tracks,
both showcasing the ability of
less to do so much for the brain.
The minimal repetitiveness (don't
bother with the dancing shoes,
this is IDM) and gentle clangy
jangles create a sensory deprivation overload. What's going
on? Oh yeah, I'm feeling it!
(Soul Static Sound,
<soulstatic.sound@virgin.net>)
Taking it down a notch (not
on the sound scale but on the
enthusiasm scale) would be to
put some ABBC or MOLINA &
ROBERTS on the turntable.
Sure, they sound like strangers to
you now, but soon... Hey, doesn't ABBC stand for Amor Belhom
Duo (who?) and Burns &
Convertino (dude, Calexico!)?
Uh huh. And that Molina &
Roberts one—that'd be Mr.
SongsiOhia and Mr.
Appendix Out to you! Yeah,
nothing like a little covert indie
all-star action. The ABBC single's
sporting a track each from AB
and BC, AB's "Elevator Baby"
being all full of strings and sinister sounds and BC's "Outer
Battery" being a swank little percussion piece which could fit in
nicely in the best Film Noir on
the black market. (Wabana, PO
Box 381700, Cambridge, MA
02238)
Molina & Roberts take on
two traditional UK folk songs,
giving them the ache fix. If "The
Green Mossy Banks of the Lea"
isn't the prettiest love song
you've heard in ages, I don't
even want to know what's wrong
with you. Well, okay, sometimes
the recording sounds bad, but
we're supposed to be mature
enough to forgive those faults,
no? (Secretly Canadian, 1703
North Maple, Bloomington, IN
47404)
THE PINKOS looked pret
ty promising. Song titles like
"Pirate Girls" led me to
believe that I'd be hearing
of big ol' booty and other
fantastical naughty nautical
escapades; what I got left
me high and dry. All dopi-
ness aside, the "Pinkos
Theme Song" makes this
one worth checking out. It's
rock and roll with a message, and with a chorus
like "Hey! Hey! Pinkos and
Faggots are the USA! Hey!
Hey! Red and Black
in the USA!" you know
singer/songwriter Vanessa
Veselka has got a good head
on her shoulders. I am a fan.
Hopefully others will hear her
out. (Empty, PO Box 12034,
Seattle, WA 98102)
yeah,
Word! <
Oh
get i
CONSUMER POWER MEANS NOTHING
NOTHING
THE ALBUM
THAT'S RIGHT, THE ALBUM. IS SEMI-EXCLUSIVE TRACKS BY:
VEDA HILLE • NOMEANSNO • BEEKEEPERS • ZOLTY • L.S.D.J.
• BERNIEBOULANGER • FORD PIER & SCOTT HENDERSON
LARRY • PROUD MARY • PROBLEMATICS • SUBMISSION HOLD
• SARCASTIC MANNEQUINS • THEE CRUSADERS • TED DAVE
6 ~o*/*W.e^ WOO Strut & Fret
2000 WOMEN
Thursday, October 19
Church of Pointless
Hysteria
Friday, October 20
The Blinding Light!!
A festival dedicated to giving
solo artists the opportunity to
perform and showcase their
work is a grand idea. While
group shows at galleries,
evenings of video, and short
films at cinemas do provide
emerging visual artists and filmmakers with places to air their
creations, it's the solo performer with a little jewel of a
piece who's most strapped for
a stage.
Enter Bonnie Davis,
Melissa Montgomery, and
Jennifer Nikolai, performers in
their own right who shifted into
producer mode to provide the
concept, the venues, publicity,
and technical support for 15
solo artists in various disci-
plines.
The gala opening at
Pointless Hysteria was a
chance to sample some of the
performers as they presented
five or ten minute snips from
the pieces that they would do
on following nights at The
Blinding Light!! We could also
preview the visual art, which
along with film and video, ran
through the four days of the festival. I always make a point of
checking the visuals at these
multi-dis shindigs, 'cause it
seems they can get undeservedly overlooked. My peering through the darkness was
rewarded by Melanie
Greenaway's small photographs of Havana and
Sabrina Ovensen's nude self-
portraits with the skin cracked
and mossy like the bodies of
crumbling statues.
The performance section
was MC'd by The Delicious
Connie Smudge, who kept
things in perspective as only a
good drag artist can, and jollied the proceedings through
various technical—"testicle" in
drag queen parlance—difficulties. Despite the production
glitches, the performers were
100% professional and ready
to go.
San Francisco's Cynthia
Adams (one of the few participants not Vancouver-based),
paid tribute to her grandmothers in a piece called "In Good
Taste." Against a soundtrack
that was like an electronic circus, she wrapped and dressed
herself in layers of woolen garments, all the while executing
modern dance riffs as she chatted about the grannies' addiction to knitting. As the woolly
layers increased, she became
a fat, striated maggot doing
falls and rolls. It was wonderfully bizarre.
Leslie Ewan exerpted "An
Understanding of Brown," all
about growing up mixed race.
'Twas a bit preachy for my
taste, but well written with
some drolly funny moments.
Jenn Griffin—a tasty purveyor of growing-up tales if
there ever was one—brought
back her 1998 Fringe hit
"Drinking with Persephone"
and hit us with an hilarious
chapter from her pre-teen
adventures with fake ID in a
redneck bar.
Several works resurfaced
from this year's Fringe as well,
among them Monique
Bourgeois' "40 Weeks,"
excerpts from the diary of a
pregnant woman. The one
shown here was performed
with juicy gusto but felt weighted down by its literalness and
lack of theatrical imagination.
Maybe the complete piece was
more satisfying.
Susan Bertoia gave us a
slice of her beautifully skewed
work "Plum and Other
Colours," which had me racing
to The Blinding Light!! the next
evening for the full version.
Described as a physical surrealist comedy, it's a collection of
little sketches, each of which
has the flavour of a particular
colour. Sounds abstract, I
know, but in that good kind of
way that lets your intellect sit
down and shut up while you
receive if elsewise.
When I read about the
next item on the programme,
my first thought was: do we
really need another play about
breast cancer? As actor Nancy
Baye took us through the
process from diagnosis and
attempts at self-healing to the
inevitable preparations for
surgery, the answer became
yes—if only to make us more
have to deal with. Baye created the piece from the anecdotes and case histories of
others, but performed it with
such transparent vulnerability
that it was hard to believe that
she hadn't gone through the
ordeal herself.
Connie Smudge ended the
showcase with a searing lip-
sync to one of those disco
thumpers—"Wham Bam Thank
You Ma'am," I believe it's
called. She was magnificent in
a floaty tangerine frock and
delivered the number like a
true John Waters heroine as
she turfed her no-good man out
of the house during the verses
and pleaded humiliatingly for
his return on the choruses.
Only a Drag Queen is allowed
to be ffiar kind of woman in
2000.
2000 Women was the
launch of a series which the
producers intend to make an
annual event. It doesn't seem
particularly necessary to restrict
the idea to women, though. I
found the most exciting thing to
be the celebration and exposure of the Lone Artist as such,
regardless of their chromosome
configuration. Maybe next
year we can hear from the
happiness by miyu
You're sitting on the bus, and you feel so
damn lonely that you wish you could hold the
person next to you, grab their thigh or at least
their hand or something, but they'd be disgusted, hit you, scream maybe, jump up and get
as far away from you as possible at the very
least. It seems like everyone does this to you
anyway, and you're tired from it, so all you
really want is someone's shoulder, a pillow, so
you can go to sleep. •
Culture Shock
I The bitchy one!
The first month of culture shock
settles, and, as if I had been electrocuted, I let my electrons calm,
my hair lay down again, and all
the images of clashing cultures
fall randomly at my feet, like
shields for Caesar. Let the orgy
begin, the Canadian has fallen.
Eat, drink, and be merry, for
tomorrow we die.
Alcohol is forbidden here. A
cynical Brit—who, like most expatriates here, holds the weighty
weight of the White Man's
Burden—said it was "Forbidden,
like, chop-your-hand-off forbidden." Because that is, of course,
what Arabs do. At the first sign of
Western infiltration they pull out
the curved sword, bare their
teeth, and slice off any visible
appendage. It is illegal, yes, but
you can find booze underground
if you are absolutely desperate.
Most Kuwaiti police realize westerners have questionable morals
and alcoholic tendencies and
don't actively search our houses.
I have put my own home brew
on. Grape juice and yeast are
bubbling away in my hallway
closet: a monument to my addic-
I was recently invited to the
Canadian Embassy. It wasn't
nationalistic feelings that made
me go, nor was it the (very real)
threat of another Iraqi bombing
that made me think, "Hey, maybe
I should register with the
Canadian Embassy." Nor was it
the idea of all the Canadians in
Kuwait joining together for a
hearty "Oh Canada" in memorial
to Pierre Trudeau, the original "I
Am Canadian" ad. No, nothing
so patriotic.
It was the offer of free alcohol that did it—perhaps the
ONLY way that the embassy
could entice anyone out of their
lonely, dusty hovels and into the
cool marble bosom of "Canada
Abroad." Hell, if you can't get
westerners out for a good
debauched bout of liver damage,
what can you get them to do?
Because of the illicit nature of
alcohol in this devout Islamic
country, most of us had not consumed the distilled devil for at
least three weeks. We were all a
little desperate, and the illegal
rum and vodka '
rapidly and freely until the very
warm evening became a very
warm night, and we stumbled
home. No one questioned the
morals and ethics of the
Canadian Government smuggling in illegal, sacreligious, and
culturally sensitive materials for
the benefit of its citizens, myself
included. Me and my hangover
regretted it on moral and ethical
grounds the next morning.
But it's okay. I really think we
shouldn't worry about it. Most
white people here feel free criticizing and judging the Muslims
here as "not normal," "inconvenient," and "primitive." They complain about the laziness of the
"Bloody Kuwaitis." They whine
about how much money they
have, decry their driving habits,
shopping malls, and even blame
the weather on them.
Elsewhere in the world, a
new brand of colonialism has
developed, perhaps more subtle,
perhaps not. But Kuwait is the last
vestige of the old world, the last
remaining true expatriate community, complete with the Filipino
maid's quarters. The country is
populated with more non-
Kuwaitis than Kuwaitis: the majority of the foreigners are Syrians,
Egyptians, Iranians and, of
course, those of European
descent—who blanket them all as
"Arabs."
It's easy to forget about this
racism. Besides, it's all over here,
in Kuwait. I mean, why bother
about it? We don't do that in
Canada. No, we're a positive
role model for the whole world.
We've never referred to aboriginal peoples as "the Natives"
regardless of their own distinct
cultural identities. We've never
called Japanese, Korean,
Vietnamese, or Chinese people
"the Asians." I get bitter. I apologize. The dust gets to my brain. I
have a desert for a backyard and
long-necked sheep wander my
unpaved streets, upsetting the
gravel. I wait for the rain to fall
and smooth out the sand. I miss
the clouds. I miss drinking. I miss
beer. Send yeast, hops, and bar-
ley.
O The overly poetic one!
Outside my window, long-necked
sheep with thin faces wander
across my backyard. They clink
their bells, and the sound is
dulled by the roaring traffic that
slinks like a black snake through
the thick yellow sand. My backyard is a desert. It is dotted with
dusty shrubs and one tree, poetically in the middle. It lies low, as
if trying to stay as far from the sun
as possible. The bitter English
teachers I work with, those keepers of expatriate life, complain
about the desolate nature, the
ugly and dirty landscape. Quietly
disagreeing, I tell them there is a
certain beauty to the flatness, to
the heat. "I come from
Vancouver," I tell them, as if it
were enough. I would like to say:
"My lungs are still wet and cold.
All I can remember are mountains
and ocean and cloud. This is different. This is not home, but it is a
place I can explore and learn
about." I do not. I return to gazing out into the sparse landscape,
and nod. The young boys in their
dress-like robes on motorcycles
spin and stir up the dust in the setting sun, the woman in abayas
walk like up-right shadows, black
against the bright landscape.
Sometimes, down by the warm
sea, I see Kuwaiti families
explode onto the sandy beaches,
spreading out. The men strip to
western swimming shorts, the
boys too. The little girls wear
Spice Girls bathing suits, and the
woman wander into the water,
fully dressed, their huge black
cloth drifting free and languid in
the waves. Draped over water
now, as well as their bodies. (I
like to think they have the power
to catch fish in those waterlogged robes: clothes like nets,
capturing jewel-clad creatures.)
The songs of their lives seep into
my apartment five times a day,
when the mosques start the warbling call to prayer. Their cries to
Allah move across the desert,
past the oblivious sheep and soli
tary man standing guard over his
flock.
If it was not for the roar of the
traffic, this could be centuries
ago. But it is not, this is now, and
the Fahaheel Highway near my
window proudly displays fast
moving Jaguars and BMWs like
they were slick and shiny sharks.
SUVs, like hammer-heads, speed
and race each other, and the
timid Toyotas try to slip past the
slow moving dirty Datsuns. In the
north, in Achmedi, the oil towers
burn-off their excesses: far away
towers of flame burn loudly,
spewing chemicals and oil-
soaked ash into the hot air. This is
not centuries ago. This is now,
and the sun is almost gone, taking the gold from the sand, leaving it dusty grey. The lights of the
Emir's palace begin to twinkle on
the far side of the Highway,
down past the posh "National
Gaurd Club"—beautifully misspelled in three-foot-high gold letters. And down, further, past the
mansions and palace, the ocean
loses its blue, turns grey like the
sand and fades into the sky.
Sometimes there's more sand in
the sky than on the ground,
underneath my hot, tanned feet. I
am trying to walk softly, so as not
to kick up the dust and disturb
what took millennia to settle.
Next month: The Old
Colonialism meets the New
Colonialism! Oh, fun! Racism at
its best! Cheap seats still available. Let the pageantry of power Louder Than
A Bomb
Once again the mainstream media has
demonstrated its tacit
complicity with white supremacy.
I'm referring in this case to coverage of Larry Elder's newest
book, Ten Things You Can't Say
In America. Another in a series
of apologist books written by
right-wing people of colour, this
one claims once more that poverty is the result of being stupid
and lazy rather than resulting
from a combination of historical,
political, and economic factors
perpetuated by a corrupt and
inherently unsustainable socioeconomic system. The reviews I
refer to continually remind us
that since Elder's book is on the
bestseller list and the author is
Black, it must be most popular
among Black readers and therefore legitimate and authoritative
in its findings. However,
nowhere do the journalists in
question cite demographic surveys of who has bought this
book, or who among its reader
ship actually agrees with what
they read. I'm willing to bet old
Larry's Brown college degree
that, just like Dinesh D'Souza's
festering pile of excrement,
Elder's latest work is finding a
place in the libraries of primarily
rich, white readers.
I submit that Elder's book is
popular in the US for four main
reasons: 1) It serves to alleviate
the collective white guilt brought
about by the exposure of the
consequences of America's virulently racist and oppressive past
by putting a brown face behind
right-wing assertions about
poverty, racism, welfare, etc. 2)
It legitimizes the racialist dis-
and poverty, perpetuating the
myth that the majority of welfare
recipients in the US are Black
people who leech the system
(especially those nasty Black sm
oother
:: obvi.
ly the bane of civilized society).
If you check the latest statistics,
most welfare recipients in that
.ada) ,
country (a
white. 3) It erases white responsibility for continuing to benefit
from a system built by unpaid
Black labour and based on a history of exploitation by claiming
that the legacy of over 350
years of repression, cultural
genocide, and institutionalized
inequality have been totally
undone by two or three decades
of affirmative action. 4) It allows
the privileged (primarily white)
classes to ignore the problem of
the increasingly wide gap
between rich and poor (the
economy is booming, but there
have never been more people
living on the street) by first racial-
izing poverty and then engaging
in an unthought-out Social
Darwinist explanation for it.
In a country that strives so
hard to present the face of liber-
national image (while attempting
to remain ignorant of its own
monumental hypocrisy) it is no
wonder that a book that seeks to
silence internal critics sells so
well. The fundamental assumption on which this book bases its
arguments is that we have come
a long way in the last five
decades and that since official
segregation is gone there are no
more boundaries for people of
colour. What Elder fails to realize is that while certain gains
have been made, the most significant change lies simply in language. It is no longer acceptable
to go aro
same meaning as the above epithets, while being simultaneously
apparently "politically correct."
Elder's analysis is weak and his
arguments far less well thought
out than one would expect from
an Ivy League educated lawyer.
Anyone with a hint of analytical
ability and some basic statistics
nigger,
"wetback," or
rather than
change the attitude, it was much
easier to change the language.
The use of commonly codified
terms and imagery provides the
tion and subsequent career are
the result of a special "minority"
placement at Brown, yet somehow from his contemporary
place of privilege he fails to recognize the impact this had and
the opportunities it afforded him
to break the cycle of poverty.
Elder complains about being
labeled a bootlicker or an Uncle
Tom for having sold his soul to
the white upper class and its val-
the affirmative action pro- ues. Well Larry, if the Cabin
grammes he decries. His educa- fits... •
For a more clearly reasoned look at this subject:
hooks, bell
Killing Rage: Ending Racism
London: Routledge, 1994
>uld r
, this book i
short order. Here lies the greatest
irony of all: Elder is a product of
N ashley park
presents...
Cotun And CounrRy
www.oshleypark.net
www.kindercore.com
psychedelia and mixes it will
head-boppiiY pop hooks."
-Spin
i kindcRcoRc RecoRds
8 ~o*r**»HK WOO Last March I was lucky enough to catch a sold-
out show at The Columbia Hotel called "The
Red Devil Sideshow Spectacular!" which featured a handful of local punk and noise bands as well
as a veteran carnival performer named Jason Queck.
Although there was almost no advertising or promotion beforehand, the night was outright crazy and
easily one of the best shows I've seen all year.
The headliner was a mixture of music performed
by The Red Devils and a freakshow/fakir act put on
by "The Prince of Pain" (Queck's stage name). That
night I witnessed all of your classic big top events,
one of which was a girl getting a cement block
smashed over her stomach via sledgehammer while
she lay on a bed of nails. Let's just say this was the
least shocking exhibition of the night, and what followed reminded me of the old Jim Rose circus with a
more twisted slant. However, this time around Queck
promises an even bigger extravaganza.
He's now working with more performers and
more extreme sorts of acts. "For this show I'm bringing along 'The Marvels of Mayhem,' a group which
forms the core of my Terminal City Sideshow. These
performers forego any of the magic and illusion that
most sideshows tend to use these days in order to
pad their acts," Jason explained to me over a pint of
refreshing ale.
"It's all real, and it's all live," he says, a smile
creeping across his face.
So don't expect any levitation or people getting
sawed in half: everything in The Red Devil Sideshow
Spectacular is real and based on physical skill, a fact
The Prince of Pain is very proud of. From escape acts
to impaling, sword swallowing, and a planned body
suspension, this will be a guaranteed night of astonishment. As Vancouver's only regularly performing
carnival sideshow, these guys deserve some recognition and support. Not recommended for those with a
weak stomach.
This year, like last year, Queck will be teamed
with a noise rock (capital 'R' for ROCK) band called
The Red Devils. These four locals are as enigmatic as
HURRY! HURRY!
To The Red Devil Sideshow
Spectacular!
ulated clearcut logging."
Whatever you make of that, these guys rock out
some of the best and most original music I've heard
locally in a long time. Combined with the Prince of
Pain and The Marvels of Mayhem, this is going to be
By Shaun Korman
Russian polka epic dedicated to vodka
and borscht. Even though their song:
se, and the
held e
attention
on Mars: the c
boy hats,
devil horns, and thefj
buckets of faker
blood spread liberallylj
around the stage a
all helped to set theB
mood for the night.
Because all
band members share
songwriting duties and""
are constantly switching instru-""
ments mid-set, their music is pretty hard to
classify. One song would be rock (often weird
and instrumental—one song they just repeated the
line "This is the sound of the end of the world" over
and over again), the next song would be surf, and the
i^ones attentior
if with their mysteri
;tage presence, no
mention their balls
out rock 'n' roll baby,
The Red Devils tell me
they have an almost entirely fresh set of tunes ready to
rocket launched at the
specting masses. The
jgf Devils also have a message for
the showgoers, which Red Devil
#13 passed on to me with the
gravest sincerity:
everyone to know
that just because Elvis is dead doesn't
beer guts and rhinestone jump-
its should be forgotten. Also, you
should know that The Red Devils promote
hedonism in all forms, the eating of meat, and unreg-
photos by Erin Wild
one hell of a show—so be there! Hurry, Hurry, to The
Red Devil Sideshow Spectacular on Saturday,
November 25th at the Brickyard and be amazed, terrified, and appalled... all for eight bucks at the door.
Oh yeah, there's a rumour of an old style Punch
and Judy puppet show for an opener, so try to get
there around 10 o'clock.
See you there. •
HOPELESS I SUB CITY
H.E.A.R. THIS
ctmtam,
Canada Tour 2000
SELBY TIGERS BQ
FIFTEEN
HOPELESSLY DEVOTED TO YOU Vol.3 u i m u g>y
Nobody cares about the piano player. Pressing
keys is somehow less appealing than pressing
strings on a fret board. The piano is fat; the guitar
sleek. The piano is stationary; the guitar moves with
the player. The pianist can do nothing except
spread his legs and straddle the bench—and no
one really wants to see that. The piano in no way
resembles a cock.
People should recognize Paul Plimley. Not
because of who he has played with (Cecil Taylor,
John Oswald, Joey Baron, etc.], not because he
plays piano without a shirt on (he doesn't], or
because he's able to move his fingers as accurately as Page, but because he has an ear, an intuition,
for music most of us cannot hear in our heads until
he plays it.
Plimley talks the way he plays. One idea leads
to seven more, and his answers never matched my
questions. The only time he stopped talking was
when we went to the Tom Lee piano department,
where he pushed his ideas into his fingers, where
they translated more readily.
OnB
mng
10 -^*W^ &00
"The first thing I noticed about the piano was that it
made a big impression in the living room when I
was five years old. It was for my mom. She took
lessons for a while. I started playing when I was
seven. I went the traditional route of doing classical
and all of that. It was a lot of fun just to sit there and
twiddle my fingers, so to speak. From there, I had
some bad experiences with teachers. Sometimes it
was so bad, with one particular teacher, that I
remember once having the flu, and I was very sick,
but I got to miss my piano lesson, so I was actually
glad I got the flu. I quit when I was 11. At age 12
I took up guitar lessons with a guy named Peter. I
quit that when I was 16. At 16 I came back to
On Teaching
"My youngest student is four, my oldest is 75. I try
to encourage music as a practice of personal and
creative possibilities and that while there is a sense
of discipline to learning anything, with music it's
gotta be fun, so generally I'm in a pretty good
mood. Sometimes I get a little cranky. Hey, don't
we all? I basically want to encourage their personal expression and creativity through improvising.
It's interesting, you know, I've noticed over the
years that some people, kids even, a lot of kids just
aren't interested in improv. To them they're like
'What's the big deal here?' Other people are into
it right away."
On Talent
"I was not able to read the phone book once and
memorize it. No. Nor did I even try. I was pretty
normal. The real value of what I do is not really to
do with technique but how I am able to connect
with what I would call the spirit of music, that which
can only be attained or accessed through something greater than just thought patterns. It's a letting go, and it's an entering into what I would call
a state of intuition, creative energy. This is kind of
the prototypical description of being a vessel or a
finely tuned radio able to receive vibrations from...
goodness knows where. I don't know."
On Selling Out
"Investing deeply into the jingle business, or playing vapid pop songs that are nothing but endless
cliche after cliche, or, in a sense, playing without
any real commitment [is selling out]. It's not so much
the style that determines the quality level, it's really
what is being put into it: how much are you giving
of yourself, and how much are you letting go? To
me, whether it's gospel music or East Indian music
or jazz or classical or folk singing or blues or whatever, the celebration of life can only be meaningful
when there is the sense of getting ready to testify in
whatever way that is natural and applicable for
you. You kind of go at it from a sense of totality, in
a sense saying, 'This is my life.'"
On Status
"Facets of society sort of dress up their wrappings
to accommodate their cultural sense of self-
acclaimed sophistication. The piano also had a
wonderful alternate history in the United States,
starting from the time of Ragtime and going into
the areas of New Orleans from about 1 900-1930.
The piano, really, was for everybody. It wasn't just
wealthy people. People were able to buy them
more easily because they were a lot cheaper and
so on, but now there's that sense of the piano being
analogous to this kind of establishment, very sort
of fringe oriented, but oh-so-self-congratulatory type
of people. It's subversive; it's the sense of not giving
a shit about propriety but wanting to cut through
all the crap that is layered in society—the way people are alienated, the way that people are subjected to class and race and gender biases, the whole
thing. Who you are as a person and what you play
on whatever instrument is really the issue to what's
going on.
The funny thing is, what we call "classical
music," the best of that stuff is inspiring to me
because it is in a state of greatness. The fact that
we have this stuffy, formal, sort of fucked up series
of people who don't really care about the music
embracing so-called official culture, well that is
what it is, but that's not how I relate to music and
it's not what I believe in. They haven't exactly been
calling me to play their salon concerts on Sunday
afternoons while they entertain business bigwigs in
the light."
On Passwords
"I've known Henry [Kaiser] for 21 years, and we
hadn't done an album, so in '97 we finally got
around to making an album. So we simply got into
the studio, improvised, and for the second session
we asked Danielle De Gruttola, the cellist, to join
I like about three quarters of the album. There's
about two or maybe three improvs that I wouldn't
care if they weren't on the record. Maybe I'd even
be happier. Cut number two I can live without. It
didn't have a particularly evident centre to it. It
meandered a bit and it didn't really get to the
point. It just kind of went along without really saying anything to me. Not every improv is going to
be a bull's eye. I wouldn't say it's horrible, it's just
non-descript."
On Radio
"I'm working on my voice, in a dramatic sense, not
a singing sense, working on everything from concept characterization to voice over and projection.
I've got quite a bit of written material for a radio
show. You could call it an overall play, but it's esen-
tially this: it's pushing the momentum of a creative
energy in radio so that instead of having the rather
predictable static medium of one announcer talk
ing in between the music or having just an ordinary talk show in a linear format, I seek to have a
constantly shifting environment supported by the
use of samplers and means of constructing different
backgroud environments, changing characters,
some of it written, some of it improvised, some of it
incorporating some standard ideas like phone-ins,
having guest artists speaking, but also this kind of
thing of blending and merging the sense of what
music is and what the musicality of the spoken
word is, and I guess looking at the ways in which
sound itself can be felt and treated as a magic
I do like Coop radio. CBC can be good, but
it's a little bit sleepy. I have to admit, I don't listen to
much of the AM radio, which has got more sociological-political discussions carrying on. That's
something I should check out more. For the most
part, radio sucks because it never takes the ball of
imagination and runs with it. It just seems to be the
old sc
e old."
On Vancouver
"The good news about Vancouver is that it is a
great city to leave. I've moved from place to place.
I have spent time in New York for three months,
back in '93. Also I've played in Europe on many
occasions, in the States a lot, and Canada a lot, so
it's good to get away. I go away four or five times
a year for two to three weeks at a time. That gives
me the cosmopolitan edge that I use in my mental
karate. I guess what I'm getting at is that
Vancouver, as a home town, has a certain kind of
built in complacency. Vancouver's kind of cluttered
with all sorts of Starbucks-haberdashery-knicker-
bocker-provincial-like things to get distracted by
instead of getting down to business, which is the
making of as great a music as possible."
On Hems
"In no particular order: I like Glenn Gould,
Vladamir Horowitz, Wilhelm Kempff, Richter, Mary
Lou Williams, Cecil Taylor, Errol Garner, Bud
Powell, Bill Evans, Keith Jarrett. I'm not so hot on
Elton John. Anyone who's not really giving totally, I
get less than enthused about. Looking into
European music stuff: Debussy, Bach, Hayden,
Mozart, Beethoven, Schumann, Liszt, Chopin,
Wagner, Scriabin, Schonberg, Stravinsky, Bartok,
Stockhausen, Sun Ra, John Coltrane, Captain
Beefheart, these are a few of my favourite things..."
On Ellington
"Ellington's music is perhaps in a way the closest
that I can think of where the actual content of the
sound of the orchestra comes so close to directly
tapping into what human feelings are. So there's a
sense of beauty and elegance and it's very sensual.
It's a kind of vibration that creeps beyond the detritus of the busy mind and just works on hitting one's
inner being. That sounds a little wordy. I apologize,
but I can't think of a way to say it."
On DiSCORDER
"DiSCORDER isn't afraid to publish what the people say. And you guys even swear a lot." •
Everything in Stages (Songlines)
Passwords w/Henry Kaiser and Danielle De Gruttola
(Spool)
Ivory Ganesh Meets Doctor Drums w/ Trichy Sankaran
(Songlines) eUSBLETf P«M it BLEEK
The year is 1967. Ashley Park's Terry Miles and
I have just met in a far out downtown London,
England cafe for a cup of hot coffee. I've never
met Terry before, and when I see him I immediately recognize him as the face that must be the
creative force behind Ashley Park. Besides, he
looks just like his picture on the sleeve of his new
album Town and Country. Terry reminds me of
the young Simon Turner, Britain's teen pop idol
with perfectly straight facial features and flowing, groovy hair. He's just about to take his
music on the road and is smiling and affable.
He looks forward to the tour with excitement and
dread, but he's got what it takes. The birds are
going to love him.
Okay, so we're not in London and the date is
October 2000. We are actually sitting dow.
coffee at a cafe on Commercial Drive in Vancouver,
BC, Terry's home for the last nine years. The rest of
the story I have related is true. Terry is kind and
genuine and something of a square peg in the
Vancouver music scene. This is neither good
nor bad, just an obvious difference.
It's the "light" nature of Ashley Park
that sets it apart from many of the bands
currently working around these parts. | ,
Terry's former band Saturnhead played _ .'•_ /
Vancouver for a few years, gaining /|\ I
respect and a reputation as an indie-rock •
band with fine ideas. Fine ideas are well
and good, but Terry was moving away from
the guitar-based rock element and turning
his attentions toward the chic and stylish
'60s pop sound. Terry came to an appreciation of this music honestly, through respectful
listening and searching for lovely melodies
of the past and present.
My own appreciation of light pop came
out of a misdirected irony; a way to annoy
people, moving naturally from SPK to Boyd
Rice's Music Martinis and Misanthropy. From
there to the evil genius of Momus and right on
into retro easy listening. Now I really enjoy the
stuff.
DiSCORDER: What sort of things are you
listening to at home or on the road?
Terry Miles: Hopefully we'll be taking the
High Llamas, the Drag City EP, if we could get a
hold of that it would be nice. A lot of the '60s
pop stuff, I guess.
I got a Small Faces compilation a
while ago.
Yeah, I just copied a bunch of Small Faces from
a friend of mine. Not that I'm into bootlegging, it's just so I can pick out where to
good music out there, we'll probably
take some Momus and maybe some...
all the Kinks' records.
How about the Vancouver scene,
what's your opinion of it?
I think there's a smattering of really good, amazing things and then... that's a good que:
because I don't think I've ever felt a real kinship
with Vancouver bands.
That would have been my guess. You
seem to have broken out of what seems
to be that old-school muscle in the Vancouver scene these days.
I mean I love them, all my friends are in the
bands. Aside from Destroyer, who I love, there's
really not much that's the same kind of feeling. I
feel more kinship with the Kindercore bands,
which is why I sent out copies to [labels]. I sent
out five copies, and everyone offered some kind
of a licensing deal.
Really, which labels?
Oh, I don't wanna say. I'm not gonna say, but
because they were really nice. A couple
of them were upset. Not like angry, but Kindercore
was the one. There's many [labels] that I love that I
didn't send it to.
Kindercore is fantastic. I enjoy local bands
like the Riff Randells, Radio Berlin, and
Automovement and stuff like that.
Radio Berlin and Automovement record at the
same studio I do, so there's sort of a loose connection there. My friends run the label.
t enjoy that stuff, but it's certainly not a
Kindercore sort of thing. So you're
about to go on tour. Why do you have
to get up so early?
Ah man, last time we had to get to Portland it
took us 1 1 hours from when we woke up here to
get there, so, you know.
Aren't you playing in Seattle?
Seattle's a nightmare to get shows at, but we're
It's a big list.
Obviously, yeah. I would love to tour with the
High Llamas and the Lilys, of course.
If you could live in any city at any period of time, where would that be and
what period?
London in the '60s for sure. Mid '60s to late
'60s, yeah, the swingin' '60s, right as it was getting out of the kinda rock 'n' roll stuff, like that
Mojo CD / 965. Did you get that CD that came
with Mojo magazine last issue?
No, what's on it?
It's all that stuff from 1965, like there's some
Bowie on there... "Waterloo Sunset" [by the
Kinks] closes it. It's so nice. Just right after that
ild be my ideal time.
If there was a movie about your life,
who would play you?
Tobey McGuire.
Who's that? I'm afraid I don't know.
He played in The Ice Storm. He's playing Spi
derman in a new movie, yeah. No, I was just kidding. I don't know, I like Tobey McGuire though.
I don't know, that's a hard one. Audrey Hepbi
hehehe. Maybe Tim Roth or Gary Oldman
Rosencrantz or Guildenstern, either of those guys
Would you think of yourself as an
anachronism, you know, in the wrong
place at the wrong time?
I would say so except that for all the like-minded
bands that I've been listening to, so apparently
Why is there a resurgence of this
smarter, lighter sound?
I don't know, but I'm so glad there is. There's so
much out there to discover. I would think that I
would find that one band to focus on, like
Mojave 3—1 love Mojave 3—but there are so
many bands out there, you know? I don't know
why, but I'm sure glad they're there. •
We opened that show here
as Saturnhead, and we
played with Beachwood Sparks
after that too.
Who are you playing with on the road?
Of Montreal at some point. We're playing
with... Call and Response, at least I think we
are. I don't remember, though I booked a lot of
the shows myself.
Who would you like to tour with? Any
bands, you know, like past or present?
I'd have to go with more current stuff, just [INTERNATIONAL] NOISECONSPIRACY byjulie C
Dennis Lyxzen of the [International] Noise
Conspiracy is a fine example of Swedish
straight-edge political manpower. Damn, he
fronted the powerhouse known as Refused, and now
he's kickin' it live-style as stylish head<onspirator in
the Conspiracy. When I got him on the line from his
home, I had to keep my gushing fan-gid tendencies at
bay long enough to get a few questions out, but I did
forget to ask anything I actually wanted an answer
for. Maybe when he comes to town this month,
November I Oth at the Starfish Room, I can finally ask
him to enlighten me as to the meaning of the Black
Mask and to dish the dirt on functional collective living.
Until then, I'll just have to keep dying my hair black
and plotting the upheaval of capitalism!
DiSCORDER Hi Dennis! Can you give us a
quick story about the Noise Conspiracy,
about what you do?
Dennis Lyxzen: I guess what we do is we're sort
of a Marxist rock band. We play pretty good rockin'
music that's also a full-on critique on capitalism.
And how does that work in your home
country of Sweden?
Ah, it works alright. I mean, no one's impressed by
us here [laughter]. All in all, it works pretty good.
Do you get in much trouble?
Not really; Sweden is a very liberal country. You
can say pretty much whatever you want here and
get away with it. We don't really get in trouble for
the stuff we're saying here.
But does the (International) Noise
Conspiracy act out? Do you take action?
Every show we play and all the stuff we do is part
of an action plan, definitely. We're active in numerous things, not only concerned with music.
So, besides the many 7"s and two CDs
you've got under your belt, what else are
you responsible for?
Oh man! A lot of causing some havoc and destruction, I guess. What we do also is
called the Black Mask
Collective, which is like a l<
political gathering of people
that puts out records and political writings and stuff like that.
You know, we try to be active in
any way we can.
So you live the lifestyle
that you preach?
Well, the thing is that as long
on these shores?
I don't know yet, really. Generally, people seem to
be excited about the prospect of us coming there
and playing. I'm not quite sure what they'll say
when we start rambling politics at them. I think,
however, that the general idea that the people
are fed up with "the Man"
Refused? How was that received?
We only t<
> kind of hard
socialist. It's not the best... I
can't find the word... screw
that! It's hard to live the life that
you preach when you talk
about being a socialist and you
live in a capitalist world. We all
live in collectives, we all work,
you know, collectively with the
music and with the ideas that
we have. We try to incorporate
as many socialist and radical
ideas that we <
everyday life that we live. Does
that sum everything up?
Sure. So does the Noise
Conspiracy live in one big house togeth-
n different collec-
3 big house.
er?
No, (
bunch of us li\
other collectivi
guess, but si
a hous
I think there's a need for s
I ioned punishing of America.
1 Only America?
Oh, not only America. We'll punish Canada too,
don't worry!
People over here are still more familiar
with Refused than the Noise Conspiracy.
Yes.
We toured
'96, and then we toured for like eight
then we broke up the band. I don't really know. Refused was one of
those things that happened
after we broke up, you know.
No one really cared about us
for seven years, and then we
broke up, and now everybody
really likes us. I don't really
know how we were or what
people thought of us.
Are you packaging the
same messages?
Oh yeah, but a bit more
focused and a bit more radical. Since I was the manifesto-
maker of Refused, we
definitely took the same ideas
but just made them a bit more
bit more
focused. Yeah, definitely.
And how does your solo
project, the Lost Patrol,
come into all this?
Oh,
of tho:
How is your message being received over Did you tour much over here with
corny singer-songwriter
things. I'm very fascinated by
the whole protest-singer
movement. I just wanted to do
:ould actually talk to people
between the songs and not be all fucked because
you've been jumping around all the time. So, you
know, it's just one of those things. I just try to sing
the songs about love and revolution, I think. •
3 project where I
T&SS %AHI J^KE
—Borders i& Boundaries
■ mmum
* *,*l
"3B C_i ~3» j
New
CD/LP
Ou
Oct.
24th
2000
Produced by-.
Steve Kravac
& Less Than Jake
Mixed by.
Bill Stevenson
Stephen Egerton
Jason Livermore
mm&m FAT WRECK CHORDS P.O. Box 1936do San Francisco, CA 94i\9 \
Borders&Boundarics
fe ~<3*rtlSYVlt>JlA. WOO (E&6 litHles
Elliot Trudeau (aka the arrogant stud) just
died. Does anyone anywhere else in the
world give a shit?
Kate: Maggie Trudeau shagged Mick Jagger, so
ber how unpopular PET
DiSCORDER: So I was told that the Lollies
consist of one Vancouverite, one
American, and two Brits. How did this
come about?
Lollies: The Lolli
brought togethi
through th.
ders of the Internet. Bassist
Jane Mountain, originally fi
Canada, had moved to England
rself in the Lond<
Meanwhile, London-born but Ne^
»t Kate St. Clai
an expired gi
awkward decision of staying
her way back to England. Afti
s post-New Year's party, Kat<
up with roaring hangovers, a
written-on-the-spot, infectiously
Is A Lesbian Now" (a true st
acquaintance) running through thj
party guests. In late surr
Lazowski arrived in Lond<
pair of drumsticks
interview them for her fanzine, Vacuum Boots, after
hearing a buzz about the band on the net. Upon
learning that she could play keyboard, The Lollies,
impressed by her glittery boots, immediately asked
her to join the band.
On the off-chance that this e-terview
II be written, proofread, published, and distributed by the
time you make it to North
America, why don't you run
down the tour for us.
Rockrgrl Music Conference '00,
Seattle, Washington: The
Elysian, Nov 3, 9pm; The
Meow Meow, Portland,
USA: Nov 5, time TBA;
The Brickyc '
Canada, Nov 6, time TBA;
Notting Hill Arts Club, London,
UK: Dec 16, a RoTa event, time
BA.
New CD: Bang, bang, bang.
Lookout! Lookout! Lookout!, our first
CD EP is now officially released. You
get it by ordering from www.thelol-
.co.uk or from www.roughtrade.com or stopping by Zulu Records.
How exciting is all this?
It is pretty thrilling to be getting well out of the brilliant but slightly insular Londor
we've managed to sort out transportatic
by Jamaal
weeks ago, I've probably received 15
emails from your listserv-type thing. I presume you all have a pretty positive opinion
of the place of the internet in music, promotion, etc.
gigs, we'll have c
excitement. Though K(
about it all until she p
up) because of it. Cut!
On November 1 It
observing Remem
remember Canadi
kill people from ot
ter than a pop m
found perspective
Well that's a pretty ea
jch else
because of vs
developed
appreciatic
sugary girlpop. On the
recommendation of soml
up on Kate's doorstep, ■M
one who needed a drurw
puzzle fell into place les
first gig. Token English p<
originally come down to
lutual friends, he turned
idering if she knew any-
hr. The last piece of the
Ban a week before their
Ion, Rachel Angel, had
Ihe Lollies' rehearsal to
star, I just play one c
internet we've got
booked dates in North A(
rely on a fa:
label. Said
approach us to offer
Tell me about the so
British culture
about people in ban]
you get tends to be "
band. Now when c
ing your time and becomi
Wh(
Plus, using the
fanbase and
thout he
ig corporate
should feel free to
■act if they so choose.
where you live.
icouraging and posi-
that cute, you're
fu going to stop wast-
lwyer or something?"
ical. It'
without all the tragedy
tiful wc
What are the
bookies in England
marry a black
2222-1
In this space you n
comments you bel
ered in your appl
notoriety.
What, there's an ap
know that. There sho
roll. Give us glitter,
curre pdds
respect for it. Our rehearsal space in London, The
Joint, is like a little family with several bands who
all go out to each other's gigs and offer support
and work together. It makes all the hard work and
cost seem worth it.
So former Canadian Prime Minister Pierre
being given by
pt Prince Charles will
provide any further
e should be consid-
ion for pop culture
tion? Damn, we didn't
i more glitter in rock 'n'
ie will share it with the
iquip-
>r each of
enjoy the
lys she'
(that's British for picking
ys be warned!
/e in Canada will be
ince Day, when we
who died trying to
countries. Who bet-
:ian to offer a pro-
the subject of war?
me. War is bad. There's
though there have been
logical advancements
gnetic tape. Imagine a
vithout magneti
In the song "Greentard Marriage," you
sing the line, "...like cubic zirconia shines
so bright." I have a friend who thinks that
cubic zirconia will one day rule the planet
with an iron-like fist. Any opinion?
Your friend is weird. Either that or she owns shares
in QBC. Besides, everyone knows the Black Star of
India is destined to rule Earth.
Have you ever really bought happiness
and gotten one free?
Yes. Yes we have.
Since I first contacted you a couple of
)3Efr%5M£[E®
VU-b A^»*fsa*«H~ JR Ewing ore a great band out of Oslo, Norway.
They've only been together since 1998, and
h Erlend and Anc
DiSCORDER The JR Ewing statistics.
Erlend: We started up in early '98, and sines
chang.
line-up is: Andreas on vocals, Jonas on drums,
Petter on bass, Martin on guitar, and myself on guitar. We have one 7" out, two split 7"s, one full
length CD/LP, and 'he newest thing is a CD with ell
the old 7"s, as weil as some compilation-tracks and
an unreleased old song. We've toured three
Europe. We've also played plenty of shows around
Norway and right now we're taking a break until
January because our guitarist is in India with his
girlfriend. New songs are being made for a new
release—what format is still unknown.
You don't have a "typical" hardcore band
name. What made you choose JR Ewing?
Erlend: The name comes from the character JR
Ewing from the soap opera series Dallas. Myself
and the singer have always been big fans of the
series and we chose the name in lack of any other
good ones. At the time, the band was not supposed to be really serious or anything, and that's
kind of why the name is not so serious. We've
grown to accept it and at least it's a name people
remember, which is always a good thing.
How did calling in dead come together?
How did you hook up with Coalition in
the Netherlands, and how is working
with the label? Coalition has a very
impressive history...
Erlend: When we returned from our tour in '99,
we were supposed to split up, but the tour made an
of shit for thot. But I mean, when we played here in
Oslo two weeks ogo, over 200 people showed up
and danced their asses off, so we've definitely got
an audience. The old-school scene is close to
dead, and there aren't a whole lot of straight-edge
kids left, but there are some hardcore bands playing, some good ond some not. The scene as a
whole for hardcore seems pretty gone, and not a
lot of people go to the shows anymore. We have
more in common with the punk rock scene, based
around Blitz (a famous squat in Oslo), but also a
whole lot of other people—everything from indie-
rock kids (not hardcore "emo kids") to rock 'n' roll
fans, so I'm very happy about that. Thank God we
reach out to many different audiences, or else it
would be very sad.
Andreas; Lash Out is dead by the way. Well,
there are a lot of different bands. Unfortunately
very few good ones, but the crust/power violence
bands like Jin Rick Shaw, Infamy, John Hissing
Committed Fucking Suicide, make it all worthwhile.
As Erlend said, the people that come to our shows
in Oslo are damn varied. From grungers, satanists
(the drummer from Satyricon is supposedly a fan of
JR Ewing), hardcore kids, drunk punks, PC kids, lo-
fi people, synthpop/electronica people to just
what-the-fuck-ever, you knowl
"Hardcore." "Punk." What do these
words mean to you?
Erlend: Hardcore in my ears sounds a little bit too
macho for me to relate to completely. Most of the
bands in the hardcore genre that I listen to are
actually just punk rock bands with different sounds.
"Hardcore" makes me think of Victory Records or
early Revelation-stuff, and neither of these things
really apply to me. "Punk rock" is something I can
relate a whole lot more to, as I think our sound is
pretty punk rock in many ways, and in my eyes JR
Ewing is far from a "hardcore" band. None of us
■ILL UlililLii
impact on us and turned out to be very inspiring in
different ways. We had a couple of new songs
already and decided to just write a bunch of new
ones, and we wrote it all in two months. It was
easy for us, as the chemistry in the band was great
and we had a bunch of ideas we wanted to make
happen. So by December '99, we had 12 songs
we had worked hard on, and went to record them.
The whole recording, including mixing, was done
in six days around Christmas time, and we were
really happy.
How we hooked up with Coalition: they
emailed us to order 60 7"s—which is a whole
lot—and we happened to mention to them that we
were thinking of recording a full-length record.
They were really interested, as they had seen us
at the Leper-fest last year. We sent them a tape with
some songs and we decided to do it together. We
had a few different choices, but stuck with
Coalition Records as they are great and honest
people, plus they've released a bunch of awesome
bands and they seem to work really hard on their
label. We're very happy with the work they've
done for us, and the fact that you have our record
kinda proves they've done their homework. Hehe.
There certainly aren't a lot of people living in Oslo, yet the scene there seems to
be pretty strong, and the musical styles
quite varied. You've got your Lash Out,
your Sportswear (RIP) scene, and the
older, more "crusf'-influenced scene.
Where do JR Ewing fit in?
Erlend: Well, JR Ewing has turned out to be a
band that appeals to all sorts of people. The ordinary HC-kids don't really have an interest in us,
and we don't have much of an interest in them.
This is all because of the fact that we've said things
on stage that they don't agree with, like talking
about their so-called "unity" etc, and we got a lot
n ~o*s***^ awe
are straight-edge, and although we come from a
hardcore background in some ways, I believe the
people we reach out to, as well as the way we
sound, has everything to do with rock 'n' roll and
punk rock, and not hardcore. I don't know if you
think there is a difference, but in my eyes there is.
I'd rather listen to Drive Like Jehu and Government
Issue than Hatebreed and Snapcase, to put it that
Andreas: I don't know, just something I've been
heavily involved in for several years now; doing
shows, playing in bands, touring, making shirts,
doing zines, flyers and stuff. I agree with Earl and
I consider myself as more of a punk kid than a
hardcore kid. To me, punk doesn't mean the musical aspect of it. Punk is about being aware mentally, politically, and environmentally. Not about
dress codes and how dirty your clothes are. 1
remember Earl, some place in Germany, asking a
guy why the hell it's sooo impossible to clean up a
squat once in a while. The response was that to
do so wasn't punk at all!
Can we, the hardcore scene, make a
change?
Erlend: It depends on what changes you have in
mind. I don't think you can make much of a political change, but on a personal level you can make
all the changes in the world, which I also think is
the most important—at least for me. It's like vegetarianism. The world won't stop eating meat, but if
you do, you will most likely feel better about yourself and it will make a positive change in your life.
If Boy Sets Fire think they can change the world by
talking 10 minutes between each song and by
being on every Victory sampler, then they're dead
wrong.
Andreas: Well, I think so, but maybe on a scale
where it doesn't give that much results. An example
is Mumia Abu-Jamal. Sadly, he's still in prison,
though not executed as the sentence was originally set several years ago. Punk and hardcore bands
have done benefits, flexidiscs, and all kinds of different support and help to spread the message
about Mumia Abu-Jamal. I guess on a whole it's
not about him, but people who are imprisoned for
their political beliefs.
Are politics important to JR Ewing? Do
you think hardcore has lost its political
edge?
Erlend: Politics are important for some of the members in JR Ewing, but we don't consider ourselves a
political band. The band as a whole doesn't have
a political agenda. In our case this is not possible,
as the various members have different opinions on
issues, and it would be wrong for us to pretend to
all feel the same, as many bands seem to. In many
cases the political ideas are the driving force of
the bands, and this represents a nice challenge to
all the moronic, non-thinking, and narrow-minded
macho hardcore bands out there. Bands like His
Hero Is Gone and Catharsis have been inspiring
for me, and I salute the fact that they say the things
they do, even though not all of it is relevant to me.
Or, to re-phrase myself; it's hard for me to actually
"live out" many of these ideas. Though I might
agree with them, in some ways I feel reluctant to
act out on it all the way. But as long as you draw
some relevance from them, I think that is the most
important thing.
Andreas: I would dare to say that some of my
lyrics have a critical, maybe a sarcastic view of
the community I live in, or rather social issues. But
that is my personal view on things. Sometimes I
attend political meetings/workshops and demonstrations that I find appealing, but again that is me
as an individual. I feel it's not right to voice my
political opinions in the band since we do have
different views on things.
What sort of goals do JR Ewing have?
Erlend: We want to take the band as far as possible, but there are limitations—such as work,
school, and all that bullshit. We want to make
another record and do another tour, but it's important for us to settle how we're going to do things,
and so on. The members in the band are often way
too busy to be able to play shows all the time and
stuff like that.
Andreas: Well, obviously music. I grew up with
music around me all the time since my dad runs a
record label. My friends and family really make it
worthwhile. I think one must never forget the value
of friendship and we must not take it for granted.
There are always periods where I can't stand
being around other people, like sitting in my apartment alone, listening to Joy Division and Portraits
of Past, feeling sorry for myself, hehe. I also love to
write; I've been doing it for some years now. I've
done about five or six different 'zines and have
material for about fifty more. Someday I would like
to write a novel. You know, things sometimes bottle
up inside of you: whether it's love, angst, depression, happiness, frustration, joy or what-the-fuck-
ever, and there are different ways of handling it. I
do it through writing and drawing.
Any plans to tour North America?
Erlend: We've been talking about it many times.
Lately it seems like there's a growing interest for
the band in the US and Canada, as we've
received emails and letters from people there, but
I've heard so many discouraging stories about
European bands touring "over there." I think our
musical style would be well-received, as many people seem to be into "the Scandinavian sound."
Since I have so many friends in bands over there,
it would be easier to go over and get shows. But
we'll see what the future brings.
When you're not doing JR Ewing what
are you doing?
Erlend: Well, I'm getting more and more involved
in something called V8 Management, which is
done with a friend of mine from the band Lash Out
and some other people. We do booking for some
Norwegian bands (not hardcore or punk bands by
the way) and I also book some foreign bands for
shows in Norway. I just started there, but it seems
like it will be a somewhat full-time job in the end.
Other than that I work for an internet provider, but
this work has started to get pretty boring so I'll look
for another one soon. When not working, I hang
out with my friends, drink, dance, and have fun.
I'm blessed with a bunch of good friends, and I
love to just hang out and fake it easy.
Andreas: I play in an electronic synth-pop thing
together with Earl, a power violence band, and an
Iron Maiden-ish heavy metal band. Besides that I
just started in a new job with Norway's biggest
insurance company. To be honest, I totally hate it.
I've spent the last three years working with children, and that was just so fucking cool. 1 loved it,
but sadly, it's shitty paid workl
Anything that you'd like to add?
Erlend: Eric, thanks for the interview. It's cool to
get some sort of recognition from other parts of the
world, and I hope we get to play over there sometime soon. Take good care and keep up the good
work. People can check out our records, if they're
interested in what we're doing. Thanks.
Andreas: Yeah thanks, and whoop a jock's bottom from me, OK? Love and take care. •
Contact JR Ewing c/o Erlend Mokkelbost,
Jegerveien 12H, 0777 Oslo, Norway.
<thejrewing@yahoo.com>
http://www. thejrewing.com/
To read the complete version of this interview, check out
http://Rexyourhead. vancouverhardcore. com
photos by Hakon Mosvold Larsen m
tf>
The Hancunt
lots of musicians do. You pay for the recording
yourself, you have the means to distribute, and all
you need then is press, promotion, and marketing. You would employ an independent marketing division for a fee or a percentage of sales.
What do you need a record company for? I
would like to see things like musician's collectives,
you know. You don't need some guy in a suit that
you can't fucking stand owning all of your stuff.
Too many people own my fucking stuff. Large corporations are concerned about it. And so more
people wake up. I think they've been aware for a
long time. After you've had a career for a number
of years, you're realizing that your royalties aren't
coming through, you're spending a fortune trying
to find out where you've been diddled, and
there's a level of frustration and anger which is
reaching a boiling point. If there wasn't the potential of the Internet and digital distribution, then of
course there's not a lot we could do about it.
Well, we'd be back to our old standbys
of college radio and 'zines and stuff. I
was going to ask you about this too. The
'90s saw a corporatization of indie music
culture. Has that created a need for the
web as well?
Well, the trouble is it's not just the music industry,
it can be also traced to the advertising industry.
The way they just absorb any underground cultural movement—as soon as it starts, they send
their people down to start sniffing it out and bring
DiSCORDER. Your website is wonderful, visually and tex-
tually. I really like the satirical photo of the Russian Dolls.
Matt Johnson: It depicts the situation I found myself in with
Nothing/lnterscope/Universal. We wanted to come up with a humorous image that would sum up the situation. The funny thing was, when
we went and bought some of the dolls, then placed the logos on them,
the biggest one had a question mark on it, as we weren't aware yet
of Vivendi buying Seagrams [who owns Universal]. A few weeks later
Vivendi bought Seagrams, so we put their logo where the question
mark was. I think it's really funny, and I encourage people to print it
out and send it around.
If the technology was there 10 years ago, would you
have done the same thing with your site? Would it have
been as aggressive?
Well, my relationship with Sony back then was actually quite good. I
worked quite hard, and we had our ups and downs, but at least we
spoke. At least they'd return my phone calls. But Universal... and to be
quite honest, the Canadian company has been great, and I do stress
that in interviews. They've been coming to all the shows, and they've
been organizing interviews, it's E>een what it was like at Sony. They've
been doing their jobs. My beef is purely with the Americans, whom
I've signed with, unfortunately. It's just... I could go on about it forever.
So you're leaving. Your contemporaries are jumping ship
too. On your website you've published a manifesto: The
The Vs. the Corporate Monster. You wrote, "We're on the
threshold of a watershed in the music business that I
believe will dwarf the punk revolution."
The punk revolution had a short-term influence, but it was soon
absorbed by the mainstream. The big record labels signed all the
bands, and a lot of the people got in the back door of punk, like The
Stranglers, The Police, The Cure, Elvis Costello. They all sort of pretended to be punk. I was never a punk. My older brother was, but I
was too young for it. What really made me laugh about punk, was all
these kids, with green hair and safety pins saying, "We just want to
be different," but they all looked the fucking same. What interests me
most is the post-punk era—that was where the real creativity happened, the underground era with Throbbing Grisrie, Cabaret Voltaire,
and Foetus. That's where I came from, and it was really inspiring.
They were all very different. That was a really revolutionary period
because, as is the norm, things get absorbed. What could be different about the digital music revolution is that musicians could own their
own masters and copyrights and maintain that ownership. If they do
work with the bigger labels, they just do short licensing deals. What
could happen—what I hope and believe will happen if things go the
way I think they will—is that record labels will biecome like music pul>
lishers. Years ago, before labels, music publishers were in a position
the labels are in now, they were very dominant as they controlled the
sales of sheet music. And the publisher would take 15% and the songwriter gets something like 85%. Whereas with a label, the label gets
85%, and the musician gets 15%, which is scandalous. A lot of people don't know this. The point I was going to make, about the way that
I think the record companies will go, is that they will become a service
industry; they will become the employees of the musicians, rather than
the other way around. So you have an effective Internet distribution
system as the Internet expands into maturity with more powerful technology. I think you'll still have the bricks and mortar of distribution as
well, you'll still have hard copies. I hope, because I like hard copies.
Recording equipment is fairly cheap, I have my own recording studio,
it back and it gets used in adverts. And music is treated as this
expendable resource. Music is a very potent conjurer of memories. So
you find all these songs that you grew up with and that meant something to you, on jeans adverts.
You've never licensed anything? I'm sure you've been
approached.
I have been approached, and I've turned it down because I could
afford to. There may come a time. I've always turned it down because
I think my relationship is between myself and my audience, not
between some fucking ad agency and their clients and burgers and
jeans. I've always felt strongly about this. I have a young child, and
who knows what the future holds? I may not ever sell records again,
I may not be able to work, and I may have to do it. I hope I don't, but
my son comes before my integrity.
I was hoping you'd talk a bit about Gun Sluts. You're
releasing it soon?
Gun Sluts was recorded in between my affiliations with Sony and
Universal. Sony turned down the demo. One track from Naked Self
comes from Gun Sluts, "Diesel Breeze." Tracks like that which are
very unstructured and quite dissonant. It's much harder-edged than
Naked Self; there are no tracks like "Phantom Walls" and "Soul
Catcher." It's really aggressive. I think it's a really great album. It's with
the same band that I recorded Naked Self with and that I'm touring
with.
When I saw you live in May 2000 at the Commodore,
your sound was much funkier than usual. I know that
your drummer used to play with Sly and the Family Stone
and MC 900 Foot Jesus, so have you always had such a
funky live sound, or is it his influence?
When you say funky, what do you mean?
I mean like my ass is shaking in more of Parliament way
than a Smiths way.
That's a good thing though, isn't it? On the first album, Soul Mining,
there was a track called "Giant" that was a big dance hit at the time,
before dance music became as popular as it is now. I like that element. Live, it's good to get that across, it's good to get people moving.
He's a phenomenal drummer.
Why was Naked Self the most 'disastrous episode' of
your career?
The album itself is possibly the best album I've ever done, it's just that
the situation with the record company has just been so draining for
me. It's tough enough being on tour anyway. I'm away from home for
a year, and I have a young child of three, and he's very upset that I'm
away. I'm out here working and trying to concentrate and keep
focused on the music. And 80% of the time actually, I'm dealing on
the phone and on email with all the bullshit that's going on, and it's
exhausting, to say the least. Luckily, I've got a small team of people
around me, the band, and the crew, who've been phenomenally supportive as I've been fighting Universal. Nothing records have lived up
to their name, I mean it's just like Scotch Mist basically, there's nothing there. So it's just been me against this faceless corporation. Like
I've said, some territories, Denmark, Germany, and Canada, you get
people who are supportive, but in America it's just been brutal. What
can you do? You can't give in. You've got to practice what you
preach.
This is all a precursor to Lazarus Records, your own label.
Are you going to sign other artists?
To be quite honest, you can't fuck up other people's
ers. I don't want to fuck with people's careers
the way people have fucked with my career. I've got
so many releases, firstly a Robert Johnson tribute
album.
Do you have a whole list of people to
whom you would like to do tribute albums?
A handful. John Lennon. Bob Marley. Bob Dylan. The
building blocks of contemporary songwriting. It's a
hobby for me. Also, I want to release The
Pornography of Despair, horn 1982. It got shelved
because, I was like 20 years old or something, and
at that stage we were moving at such a rate, before
I finished it I was already onto Soul Mining, and I
was kind of bored of POD. I listened to it recenfly,
and I think it's a really good album. It's the missing
link between Burning Blue Soul and Soul Mining.
There's an earlier album, before Burning Blue Soul,
called Spirits. Only one track got released, which is
"What Stanley Saw," which is on a Cherry Red compilation album. I listened to some of that recently, and
I think it's great. At the time, I was very anxious to
move up with my career, I was evolving and I just
wanted to move on. Recently, I came across an old
box of tapes that I had, and there's some great stuff,
Why did you choose the name Lazarus for
your record label? Was it the fact that
you've been exsanguated by your record
company, and you're 'rising again'?
That is a useful second meaning for that, but actually it's a building that I owned in London which was
an old department store, and it was built by a man
called Abraham Lazarus. I've got all these old lithographs of how the
building looked in the 19th century, and it had Lazarus in giant letters,
so years ago I formed a company called Lazarus, and I just sort of
used it as a production company. Now it's taken on a very pertinent
meaning, hopefully I can live up to the name.
So you were basically DIY in '79. Do you think, if you
hadn't have been so young, or if you had had the foresight, would you have maintained your total independence?
In some ways I would have liked to, but it was difficult because I was
on the dole right at the time; I had no money at all. I couldn't afford
instruments, I was borrowing stuff all the time. I was a teenager, very
naive, very gullible, and sure I can look back and say I would have
rather done it another way, but it's difficult. What I should have done,
was when I left Sony, ideally I would have then started Lazarus. I
wanted to, but the trouble was that I hadn't released a record for
seven years, I had massive legal costs because I was negotiating leaving Sony, I was really under financial pressure, and I was made assurances by Nothing, who led me to believe they were more
independent than they were. It turned out to be, "Oh, actually, we
have no power at all, we're run by Interscope which is run by
Universal." I was just like, "What?" And the full horror revealed itself
within months of me signing. I was like, "Fuck, this isn't what it looked
like in the brochure." •
fcE>K££E®2B Warning: The follo\
to the band TRANS AM; nor does it contain anything related to their music, performance, or skill.
During this discussion Trans Am were informed thot,
due to certain paperwork not completed by a certain record label, they would in fact have to drive
back to the fucking border to deal with it. Needless
to say, it put a bit of a damper on the interview.
DiSCORDER: Anyways, welcome to Vancouver! The last
time you were here was with
Six Finger Satellite.
Phillip Manley: Yeah, we played
here in November of '96.
I've been trying to locate
some pre-history information
on you guys, but I couldn't
find very much, so I apologize
for this question: how did you
guys meet?
We all grew up together in
Maryland, in a suburb of
Washington, DC. I went to high
school with Nathan. Sebastian went
to school in Argentina, and he
moved back when Nate and I were
juniors in high school, and all three of
us started playing together and stuff.
Maryland does not have a professional hockey team at all.
We have the Washington Capitals.
That's true; however, growing up in a suburb with no
hockey team to aspire to
play on... is music your only
other recourse? Is that why
Trans Am exists?
Hockey isn't like it is in Canada, but
we're all really big Caps fans—
Sebastian in particular.
How do you think they'll do
this year?
Ahh... they're never very good.
They were good once.
Our fair city of Vancouver has repeatedly
been accused of having passive and unat-
tentive audiences. What has been your
most unreceptive audience?
I remember Vancouver being like that, but Six
Finger Satellite were very confrontational. Oh! In
Holland they were quiet and really reserved.
Is "Kraut Rock" a racist term?
Nah, people in Germany call Kraut Rock "Kraut
Rock" so...
Do you feel the term is applicable to Trans
Am?
Somehow a lot of people seem to think so. I mean,
it's experimental rock music, basically.
As mentioned above, the interview is then
interrupted by the promoter telling band they
have to go back to the border to sign documents
that were not done by record label. Mood shifts
quite dramatically.
Being on Thrill Jockey, do you get
annoyed by being grouped in the so-
called Chicago scene?
Not anymore. I don't care. It's less and less so
because we've been around long enough.
Have you toured with Stereolab, and if so,
have you seen any of the girls naked?
[laughs] No and no.
Are you familiar with the term "Big
Brother Music"?
No.
This is a term that has been cropping up
to describe bands like Trans Am,
Tortoise, Sea and Cake, etc., wherein it's
the kind of music your older geeky
brother would listen to, and you would
sneak into his room and listen to them
when he's not home. Does Trans Am
have any "Big Brothers"?
Yeah, I had an older sister and I would totally
nd listen to her records, so
,s that te
n fits.
Japanese releases of Trans Am albums
often contain tracks not released in
North America, much to fans' chagrin.
What's up?
We have a CD now with all of those songs available. What it is... in Japan, there's such a massive
tax on domestic CDs so the imports wind up being
cheaper, so since we like to sell records over there,
we have to put extra tracks on them.
Okay. Is the DC hardcore scene still in
effect? Are there any kids at your shows
with Xs on their fists?
Uhhhhhh... No, not really.
Shawn Conner, who interviewed you for
our weekly "entertainment and arts
guide," The Georgia Straight, compared
the cover of The Red Line [Trans Am's most
recent release] to the Glider EP by My
Bloody Valentine.
Yeah, I figured that out afterward.
Which is a better album cover:
Hemispheres by Rush or Tales of
Topographic Oceans by Yes?
I don't remember Hemispheres.
It's the one where a naked man is pointing at a man in a business suit, and
they're standing on a giant brain.
I don't remember. I like Roger Dean's artwork, so
Topographic Oceans.
In the same article he states that The Red
Line [a double album] recalls Daydream
Nation and Zen Arcade. Why do music
journalists always refer to the "double
album" as the "epic work"?
Well, the artists get to stretch out more. There's
much more space to work within. You see more of
the thought process.
Are you familliar with the fanzine Tuba
Frenzy at all?
Oh yeah! We're good friends with them.
You did a split 12" with the band Wingtip
Sloat. Whatever happened to them?
No idea. We never even met them for that 12".
One final question. I know you're interested in nature documentaries [the last
Trans Am album was influenced by and
recorded to various nature documentaries] and similar PBS-type stuff. How
much would you pay for an original
Bob Ross painting?
I don't know. •
CiTR
L01.9 fM
DJ PROFILE
STEVE EDGE
"THE SATURDAY EDGE"
SATURDAYS, » AM-12 PM
Record played most often on your show:
Patrick Street, Irish Times' "Music For A Found Harmonium" (It's been the theme tune
for the past 1 1 years.)
Record you would save in a fire:
Anything recorded "live" at The Rogue Folk Club over the past 1 3 years. La Bottim
En Spectacle. The Complete Brass Monkey. Eliza Carthy's Red Rice.
Record that should burn in hell:
Anything commercially "viable" that gives true folk/roots music a bad nar
(eg. John
McDermott, 20 Best Irish Folk Songs, navel-gazing songwriters, lusty folk singers in Arran
sweaters, etc.).
Worst band you like:
Les Barker (English poet and professional idiot).
Last record you bought:
Mary Black, Speaking With The Angel (last week).
First record you bought:
The Beatles, Sgt. Pepper's Lonely Hearts Club Band (Christmas 1967).
Musician you'd most like to marry:
Kate Rusby (English singer and multi-instrumentalist. A wonderful singer of traditional and contemporary songs).
Favourite show on CiTR:
Mine. I like Lucky Scratch and Blood On The Saddle and Gavin Walker's Jazz Show, too.
Strangest phone call received while on-air:
I was filling in on a night when CiTR was hosting a big party at 86 Street Music Hall a few years
ago. Nobody told me we were going off the air at 9pm. I stayed on air until around 4am. For
the last 3 hours I started saying I would leave unless I received requests. I had all sorts of records
requested—everything from hardcore to folk to classical to comedy. I think I might even have
saved a life—or more likely, ended one or two! •
1C ^oAf^rV^tA, WOO Under
Review
fBMEM^^mm
AT THE DRIVE-IN
Relationship Of
Command
(Grand Royal)
When a band like this El Paso,
Texas five-piece is highly
regarded for their live show, it
should stand to reason that their
records hold the same high
praise. Now I admit that my
previous knowledge of this
group is scarce, but I do recall
liking some of the stuff they've
put out so far. With their new
effort, I'm sure long-time fans of
the Drive-ln will like this, and
they'll gain some new converts
with their bombastic post-punk
sounds. They owe a large debt
to bands like the late Jesus
Lizard and Fugazi, as well as
newer exploration of what the
kids are calling the "emo"
sound. If my musings haven't
satisfied you, catch the intense
rock action when A.T.D.I. swing
through town November 15 at
Dick's On Dicks and see what
all the fuss is about.
Bryce Dunn
THE BANGS
Sweet Revenge
(Kill Rock Stars)
The Bangs are smart. The
Bangs are sexy. The Bangs
know a thing or two about
catchy hooks and well-placed
handclaps. If The Bobbyteens
a collisi
vith
The Go-Go's, and The
Donnas were there to pick up
the pieces, we'd have ourselves
this power-pop trio. Oh yeah,
the title cut is definitely sweet.
And The Bangs will have their
revenge... just you wait.
Bryce Dunn
ART BERGMANN
Vultura Freeway
(AudioMonster.com)
It seems more than just a little
strange to be reviewing an
album which is over 16 years
old. But when it comes to
unsung singer/songwriter and
Vancouver ex-pat Art
Bergmann, even the strangest
and most bewildering situations
seem normal.
Bergmann is the man who
managed to blow recording
deals with such major labels as
Polygram and Sony by simply
being himself and pulling no
punches, both on his recordings
and with the media. His mixture
of creative genius and a dark,
troubled soul has never been
better displayed than on this,
his solo debut. This album was
cut in February to May of
1984, shortly after the disbanding of Los Popularos, and
two years before the launching
of his Poisoned side project.
This period of Bergmann's solo
career—which stubbornly lumbers on in Toronto to this day—
was quite possibly the most
musically creative time-span he
would see, either solo or with a
group.
I originally got Vultura
Freeway in 1985, shortly after
its release, and it was one of
my favourite albums of that
year. I was heartbroken when it
was broken in a move a couple
of years back, as it is a difficult
album to find on vinyl.
What exactly possessed
AudioMonster.com, of all music
"distribution" companies in
Canada, to remaster and re-
release this gem of a disc is
beyond me. But I believe it is an
unbelievably generous gift to
Bergmann fans and '80s indie
music fans alike.
Sure, much of the music on
this album is quite dated and
even periodically overwrought
with '80s cheese, but that contributes a great deal to its present charm. If one overlooks
these aspects, what one discovers is that on this album's 10
songs Bergmann unflinchingly
bares his soul—warts, warps,
weaknesses and all—through
his lyrics and sometimes dark
and disturbing music. Musical
backup is courtesy of former
members of such legendary
local punk bands as Pointed
Sticks, AKA, and Bergmann's
first band, the Young
Canadians. The fact that all
these people donated their time
to play shows the true spirit of
the Vancouver indie scene of
the '80s.
Much of this material first
saw light with Los Popularos or
the Young Canadians, or saw
new life with Poisoned or during Bergmann's major-label solo
career. Either way, listening to
these songs makes me think,
"Was it any wonder no mainstream label knew how to market Bergmann's music?" He
revealed a dark underbelly of
everyday life that most people
at the time wanted no knowledge of. Today, that sort of
angsty and nihilistic content is
considered a hot commodity—
the stuff of sure-fire mainstream
radio hits. If only Art were 16
years younger today, he'd be a
big fat fuckin' rock star. Go fig-
Spike
BRASSY
Got It Made
(Wiiija)
With crunchy guitars, killer
record scratchwork, snarly
vocals, and attitude to spare,
Manchester's Brassy mixes a
musical molotov cocktail to
blow the dancefloor to bits.
Lame-ass club DJs and silly
prefab female bands better
watch their asses, or Brassy will
kick them senseless. No foolin'.
London's hip-as-hell Wiiija
Records, which has recently
treated us to such grrl-positive
bands as Le Tigre, has taken
a shine to Brassy and the result
is a killer debut from the band
which features Jon Spencer's
sister, Muffin, on bass and, on
selected tracks, behind the
turntables.
Brassy's mix of funk, house,
hip hop, blues, and pop-punk
creates a sound which is truly
unique and energetic. Check
out the acid house/punk-ish
"No Competition," the hip hop-
ish "I Can't Wait," and the
funky, astro-bluesy "That's the
Way"; all three tunes could easily qualify as signature tunes for
the band, with numerous other
tracks being close runners-up to
the title of "Brassy Anthem."
They each encapsulate Brassy's
take-no-shit ethos and are
absolutely catchy in their own
respective ways.
Groups like Brassy are
what show me a ray of hope
that the future of independent
(female-driven) music is not that
bleak, and that perhaps we
might yet see yet another British
invasion—this one not so
annoying and shallow as the
one we saw a few years
back—with Brassy front-and-
MAC
EXPERIMENTAL AIRCRAFT
Experimental Aircraft
(Sleepy Bunny)
Just what the world needs:
another band that wants to be
My Bloody Valentine. It's
pretty incredible that almost a
decade since the Valentines last
managed to finish a record
there are still a-million-and-one
groups out there ripping them
turn the page
for more under
Kick around
nov4*\WcZooo ©Scott^V,
ft H|^gS[I^S© off.
This one—a four-piece from
Austin, Texas—exists at the rockier end of the dreampop spectrum. Having noted that, there's
very little to distinguish this six-
track EP from a-zillion-and-one
other efforts.
All the pieces are in
place—wall of distorted guitars,
dreamy vocals, etc.
There are even some vogue-
ish analogue synth squiggles
and kraut rock-style grooves
thrown in for good measure. All
these idiomatic cliches are used
very competently but to little
effect and, in the absence of
anything surprising or imaginative, they become little more
than empty gestures.
The problem is that
Experimental Aircraft are
too reliant on rigid structures in
their songs and too enamoured
with effects-pedal presets in
their arrangements. They'll have
to learn to experiment more if
they really want to take off.
Sam Macklin
THE FUCKING CHAMPS
IV
(Drag City)
I need this. So do most of you, I
bet. If you ever have those days
when you just feel like you can't
go on unless you hear some
raucous guitar action, this
record cures the ailment. The
Fucking Champs rule. This
album of instrumental rock epics
can do no wrong—every single
second of every single song
(except maybe when they sing
that one time) will have you
rocking back and forth, head
flying in that up-and-down
motion, until sickness sets in.
This album, may I be so bold to
say, will make you want to turn
longhair. No joke. Get it and
feel good. Or, you could just listen to old Styx records. Does
the same trick, I suspect.
Julie C.
ISOTOPE 217
Who Stole the I
Walkman?
(Thrill Jockey)
I've tried to give this disc a fair
chance. I've made numerous
attempts to listen to it the whole
way through without shutting it
off, but it is just not conducive
to enjoyment. I can only
describe it as basically unremarkable electro-jazz punctuated by long stretches of drony
nothing. It's the kind of fare that
is dished out at two in the morning on Brave New Waves after
the listening public has lost all
sense of value judgement.
I must admit I wasn't expecting much in the first place. Even
though Isotope 217 has an
impressive Chicago/Thrill
Jockey style roster, it seems to
emanate "side project." With
song titles like "Kidtronix,"
"Meta Bass," and "Moonlex," a
pervading sense of annoying-
ness is established long before
you start listening to the album.
I have always firmly believed
that the whole electronic-jazz
concept was doomed from the
outset. Besides being generally
pretentious, it always seems to
capture the worst qualities of
both styles, creating rigid, robotic instrumentation and cliched
and uninteresting themes. Alas,
this album only further cemented my preconceptions. I'm sure
fans of this group's previous
efforts will find this album enjoyable to a certain degree, but I
have no intention of revisiting it
any time soon.
Ian Mosby
THE JAZZ JUNE
The Medicine
(Initial)
I put this disc in and played
Playstation with my friend
Jeremy. We had to stop—jaws
dropped—and break out with
improv air guitar before resuming Tony Hawk 2. You know
that was hard to do—put down
Tony, that is. We weren't sure if
the player was on five-disc random, but upon further examination discovered it was them all
along. That's how they jump
out, The Jazz June: jingling
guitars, gem vocals, and juicy
lyrics with many change-ups.
The Medicine is a healthy dose
of emo/indie rock. The sound is
simply a spectacle that you
need to hear for yourself. Initial
records did a good job on this
Sean Borr
JEGA
Geometry
(Matador)
He's back and oh, so loaded.
Dylan Nathan of England's
Jega is back with a triumphant
and highly enjoyable follow-up
to his 1998 Matador effort,
Spectrum. Whether it's the obvious thematic rhythms or the
haunting, somewhat tragic
undertones, this album will
creep<rawl its merry way under
your skin. And that's a good
thing. Like Spectrum, Geometry
is highly inventive and schizophrenic but a little more mature.
Not too mature, of course—this
is listener electronica after all—
but this release contains more of
Nathan's own personality and
less of his influences.
Rana E.
KID 606
Down With The Scene
(Ipecac)
CHICKS ON SPEED
Unreleases
(K)
LOLITA STORM
G-F-S-U
(DHR Fatal)
I feel like a bit of a Little Twin
Star this month, what with all
the gushing I feel is in order for
new troublemakers on the DHR
If only I could date Kid
606. We would sit around at
his house all day long, smoke
some mad reefer, and play with
gear. The sounds emitting from
that bedroom, like most of the
stuff on Down With The Scene,
would be perfect examples of
organized chaos. Kid 606
brings on the noise like no other
but doesn't get caught up in the
bombastic gabber beats of most
DHR releases. He's got a few
roaring tracks on this release,
but it also serves to provide us
with a wide variety of sounds.
Violence and beauty mix it up
on here, and I haven't heard an
album this diverse, yet fully complete, in a while.
I'd like to say that the new
girls I love are goin' at it in such
fine form as well, but I can't
give full credit to the Chicks on
Speed or Lolita Storm.
Unfortunately, the Chicks have
a mile-high list of gearheads
responsible for the fucked-up
dance-tronic sounds they dish
out, and the girls behind Lolita
are not too keyboardly-coordi-
nated either. That complaint
aside, I've got more than a few
reasons why I still love the
ladies.
Chicks On Speed are really
annoying, and only in a some
what clever way. I jumped all
over their Euro-tastic release
...Will Save Us All, and I am
extremely pleased that K's gone
out of its way to collect a boatload of tracks for Unreleases.
Three art-school debutantes kick
it wild-style with a collection of
disturbingly catchy tunes, the
best of which come from the full-
length. The best stuff comes with
covers of two B-52s songs,
"Give Me Back My Man"
and "Song For A Future
Generation." Try playing the
originals back-to-back with
these for optimum mind-bending
pleasure. The electronicity of
this stuff is really skilful, if not to
everyone's taste.
My other mad props go out
to Lolita Storm. These young
ladies like to mess it up in a
raunch sort of way. The vocals
are my favourite kind: loud,
British, and way out of tune.
With song titles like "(I Wanna)
Meat Injection" and "Hey Hot
Stuff! (Geddup On My Pony),"
you can probably guess what
you're in for. What you might
not expect, though, is the
onslaught of gabber beats. This
album is a good idea, if only
because I miss the Huggy
Bear/Skinned Teen days of
my youth.
Julie C.
LADY TRON
Commodore Rock
78 ~oA*tSr»±4A. WOO (Invicta Hi-Fi/Emperor
Nor- ->n)
P music—anything that
sou. :ke it was made on a
Coleco Vision—makes me
giddy. So this is a CD of my
dreams. Take some cool chicks
and have them sing over Casio
beats, and you have a hit CD,
in my opinion. "Paco" is my
favorite song. All about a
department store. "I knew your
name from the check-out
machine." It's love songs for
robots. Good stuff. Swoon.
tesla vanhalen
LEILA
Courtesy of Choice
(XL)
Leila Arab's Like Weather is
yet another lost classic of left-
field British pop. Created by a
Londoner of aristocratic Iranian
extraction, who happened also
to be Bjork's sound-person, it
received a small amount of critical acclaim before vanishing
without trace. Presumably, its
combination of classic soul and
experimental electronica proved
to be too awkward a juxtaposition for most listeners.
Given Leila's poor commercial track record and her status
as a music industry insider, one
might expect Courtesy of
Choice to represent a move
towards more generically comfortable, commercially viable
material. In fact, this new full-
length is, if anything, an even
more wayward excursion than
Like Weather.
Her waywardness—presumably what puts most listeners off—is the charm of Leila's
music. It all starts with the
apparently effortless way she
turns conventional notions of
soul and authenticity on their
heads. She works with fairly
conventional "soul" vocalists but
effects-processes them to the
point that they start to sound like
malfunctioning automatons.
Meanwhile, she creates backdrops of gritty electronic textures, which are astonishingly
organic in their raw tactility.
The result of all this is a dis-
armingly fresh personal idiom,
which is as beautiful as it is
unwieldy. Don't let this idiosyncratic talent go to waste.
Sam Macklin
THE OLIVIA TREMOR
CONTROL
Presents: Singles and
Beyond
(Elephant 6)
The first thing I did upon getting
into my friend lan's car after
leaving the DiSCORDER office
with a couple of CDs was put
the new Olivia Tremor
Control into his new CD player. "What are we listening to
again?" he asked. "The new
Olivia Tremor Control," I
replied. "It says here it's a singles collection." At a red light, a
couple of songs in, he turned
his head and looked at me in
disbelief, "These are singles?"
Needless to say, I didn't get
very far into the album before
he took it out in favour of his
also newly bought Travis
My friend Ian obviously
doesn't understand the awesome power of the four-track so,
Ian, if you're out there reading
this, here's a quick lesson.
When recording on a four-
track, you have two options:
you can either limit yourself to
the four tracks or you can double up on tracks. When doubling up (or tripling up,
quadrupling up, etc.), you
record on three of the tracks
and then dub what you've
recorded onto the fourth, thereby freeing up the original three
for more layers. A good four-
track recorder can do this internally, which minimizes the tape
hiss, but if you have a cheap
one like mine, you have to dub
the three tracks onto your cassette deck, then dub it back
onto the fourth track of the four
track cassette, which causes a
noticeable degrading of the
sharpness of the sound quality
and causes a lot of tape hiss.
The more layers you put in, the
harder it is to pick out individual parts and the music
becomes unified and indivisible; to the uninitiated, it
becomes a blurry mess.
Back to the Olivias: this
album isn't really a collection of
singles so much as it is a collection of the band's early out-of-
print work, most notably the
California Demise 7" and the
Giant Day EP, both of which
were recorded on four-track. It
has everything you'd expect:
the wall of sound, the layered
vocals, and, most importantly,
the warm, insular tape hiss.
When I listen to the Olivias'
newer stuff, I get the same feeling as when I listen to the new
Microphones album or anything Sebadoh's put out in the
last seven years. They're all still
good albums, but they feel
detached and sterile without the
hiss. "If it ain't broke, why fix
it?" as the saying goes. That's
what makes this album so great:
you get to hear the Olivias as
they were meant to be heard,
before they had studio recording or any of that nonsense. So
there might not be any radio-
type singles on this album, but if
you're still reading this, chances
are you're looking for a bit
more than that.
godfrey j. Leung, esq.
JOHN VANDERSLICE
Mass Suicide Occult
Figurines
(Barsuk)
Okay I admit it, I read other
peoples' reviews before I write
my own, which is what made
this one so hard. John
Vanderslice's first solo album
was pretty much universally
acclaimed; one well-respected
publication even called it "The
Next Big Indie Thing," but I
never really thought it was anything special, so I figured that
all those indie snobs knew
something I didn't. I've listened
to this album 20 times now, and
I still don't see it. It's a nice
enough album, it just doesn't
warrant all the acclaim it gets.
Okay, so John Vanderslice used
to be in the unheard but critically lauded MK Ultra, and he
brought in some of his former
bandmates to play on this
album with him, but the songs
are still pretty pedestrian, and
the lyrics are rather sophomoric;
"Bill Gates Must Die" certainly
isn't the daring political statement some reviewers have
made it out to be. On the indie
cred side, I hear a lot of Poster
Children on this album, with a
bit oT Quasi here and some
Jets to Brazil there. On the
other side, I also get this Eve 6
vibe from it, and the singing
reminds me a lot of the Ataris.
I guess what I'm trying to say is
that if you're looking for a nice
power-pop album, you'd probably like this, but if you're thinking of buying this because you
read a review that described an
Apples in Stereo album
instead of this one, I'd get the
Apples.
godfrey j. Leung, esq.
VARIOUS ARTISTS
Kindercore Fifty
(Kindercore)
Sophisto-pop label Kindercore
hit its stride this year and has
just released this swell three-disc
sampler of their roster's finer
moments. This sampler resembles the Darla Records four-CD
set which came out a few
months ago to celebrate the
label's 100th release. The two
record companies share a similar taste for well-crafted and
humble international pop music.
In Kindercore's case, you'll find
bands such as Masters of the
Hemisphere, Of Montreal,
Ashley Park, Japancakes,
A Sunshine Fix, Apples in
Stereo, Birdie, I Am the
World Trade Center, and
many more. These bands are
featured on disc one of this collection. The next disc covers
Kindercore's classic singles and
out-of-print rarities (also similar
to Darla's 100) and, while it
doesn't quite hold the fantastic
qualities of the new roster,
there's nothing to sneeze at,
either: included are Major
Organ, the Adding
Machine, and two tracks from
the "never-released"
Vetran/Serious Teeth split
cassette. I can assure you that
these are terrific recordings to
add to your collection—even if
just for disc three, which really
glitters: tracks by Olivia
Tremor Control (remixed by
I Am the World Trqde
Center), Japancakes
(remixed by Electronic
Watusi Boogaloo), and
Crush 22 (remixed by
Vetran). It's worth it. Yes it is.
Bleek
THE VIPERS
Outta the Nest
(Cavestomp)
"This is not an imitation or a
tribute. It is the real thing all
over again." Garage kids seem
to only listen to music that's at
least 20 years old. Which is
why it took me so long to
review this CD. Ha ha.
This music isn't that old.
See, I was suppose to do it
months ago but for some reason
when I brought it home, it just
sat in my apartment, collecting
dust. Boy, am I dumb. This CD
is great. Catchy rawk that'll
have ya singing along and
shakin' yer booty like yer cool
enough to have a shag haircut
and striped tee shirt. Who cares
if you were only seven when
this first came out, you shoulda
been there. Man, them were the
days. Not like now, where
Britney Spears rules the
world. Just kidding again. This
is rawk and everyone needs
something to rawk out to.
tesla vanhalen
what we listened to:
the lowdown revolver II • bratmobile ladies, women and girls • c4am95 /// • blonde redhead melodie
citronique * x-ray spex germfree adolescents • coco - s/l »j mascis and the pod • neil hamburger raw
hamburger • frogs bananimals • beck one foot in the grave • zenigeva desire for agony • uzeda different section wires • man or astroman a spectrum of infinite scale • v/a the unaccompanied voice •
wire manscape • radiohead kid a • beans tired snow • jesus lizard lash • gorecki • bach • joel rl
phelps inland empires • versus hurrah • rites of spring
THIS HOLIDAY THE BEST IN
ELECTRONIC
MUSIC IS ON...
BTs album Movement in Still Life
includes the singles :
"Smartbomb" and "Never Gonna
Come Back Down", as well a<
club smash "Dreaming'
Summerbreeze, over 70 minutes
of music mixed by DJ Tiesto
Including Delerium's international
club smash "Silence" (DJ Tiesto's In
Search of Sunrise Mix)
em (nibble Nov 21/00).
The highly anticipated follow up
Karma, with guest vocals by Leigh
Nash (Sixpence None the Richer),
Matthew Sweet, and Kirsty
(Opus 3). Limited
Edition with bonus Disc available.
pLAJTlO
The ultimate electronic coiipllatlon series
Featuring tracks and Mixes fro* the biggest
nanes In electronic mislc - including
bt, nouy, the chealcal brothers,
sasha, oelerlun,the crystal nethod,
paul van dyk and tIno Haas
ft^Aggmm Real Live
Action
TRANS AM
LADOIO BALACKO
Friday, September 22
Starfish Room
Trans Am have always man
aged to cover some of thei
s suspect progressive rod
indue
with c
temporary cool. Perhaps taking
New York's Laddio Balacko
on tour with them was an
oblique way of fessing up.
Whatever the case, LB's
black spandex outfits, ludicrous
facial hair, epic song structures
and unabashed virtuosity
seemed custom-made to upset
the aesthetic sensibilities of the
indie kids who packed into the
Starfish for the opening show of
Trans Am's Canadian tour. It's
testament to their irresistible
force that they managed to sell
about 30 CDs within five minutes
of leaving the stage.
The explanation of how a
bunch of weirdy beardy progressive rockers managed to win
over a discerningly hip audience
is fairly simple. The fact is that LB
avoided the worst excesses of
prog complexity in favour of
post-rock sleekness. Their songs
may have been multi-part epics,
but each part was essentially
simple and hypnotic. They were
also delivered with a punky
aggression, which might just
have been a result of the visa
problems that kept this show running annoyingly late.
Trans Am didn't come
onstage until 1AM, but it was
well worth the wait. Covering
their full range-from full-on
hard rock to imploding electro—
they sounded every bit a band
at the height of their powers.
New LP The Red Line bears this
out and provides an ideal opportunity to challenge the most common misconception about this
band's music—that it lacks
meaning.
Right now, Trans Am sound
downright insurrectionary. Every
positive expression of rock's revolutionary spirit has been territorialized and marketed to death
by the corporate mainstream. All
that's left is a series of self-defeating empty gestures. By contrast,
this band's autistic iciness is—in
the original spirit of early '90s
post-rock—a rebellion against
the false meanings of an alienating media/society. That may not
be a fashionable opinion, but
having praised a band who
dress entirely in black spandex, I
haven't really got much to lose in
that department.
Sam Macklin
EVAPORATORS
RIFF RANDELLS
KONG KORDENE
Saturday, October 14
Pic Pub
Can you say fun? Define it? Did
20 ~~oAs*sn<£eA. WOO
LIVE MUSIC REVIEWS
you see it on that really cold
October night? It's a fleeting
force. Try and catch it when you
can. Here are my observations
of fun. I've used key words to
help you identify it the next time
Joy joi. n. Excitement of
pleasurable feelings caused by
the acquisition or expectation of
good; gladness; delight; exhilaration of spirits. To give joy; to
gladden. See Nardwuar the
Human Serviette at October 14's
Evaporators show at the
Piccadilly Pub. He gets it and he
can give it out, folks. There were
costume changes, there were
balancing acts, there was fur flying at this packed to the max
Fear fer. n. A painful emotion excited by an expectation of
evil or the apprehension of
impending danger. See
Nardwuar's face when cougar
cubs rushed the stage and gave
him a wedgie.
Enthusiasm en.thu.zi.
azm. n. An ecstasy of mind, as if
from inspiration or possession by
a spiritual influence. Complete
possession of the mind by any
subject. See the crowd at the Pic.
Nobody with their hands in their
pockets! People with good posture jostling each other in good
fun. Big people stepping out the
way for little people. And all
rockin' people who proved that
they can pull up their socks when
Tight tite. a. Compactly or
firmly built or made. See the Riff
Randells. Good good good.
Fun songs, Ms. Camaro is the
new singer (with the departure
of Sean Raggett) and her glossy
lips could be seen from the back
of the room. Showcasing some
new tunes off of their new 7",
these gals make me strive to be
cooler.
Unabomber n. Fill in
bassist/roadie for the RRs. Red
hat, red shoes, red bass, red
tongue. Could be a professional
rock star. Alternately, he could
just get a real job.
Kong Kordene n. Never
heard of that word either? Some
guy was sitting and singing
some songs. Big dude from
Winnipeg was blocking my view
and thus, my interest.
Lame lam, a. Imperfect,
defective, not sound or unassailable. See the Pic for hoarding
everyone out at barely one in the
morning.
SuperShaw
TREBLE CHARGER
ZUCKERBABY
Monday, October 16
Starfish Room
I had almost forgotten that some
bands can sing. Every member.
Evenly. In four-part harmony
(when necessary). Nice. I was
stream power pop (okay,
"rock"), Zuckerbaby played
to a small crowd of pseudo-indie
kids and frat-ish guys who
bounced their heads and threw
appreciative Slayer hand signs
into the air. The band played
and sang well—tightly, accurately—for the duration of their
set, a feat which, I'm sorry, few
bands can boast these days. In
addition to playing singles from
their debut album, Zuckerbaby
vastly improved upon the new
songs from their wet-noodley second record, Platinum Again, by
exuding stage presence and
really rocking out. They seemed
fond of the "guitarists playing
remarkably close to each other
in quasi-sexual ecstasy" move
and did it often. That's okay, it
added to the good pants,
chunky haircuts, and cute shoes
of their rock star personas. What
blew it for them, if only a little,
was that they seemed to forget
they are a recognized Canadian
band in their own right. "Treble
Charger are here tonight!"
hollered frontman Andy Eichorn
into the mic, presuming we
would all respond with
impressed screams. "I said TREBLE CHARGER are here
tonight!" as if we weren't jazzed
enough about the oh-so-famous
headliner. I think I was more
excited about Zuckerbaby.
Apparently, Treble Charger
magically went Gold at some
point back stage and they celebrated by buying a wealth of
what looked like tequila shots for
their fans. The band was fun to
watch. What they lacked in
musical accuracy, Treble
Charger made up for with enthusiasm and gusto. I enjoyed the
synchronized high jumps, the
audience participation hand
waving, and there was a lot of
pointing going on. They acted
like hams. The good thing about
Treble Charger is that they have
different sounds which appeal to
a range of listeners. Some songs
are beautifully written for the sen-
for the generic guy-music rocker.
The band made full use of their
repertoire (I was sure they would
run out of radio singles, but they
never did), and finished by prefacing their latest SMASH HIT(!)
"American Psycho" with the intro
to G'n'R's "Sweet Child of
Mine." I've gotta say, I didn't
have a bad time at all.
Alia
DIRTY THREE
SHANNON WRIGHT
Friday, October 20
Richard's on Richards
The blazer and silicone set had
to find another club to stand outside of this evening as
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November 1
glass head
Money gftot
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November 2
Dtw (tow
indirect
November 3
Moony
fazukf
November 4
7Kr; Sky Toys
Shim City
$id victim &
the rock an<f
roll survivors
Novembers
fUiUm 309
November 9
I/O
November 10
WavcofMnUhtioi
Clover Honey
fSJotes from
the underground
November 11
More Plastic
The Probes
November 16
T~euuincl M
November 17
ubsfarrc
November 18
DOB
Babble Fish X
November 23
TNkTR^A
Lupis
November 24
Nerve. Magazine.Party
|rfl?
November 25
ember 30
CD rcltiMe j»iw»a Vancouver's favourite party
hotspot again opened its doors
and its arms to the increasingly-
displaced crowd of indie-rockers. Oh yaah!
Walked in. Felt gross.
Pictured Skid Row or Trooper
on stage. Well, how could you
do anything but dismiss a venue
featuring a sign which reads:
"Richard's Bistro: Where the
World Comes to Eat"? Coupled
with my overall skepticism about
the establishment itself was my
surprise when I discovered that I
had waltzed in just in ti
the
10:00. When did the openers
hit the stage? Tea-time? Even at
9:00 I was still, as I think any
reasonable soul living in a reasonable city ought to be able to
do, enjoying canapes and a few
sociables from the comfort of a
friend's hot tub: "Slugman, bring
down that other tray of hors
d'oeuvres. No, not the ones with
the cream cheese... you know
how I feel about that." Though,
in defense of the venue as a performance space, the sound
turned out to be top-notch.
Listening now. Driving. Late.
Fighting to stay awake. Poof!
Shotgun and pistols now ride: a
Paganini, and a sedated 600
pound gorilla who, fading in
and out of lucidity, plays three-
card monte with a myriad of per-
gingerly simian grip). And you
know that it ain't the least bit
absurd either—hell, it's a
moment of goddamn clarity. But
your eyelids are so heavy. Sooo
heeaawy. The unexpected flurries of stumbling drum comping
are the only thing keeping the
car from careening off the adjacent cliff and plunging straight to
the bottom of the sea, and you
realize then that without Bobo
the Drumming Gorilla, Dr.
Caligari and the Fiddler on the
Roof there you would also be
totally fucked.
"Maybe y'all be hitchin' in
these here parts again?"
"Not for a few years,"
laments Paganini's violin. Poof!
Sfeve DiPo
CMJ
Wednesday, October 18-
Friday October 20
Various Venues (New
York)
Wednesday night's arrival was
marred by a lack of greeting
party. I dragged my confused
self into the city and down into
the bowels of the subway system, intent on making it on time
to the special Jetset drinking
party with possible "special
guests." I arrived sweaty and
grouchy, but my mood improved
considerably once I started talk
ing
Noise
the
masse into the big city to get all
registered up. There were no
afternoon shows to be had, so
we followed some record guy to
a free lunch. Next stop was the
Bowery Ballroom. We stood in a
big ol' line-up to check out PJ
Harvey. Once inside, I tuned
out the opening bands (Tiffany
Anders and American Hi-Fi)
in order to chat with complete
strangers about the biz. PJ
Harvey rocked the house, looking all sexy and in control,
singing a bunch of new songs
that didn't suck and some classics she's so adored for. After
outside to rejoin the
., this
Spoozys. Once my buddy
Justin showed up to escort me
out to Brooklyn, things turned all
mellow, and we wandered the
city for a while before giving up
for the night. Back at the crib, I
met the posse from Buffalo, three
very drunk boys with whom I got
to share a living-room futon.
Score I
Thursday we headed en
Jetset sh<
Goddamn stupid kids all
skipped PJ Harvey to get choice
places in line for the showcase,
and it was looking grim. Arab
Strap was the hammer that hit
the nail that closed the deal on
this trip for me, and I was in danger of not making it in. Danger.
So I used my new-found friend-
making abilities to cut in line
with this nice kid named Brent
from Arizona. Once inside, we
beat it on up to front row centre
(yes, I am that nerdy of a fan-girl
sometimes, especially in a city
which is not my own) to make
sure we missed not a drop of
sweat or an off note. The
Spoazys played first, and they
absolutely won the place over.
Four very stylish kids from Japan,
they did what Bis should've
done, had theyJCared enough to
progress a bit in the right direction. The Spoozys bounced and
sang and Noiseman broke it
down Theramin-style, making it
very difficult to mellow out in
time for the Strap.
Yeah, Aiden and Malcolm. I
am a huge Strap fan, and to see
it all go down, live on stage,
was too good. I may be a bit
biased, but this was one of the
best shows I have ever seen. It's
not like they do much—they
play, they stand around and
drink beer, they make you want
to cry. Damn fine. Adele joined
Aiden for "Pyjamas," and the
band played two new songs.
"Blackness" was amazing, and
the other new one has an amazing bass line. I stood there and
tried to control the giddiness.
As much as nothing could
beat the feel of the Strap,
Macha and Bedhead just
made the show that much better.
Macha have got some very interesting instruments that they incorporate into their set, and, well,
they brought the Kadane brothers! Bubba and Matt played one
song together before being
joined by Macha, and that was
a gift. The boys stuck around for
a few Macha songs, but hid in
the back. An excellent set
nonetheless.
I took off after Macha in the
hopes of seeing either the
Mountain Goats or the
Softies, but neither show came
together.
Friday started slow, but
picked up once we made it into
the city. Breakfast at Baby Jupiter
with Peggy from Louisiana and
one of the Buffalo boys was fol
lowed by a bit of record and
thrift-store shopping and a slow
walk in the direction of Brownies
for an industry afternoon show.
We managed to miss Bright
Eyes and Cinerama, but were
in the house for some Rainer
Maria and Mooney Suzuki
action. The Mooney Suzuki had
their home crowd going crazy—
people were dancin' and
smashin' all over the place.
More of my free drink ended up
on me than in me during that set.
After the big rock 'n' roll, it
was time to eat some free fancy
pasta with the fine people of
Capitol Records (yes, CiTR DJs
are now forced to play
Radiohead 10 times an hour).
Free food is the best kind, especially when it's followed up with
a bit of Barman—MC Paul
Barman. Over at the Matador
showcase, Paul was doing his
thing, getting the crowd of white
boys all hyped up. The beats
were good, the rhymes a bit
forced, but entertaining nonetheless. Next stop was the Cooler
for a little Drunk and Songs:
Ohia serenades. Drunk were
soft and gentle and a little bit too
dozy for me, but I appreciated
the chance to sit down and relax
a while. Jason Molina of Songs:
Ohia gave but a short sampling
of his material (someone had
stolen his equipment that afternoon, and he was bummed), but
what he played sure sounded
good. On my way back to the
Matador showcase with hopes
of seeing Livehuman and
Pole, I got sidetracked by my
friend Justin, who assured me
that if I didn't boot it over to the
(International) Noise
Conspiracy show, I would be
left out in the cold. Off we went,
and I got stuck watching the
Rye Coalition until I came to
my senses and got back in a
cab. Pole was where it was at—
the volume of the bass made the
little community centre shake,
and it was not nearly as sleepy
as I had been warned. It was
almost danceable! Back to the
Wetlands Preserve for what I
had really been waiting all night
for—the (International) Noise
Conspiracy. My dream of making out with a Swedish Marxist
Rock V Roll God did not come
true, but I did manage to dance
a bit (while getting all
squished—but my Hot Snakes
record didn't even warp!) and
enjoy the fine revolutionary
At the after-hours party, by
working the room, I got me some
beverages (too strong!), a travel
alarm clock, a Professor doll, a
glittery change purse, a
Powerpuff Girls CD, and a ton of
stickers. I tried to hook up with
my host, but instead took a taxi
back to Brooklyn by myself and
hung out on a yucky street corner for a long time because no-
one was home to let me in. A
phone-call later, I was sitting in
the 2'x3' hallway of the apartment's entrance, listening to the
fire alarm beep. Damn. I was in
bed by five that morning.
Julie C.
E4^^SEl£D£gDB,
is looking for an
EDITOR
SSi
hard working music-lovers with lots of spare
time and patience are encouraged to call
barbara at 822.3017 ext. 3 or linda at 822.1242
or email <-discorder@club.ams.ubc.ca+
this is a volunteer position with a small
honorarium.
Present a 5 hr live music event with
The mind funkin grooves of
Karl Benson s
Tiny Universe &
THE POLY-ETHNIC CJUUN SLAMGR ASS THAT IS
LEFTOVER SALMON
Sat Dec 9th
2Louies
Blaine, Wash
Sun Dec loth
Wett Bar
Vancouver
■*- special event *
Tix @ Puff, Zulu, Black Swan, Highlife and all Tlcketmaster
More info @ www.upstreamentertainment.com £
2} ww^simm On The Dial
SUNDAYS
ARE YOU SERIOUS? MUSIC
9:00AM-12:00PM All of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
THE ROCKERS SHOW 12HK>-
3:00PM Reggae inna all styles
and fashion.
BLOOD ON THE SADDLE
3:00-5:00PM Real-cowshit-
caught-in-yer-boots country.
CHIPS WITH EVERYTHING
alt. 5:00-6:00PM British pop
music from all 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 6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
great music.
HELLO INDIA 8:00-9:00PM
GEETANJALI 9:00-10:00PM
Geetanjali features a wide range
of music from India, including
classical music, both Hindustani
and Carnalic, popular music
from Indian movies, Ghazals,
Bhajans and also Quawwalis,
etc.
THE SHOW 10:00PM-
12:00AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl. With your hosts Mr.
Rumble, Seanski & J Swing on
the 1 & 2's.
THE CHILL-OUT ROOM 12:00-
2:00AM Time to wind down?
Lay back in the chill-out room.
Trance, house, and special guest
DJs with hosts Decter and Nasty.
FILL-IN 2:00-6:00AM
MONDAYS
SALARIO MINIMO 6:00-
8:00AM Spanish rock, ska,
techno and alternative music—
porque no todo en esta vida es
BREAKFAST WITH THE
BROWNS 8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights! Tune in
and enjoy each weekly brown
plate special. Instrumental,
trance, lounge, and ambience.
THE CUTE 'N' CUDDLY SHOW
alt. 11:00-l :00PM Two hours
of non-stop children's entertainment including songs, stories,
poems and interviews with special guests.Tune in every other
Monday with your host Christina.
GIRLFOOD alt. 11:00-1:00PM
PARTS UNKNOWN 1:00-
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
STAND AND BE CUNTED
3:00-4:00PM
DJ Hancunt fullfills all your funky
feminist needs. Suck it.
EVIL VS. GOOD 4:00-5:00PM
Who will triumph? Hardcore/
punk from beyond the grave.
WENER'S BARBEQUE 5:00-
6:00PM Join the sports department to hang out with Wener, the
Freight Train and the 24 Karat
Goldman.
SOUPE DU JOUR alt. 6:00-
7:30PM Feeling a little French-
impaired? Francophone music
from around the globe, sans
FILL-IN alt. 6:00-7:30PM
THE RELATIONSHIP SHOW ah.
6:30-7:30PM
PIRATE RADIO alt. 7:30-
9:00PM Formerly "Love Sucks,"
now at a new time.
BY THE WAY alt. 7:30-9:00PM
I don't know what I'm up to any
more. I play lots of odd German
electronix, some 7"s, and a
demo here and there. Go figure.
THE JAZZ SHOW 9:00PM-
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 1 1.
Nov. 6: One of the definitive piano
trio recordings—"The Tommy
Flanagan Trio Overseas."
Nov. 13: A piano trio album with
a difference... led by protean
bassist Charles Mingus, this CD
is also a tribute to piano great
Hampton Hawes whose birthday
Nov. 20: One of guitarist Barney
Kessel's most modern and adven-
tureous albums with vibist Bobby
Hutcherson and drum master
Elvin Jones—"Feelin' Fire."
Nov. 27: Bassist/Composer
Charles Mingus' classic "Tijuana
Moods"—tonight the alternative
and unedited version.
VENGEANCE IS MINE 12:00-
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
PSYCHEDEUC AIRWAVES 3:00-
6:30AM
TUESDAY
PACIFIC PICKIN' 6:30-8:00AM
Bluegrass, old-time music and its
derivatives with Arthur and "the
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM
9:30-11:30AM Put your
hands together for the rock 'n'
roll riot! Put your hands together
for the rock 'n' roll riot! Let's go!
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only
industrial-electronic-retro-goth program. Music to schtomp to, hosted by Coreen.
ELECTROMAGNETIC PULSES
alt. 11:30AM- 1:00PM
CONTEMPORARY 1:00-
2:00PM Music and poetry for
FILL-IN 2:00-3:30PM
HIPS TITS LIPS POWER 3:30-
4:30PM Featuring That Feminist
Collective from CiTR.
ELECTRIC AVENUES 3:30-4:30
Tuesday of each month)
22 ~0ASX*>JHIA. WOO THE MEAT-EATING VEGAN
4:30-5:00PM
10,000 VOICES 5:00-6:00PM
Poetry, spoken word, prefor-
mances, etc.
FLEX YOUR HEAD 6:00-
8:00PM Hardcore and punk
rock since 1989.
RADIO ELUNIKATHIKO 8:00-
9:00PM Greek radio.
A WALK ABOUT THE WORLD
9:00-10:00PM
VENUS FLYTRAP'S LOVE DEN
alt. 10:00PM-12:00AM
loveden@hotmail.com
SOULSONIC WANDERLUST
alt. 10:00PM-12:00AM Phat
platter, slim chatter.
AURAL TENTACLES 12:00-
3:00AM Ambient, ethnic, funk,
pop, dance, punk, electronic,
and unusual rock.
FILL-IN 3:00-6:00AM
WEDNESDAY
EEP OPP ORK 6:00-7:00AM
THE SUBURBAN JUNGLE
7:00-9:00AM A perfect blend
of the sublime and absurd, with
your refined and exotic hosts
Jack Velvet and Carmen Ghia.
FOOL'S PARADISE 9:00-
10:00AM Japanese music and
talk.
THE NORTHERN WISH
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local artists.
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM
RADIO FREE PRESS 2:00-
3:00PM Zines are dead! Long
live the zine showl Bleek presents the underground press with
articles from zines from around
the world.
MOTORDADDY 3:00-5:00PM
"Eat, sleep, ride, listen to
Motordaddy, repeat."
RACHEL'S SONG 5:00-
6:30PM Info on health and the
sustainability in the urban context, plus the latest techno,
trance, acid and progressive
house. Hosted by M-Path.
POP GOES THE WEASEL 6:30-
7:30PM
AND SOMETIMES WHY alt.
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things, (last
Wednesday of every month)
REPLICA REJECT alt. 7:30-
9:00PM Indie, new wave,
punk, noise and other.
FOLK OASIS 9:00- 10:30PM
The rootsy-worldbeat-bluegrass-
polka-alt.country-cajun-con junto
show that dares call itself folk.
And singer-songwriters too.
STRAIGHT OUTTA JALLUND-
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
HANS KLOSS' MISERY HOUR
12:00-3:00AM Mix of most
depressing, unheard and unlis-
tenable melodies, tunes and voic-
THURSDAYS
THE MEZZANINE FLOOR
6:30-8:00AM
END OF THE WORLD NEWS
8:00-10:00AM
THE ETHER TABLE 10:00-
11:30AM Phone-in marriage
proposals encouraged.
CANADIAN LUNCH
11:30 AM-1:00PM From
Tofino to Gander, Baffin Island to
Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
STEVE & MIKE 1:00-2:00PM
Crashing the boys' club in the
pit. Hard and fast, heavy and
slow. Listen to it, baby (hard-
THE ONOMATOPOEIA SHOW
2:00-3:00PM Comix comix
comix. Oh yeah, and some
music with Robin.
RHYMES AND REASONS
3:00-5:00PM
LEGALLY HIP 5:00-5:30PM
REELS TO REEL alt. 5:30-
6:00PM Movie reviews and
FILL-IN alt. 5:30-6:00PM
OUT FOR KICKS 6:00-
7:30PM No Birkenstocks, nothing politically correct. We don't
get paid so you're damn right
we have fun with it. Hosted by
Chris B.
ON AIR WITH GREASED HAIR
7:30-9:00PM The best in
roots rock'n' roll and rhythm and
blues from 1942-1962with your
snappily-attired host Gary
Olsen.<ripitup55@aol.com>
LIVE FROM THUNDERBIRD
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11.
HIGHBRED VOICES 11:00PM-
1:00AM
PLUTONIAN NIGHTS 1:00-
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
http://plutonia.org
FRIDAYS
SHADOW AT DAWN 6:00-
8:00AM With DJ Goulash.
CAUGHT IN THE RED 8:00-
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
SKAT'S SCENE-IK DRIVEI
10:00AM-12:00PM Email
requests to djska_t@hotmail.com.
THESE ARE THE BREAKS
12:00-2:00PM DJ Splice,
A.V Shack and Promo bring you
a flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
BLACK NOISE alt. 2:00-
3:30PM Essays, poetry, social
commentary, and conscious
music from a Black radical perspective. If you can't take the
heat listen toZ95.
HIGH ON GRASS alt. 2:00-
3:30PM
NARDWUAR THE HUMAN
SERVIETTE PRESENTS...
3:30-5:00PM Please keep on
rawkin in the free world and
have a good breakfast. Roc on,
Nardwuar and Cleopatra Von
Flufflestein.
NOOZE & ARTS 5:00-6:00PM
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
HOMEBASS 9:00PM-
12:00AM Hosted by DJ Noah:
techno, but also some trance,
acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more.
FILL-IN 12:00-2:00AM
SATURDAYS
THE MORNING AFTER SHOW
2:00-6:00AM
THE LEO RAMIREZ SHOW
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.
SOULSISTAH RADIO 12:00-
1:00PM
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-
5:00PM From backwoods delta
low-down slide to urban harp
honks, blues and blues roots with
your hosts Jim and Paul.
RADIO FREE AMERICA 6:00-
8:00PM Extraordinary political
research guaranteed to make
you think. Originally broadcast
on KFJC (Los Angeles, CA).
SOUL TREE alt. 10:00-1:00AM
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes soul
music to the nth degree.
PIPEDREAMS alt. 10:00-
1:00AM
TABLETURNZ alt. 1:00-
4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I free
da jazz..." Out.—Guy Smiley
REGGAE LINKUP 4:30-
8:30AM Hardcore dancehall
reggae that will make your mitochondria quake. Hosted by
listen online!
wu/w.aTns.ubc.ca/citr
fflGMBLTMF
tune in nov. 20th and 27th
SMftfeG in \M \mmm
nostalgia
rants
squirrels
earl
mosie
sagan
prizes
mondays 8 am -11 am on CITR fm 101.9
ROCKS ON INTO NOVEMBER!
YOU BEST BE GOING TO THE RAILWAY CLUB ON THE FOLLOWING
NIGHTS TO SEE WHO THE STARS OF TOMORROW ARE!
Tuesday, November 7 III
Adios Amen ShOUJ Stalls
The Status
Operation Makeout _1 Q-Qfl Am|
Semi-Finals! Tuesday, November 14 0l ° 0U Pm
Joel
The Cinch
Trail Vs. Russia
Semi-Finals! Tuesday, November 21
Dorothy
Nicely Nicely
Panty Boy
Semi-Finals! Tuesday, November 28
Witness Protection Program
TBA
TBA
Shindig Finals! Tuesday, December 12—Be There!
zulu
records
zS imgs®m porter hall
1o month soundtrack cd/lp
lumtree
:his day won't last at all cd
the salteens
short term memories cd
b'ehl
bright eyes cd/lp
Christine fellows
2 little birds cd
Caribbean
novillero
' nter
hip-ho^grownups
fermented reptile
Powerful hip-hop to make
you feel like a piece of dirt,
you lowsy consumer, you. If
I type "dope" five times in a
row, will you believe me?
park-like setting
They talk about losing
elections and swearing in
front of your mom. They rap
like real people, not cartoon
characters. They are good
folk www.mcenroe.net
love arid wared
Vancouver nights
mj:
Plastic Bag
s/t (Sqiiirtgun)
Produced by X*n Bturtort, this five-
song release Hives up nothing but
pure, flat-out rocfc*<i'roft. Sengs Nice
"Kifi My Time" and "One More Mile"
stand on their own with the latter
brandishing; some souped-up guitar
harmonies that help give a sound
kick In the ass. There's nothing
groundbreaking on this, but when
the songs are this easy to listen to,
who the heit cares? - CHART
You've never felt so open, so raw,
so near to your animal feelings^,.~
the sensitivity of nature.
Wake up! its re " '
K£.--*
Sonically charged.
Psychedelically infused.
www.aporia-records.com
NO DISTRIBUTION
rt'VE GOT 62 TV . Ache . Anticon . Aporia . Ateam . Big Top . Carav
ominant . Dot Dash . Double Zero . Elusive . Endearing . Final Notice . Flat Earth . Four A
'). Hefty . Heratik . Jesus Sanchez . Lil' Red Wagon . Love and Romance . M . Matlock . Metaforensics . Montesano . t
Records . Owned and Operated . Peanuts &Corn . Permafrost . Phonosynthetic . Pleasant St . Plumline . Pockets Linted . Project Blowed . Rawkus
Red Uquorice . Rhymesayers . Scratch . Snob Shop . Stereotype . Subterraneous . Super Bob . Tatsumi . Thick . Transsiberian . Triple Crown .
Turnbuckle . Upland . Veritech CiTR
Charts
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, "November" charts reflect
airplay over October). Weekly charts can be received via e-mail. Send mail to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"*
november long vinyl
1 godspeed... lift your skinny fists... kranky
2 sigur ros ageatis byrjun fat cat
3 nomeansno one alt. tentacles
4 Vancouver nights s/t endearing
5 mooney suzuki people get ready! estrus
6 elevator a taste of... teenage usa
7 go-betweens friends of rachel worth jetset
8 kitty craft catskills march
9 tristeza dream signals in... tiger style
10 sea and cake oui thrill jockey
11 octant car alarms and crickets up
12 pets love and war endearing
13 beans tired snow zum
14 st. germain tourist blue note
15 olivia tremor control singles... emperor norton
16 kingpins plan of action stomp
from scene... honest don's
everything, everything v2
museum of imaginary... merge
primitive tracks cease & desist
17 chixdiggit
18 underworld
19 pram
20 mr. dibbs
21 joan of arc
22 hives
23 damon and naom
24 fucking champs
25 trans am
26 marshmallow coast coasting
27 hexstatic
28 swirlies
29 urban surf kings
30 versus
31 cinerama
32 bjork
33 witchypoo
34 at the drive-in
the gap
veni vidi vicious
with ghost
iv
red line
coasting
rewind
yes girls
get instro...
hurrah
disco volante
selmasongs
public works
novem
1 frumpies
2 black cat 13/int'l strike
3 riff randells
4 gene defcon
5 tristeza
6 maulies
7 to rococo rot
8 vice principals
9 int'l strike force
10 big John bates
11 valentine killers
12 radio berlin
13 budget girls
14 molina/roberts
15 unwound/versus
16 shut ups
17 sparhawk/atlas
18 brassy
19 peeps
20 selby tigers
jade tree
epitaph
sub pop
drag city
thrill jockey
kindercore
ntone
sneaky flute
cinnamon toast
merge
manifesto
elektra
5 re
ber short vinyl
frumpies forever kill
s/t
s/t
liz
are we people
on holiday with...
smaller listening
wolfman amadeus.
treat yourself
vibro psychotic
let it burn
rock stars
radio 2
lookout
tiger style
hub city
city slang
junk 8
slampt 9
nearly nude 10
junk 11
heart of industry reassemblage 12
miso horney damaged goods 13
green mossy... sec. Canadian 14
split troubleman 15
haul off and smack... junk 16
split star star stereo 17
work it out wiiija 18
s/t sftri 19
20
s/t
hopele:
november indie home jobs
lollies found myself at the supermarket
victory gin tired
panty boy sea hag
fanfare the heathens are happier
bel riose the notion
magnus dragon style
nasty on hit summer (summer hit)
joel heart X 50' woman
coupon train robbery
squares elite around the capital
amarillo stars el paso
bad apple life is rough .
jay a. beck ophelia
river rats baby, yer a troll
cardinals walk don't run
uneven steps postcard from the depths of shame
lollies green card marriage
les saints ta mere
join newsman politics
jumpstart worthwhile
relationship of... grand royal
35 man or astroman? a spectrum of... touch and go
nat x's top 11 books that stick it to the man
1 Killing Rage: Ending Racism bell hooks
2 The Wretched of the Earth Franz Fanon
3 Autobiography of Angela Davis Angela Davis
4 Black Noise:Rap Music and Popular Culture in America Trica Rose
5 Yearning: Race Gender and Cultural Politics bell hooks
6 Black Skins/White Masks Franz Fanon
7 The Angela Davis Reader Angela Davis (ed. J. James)
8 Autobiography of Malcom X Alex Haley & Malcom X
9 The Long Road to Freedom Nelson Mandela
10 Black Power. The Politics of Liberation in America
Kwame Toure (Stokely Charmichael) & Charles V Hamilton
11 Black Is Turner Brown Jr.
Advertise with [I^g2[£j_IjES
and massacre the competition!
December/January Is
book space: December 5
artwork due: December 12
on da streets: December 15
DiSCORDER maintains the largest
circulation and the lowest ad rates of
any monthly magazine in Vancouver,
making it the most cost effective ad
medium around!
dial ms hancock: 604.822.3017 ext.3
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2S L^gSmSE Datebook
SUBMISSIONS TO DATEBOOK ARE FREE!
FRI NOV 3 Hardcore War 2000 feat. Scum Element, Dewclaw, Kan@Cobalt;
The Beans@Sugar Refinery; Bughouse Five, Ackely Kid@Railway; Retrograde,
Strong Like Tractor, Dizzy (ALL AGES!)@Java Joint; Danny Howells, Guy
Ornadell@Sonar; Sector 9@Starfish; Maja Bannerman, Susan McCaslin@Black
Sheep Books; Mooney Suzuki@Brickyard
SAT 4Assertion, Glasshead, Marital Lz@Colbalt; Johnny Ferreira & the Swing
Machine@the Auditorium; Bughouse Five, Golden Wedding Band@Railway;
Recipe from a Small Planet@Chameleon; Charles Webster, Gavin
Bongo@Sonar; New Town Animals, Slum City, Sid Victim and the Rock and
Roll Survivors@Brickyard
SUN 5 The Cramps@Commodore; Antique Smut@Blinding Light
MON 6 BT, Hooverphonic@Commodore; Trilok Gurtu, John Stetch@Vogue
TUES 7 CiTR PRESENTS SHiNDiG!: ADIOS AMEN, THE STATUS,
OPERATION MAKEOUT@RAILWAY; PRESSURE DROP
(REGGAE)@PURPLE ONION; Mike Allen Trio@Cellar; KD Lang@QE; Farm
Futures@Blinding Light
WED 8 Sarah Harmer, Joah Rouse@Dick's on Dicks; Hard Rock Miners'
Singoglong@Railway; CiTR PRESENTS THE FUNKTION@CHAMELEON;
Matriarch QB, Sassafras@Purple Onion; Galleons Lap, Tralala, Hubble
Green@Railway; Bebel Gilberto & Celasa Machada@Vogue; Phantom
309@Brickyard
THUR 9 Parlour Steps CD Release Party@Sugar Refinery; Kat Wahamaa,
Texas Gail@Silvertone; Teddy Thompson, the Pucks@Railway; Matriarch QB &
Vinyl Ritchie@Chameleon; l/0@Brickyard
FRI 10 CITR PRESENTS THIEVERY CORPORATION@COMMODORE; The
Beans@Sugar Refinery; Samiam@Starfish; Lindsay Davis, Mimosa, Something
About Reptiles@Railway; The Scratch Perverts, DJs Vinyl Ritchi &
Czech@Sonar; Two Brothers@Blinding Light; Wave of Mutilation, Clover
Honey, Notes from the Underground@Brickyard; International Noise
Conspiracy, Samiam, Bluetip, All-State Champion@Starfish
SAT 11 Choclair, DJ Mastermind@Commodore; Walker, Bitchin' Cowpunk
Massacre@Railway; Banco de Gaia, State of Bengal@l-Spy(Seattle);
Headlands CD Release Party, E.D. Swankz/Don Verbilli Live, DJs Will Sugar
and Dr. J@Chameleon; Slaves, The Vogue, Sean Na Na, A Luna Red@Miss T's
Cabaret; More Plastic, the Probes@Brickyard
SUN 12 The X-ecutioners, Souls of Mischief, Pep Love, Audioblow@Starfish;
Scorpio Party@Chameleon; More Plastic, Uneven StepsOJava Joint; Shane
MacGowan & the Popes@Commodore; Eternal Seed@Blinding Light
MON 13 Put on a shirt day@Various Venues
TUES 14 CiTR PRESENTS SHiNDiGl SEMI-FINALS: JOEL THE CINCH,
TRAIL VS RUSSIA@RAILWAY; Badly Drawn Boy@Starfish
WEDS 15 CiTR PRESENTS THE FUNKTION: CREATION CREW @
CHAMELEON; Johnathan Inc., Flophouse Jr@Sugar Refinery; Sandy Scofield
CD Release@Railway; Murder City Devils, At the Drive-In, Red Light
Sting@Dick's On Dicks; Smalls@Starfish
THURS 16 Anson Funderburgh, the Rockets@Yale; Naomi Sider CD Release
ParlyOSugar Refinery; Palace Flophouse, Mazinaw@Railway; Kia Kadiri &
Vinyl Ritchie@Chameleon; Rewind, Deville@Brickyard
FRI 17 Veal, The New Pornographers@Starfish; Clumsy Lovers, The
Supers@Railway; Detroit Grand Pubas, DJ Assault@Sonar; Crowned King,
Daryl's Grocery Boy@Java Joint; Substance, Yokozuna, Smut Peddling
Sam@Brickyard; Death Cab for Cutie, Pedro the Lion@Starfish (early show);
Veal, The New Pornographers@Starfish (late show)
SAT 18 The Wallflowers, Everlast@QE; Richard Ashcroft@Sonar; Body
Rock@Waldorf; Abuse of Power, Kybosh, Harkonen, Playing Enemy, Dissent,
Goat's Blood@Java Joint; 1 st Nations Coffee House@LongHouse(UBC); Dark
Side of the Rainbow@Blinding Light; Crowned King, DGB, Babblefish
X@Brickyard
SUN 19 The Orb, Juno Reactor@DV8(Seattle-AII Ages)
MON 20 Ray Condo, Jimmy Roy, Cam Wagner, Linda McRaeORailway;
Peter Murphy@Dick's On Dicks; Spinoffs, Falling Short, Svelte, Bestest@Java
Joint; Inauguration of the Pleasure Dome@Blinding Light
TUES 21 CiTR PRESENTS SHiNDiG! SEMI-FINALS: DOROTHY, NICELY NICELY, PANTY BOY@RAILWAY; Marin Sexton@Dick's on Dicks; The
Return of Mr. X@Blinding Light; King Cobb Steelie@Starfish
WED 22 CiTR PRESENTS THE FUNKTION@CHAMELEON; Anna Lumiere
Quartet@Sugar Refinery; Luke Doucette, Rob Benson@Railway; Flybanger,
God Awakens Petrified@Starfish
THUR 23 Canned Hamm, Red Siren, Shrimpmeat@Railway; Vancouver
Underground Film Festival@Blinding Light; Indirect, Lupus@Brickyard
FRI 24 Chris Harris: Neospere@Sugar Refinery; Colorifics, Twin
Star@Railway; Stoltman EcoFest@Performance Works; Mideck, Capt. Haircut,
Healthy Scratch@JavaJoint; Nerve Magazine Party@Brickyard
SAT 25 Radiogram, Old Reliable, Johnathan lnc.@Railway; Meta 4 & Dr.
J@Chameleon; The Smalls@Pit Pub (UBC); Red Devil Sideshow
Spectacular@Brickyard
SUN 26 DJ Craze, MC Kingyata, DJ Kemo@Sonar; Michelle Tea, Shar
Rednour, Jackie Strano, Kassy Kayiatos, Sash Sunday w/ DJ Julie Herrera@l-
Spy(Seattle); Habib Koite, Oumou Sangare@Commodore; Uz Jsme Doma,
Ford Pier@Starfish
MON 27 Suzan Musleh, Lily Frost, Vuggy@Railway
TUES 28 CiTR PRESENTS SHiNDiG SEMI-FINALS: WITNESS PROTECTION PROGRAM, TBA, TBA@THE RAILWAY; Jelio Biafra@Norm
Theatre (UBC)
WED 29 Rose Ranger, Noah Nine, Hunter Gracchus@Railway; Film
lst@Blinding Light; Chixdiggit, Darkest of the Hillside Thickets, Riff
Randells@Starfish
THUR 30 Half Hour Late@Railway; PW4@Blinding Light; The New
Deal@Sonar; Tim CD Release Party@Brickyard
FRI DEC 1 Rich Hope@Railway; David Gatten@Blinding Light
SAT DEC 2 Tributary@Blinding Light
SUN 3 The Whitestripes@Pic; Sex Tales@Richard's
MON 4 Dandy Warhols@Dick's; Chava Alberstein@Stanley Theatre
TUES 5 CITR PRESENTS SHINDIG! FINALS@RAILWAY; Patricia
Barber@Christ Church Cathederal
WED 6 Vinyl@Blir.din9 Light
THUR 7 The Beekeepers, Flophouse Jr., Thermos@Railway
FRI 8 What About Me@Blinding Light
SAT 9 LX Badrawk, Victorian Pork, The RamensORailway
SUN 10 Blonde Redhead, The Need@Starfish Room; King Kong vs Godzilla,
Eye of Newt@Blinding Light
MON 1 ITake off your pants day@Various Venues
TUES 12 CITR PRESENTS SHINDIG! THE FINALS® RAILWAY; Leonard
Cohen Flick@Blinding Light
WEDS 13 Greasy Kings w/ Peepshow@Railway
THURS 14 Mark BrowningORailway; BY08@Blinding Light
mgi'ramnii
Amsterdam Cafe 302 W. Cordova St. (Gastown) 683 7200
Anza Club 3 W. 8th Ave. (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings St. (at Cambie) 689 7734
Backstage Lounge 1585 Johnston (Granville Island) 687 1354
Beatstreet Records 4323 Main or 712 Robson (Upstairs) 708 9804
Black Dog Video 3451 Cambie St. 873 6958
Black Sheep Books 2742 W. 4th Ave. (at MacDonald) 732 5087
Blinding Light 36 Powell St. (gastown) 878 3366
Boomtown #102-1252 Burrard (at Davie) 893 8696
The Brickyard 315 Carroll St. (gastown) 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Montmartre 45 Main St. (Mt. Pleasant)
Cambie 515 Seymour 684 7757
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Cellar Jazz Cafe 361 1 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC) 822 3017
CN Imax Theatre 999 Canada Place 682 4629
Cobalt Hotel 917 Main St. 685 2825
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville St. (Granville Mall) 681 1531
Concrete Jungle 1217 Pacific Boulvevard 669 0866
CNB Skate and Snow 3712 Robson St. 682 5345
Cordova Cafe 307 Cordova St. (Gastown) 683 5637
Croatian Cultural Centre 3250 Commercial Dr. (at 17th) 879 01 54
Crosstown Music 51 8 W. Pender St. 683 8774
DANSpace 1622 Franklin (East Hastings)
Denman Place Cinema 1030 Denman St. (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St. 662 3207
DV8 515 Davie St. (downtown) 682 4388
Fifth Avenue Cinemas 2110 Burrard (at 5th) 734 7469
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Futuristic Flavours 1020 Granville (downtown) 872 2999
F.W.U.H. Beatty 552 Beatty St. (downtown)
Frederic Wood Theatre (UBC)
Garage Pub 2889 E. Hastings St. (downtown)
The Grind Gallery 4124 Main St. (Mt. Pleasant)
Helen Pitt Gallery 882 Homer (downtown)
Hollywood Theatre 31 23 W. Broadway (Kitsilano)
Hot Jazz Society 21 20 Main St. (Mt. Pleasant)
Java Joint 10729 King George Highway (Surrey)
Jericho Arts Centre 1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards 1216 Bute (near Denman St)
La Quena 1111 Commercial (the Drive)
Lava Lounge 1 176 Granville St. (downtown)
Lotus Sound Lounge 455 Abbott St. (Gastown)
Lugz Coffee Lounge 2525 Main St. (Mt. Pleasant)
Luv-A-Fair 1275 Seymour St. (downtown)
Mesaluna 1926 W. Broadway
Minoru Pavillion 7191 Granville St. (Richmond)
Motherland Clothing 2539 Main St. (Mt. Pleasant)
Moon Base Gallery 231 Carroll St. (Gastown)
Noam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre Smithe & Seymour (downtown)
Otis Records 1 176 & 1 340 Davie St. (west end)
Pacific Cinematheque 1131 Howe (downtown)
Palladium 1 250 Richards (downtown)
Paradise Cinema 919 Granville (Granville Mall)
Park Theatre 3440 Cambie (South Vancouver)
Piccadilly Pub 630 W. Pender (at Seymour)
Pitt Gallery 317 W. Hastings (downtown)
Plaza Theatre 881 Granville (Granville Mall)
Public Lounge Eatery 3289 Main St. (Mt. Pleasant)
Puff Pipes 4326 Main or # 14-712 Robson
Purple Onion 15 Water St. (Gastown)
Queen Elizabeth Theatre Hamilton & Georgia
The Rage 750 Pacific Blvd. South (Plaza of Nations)
687 7464
822 2678
822 9364
322 6057
681 6740
738 3211
873 4131
588 5282
224 8007
606 6665
251 6626
688 8701
685 7777
873 6766
685 3288
876 3426
608 0913
738 7151
324 1229
665 3050
669 5414
688 3456
688 2648
681 1732
876 2747
682 3221
681 6740
685 7050
873 1944
684 PUFF
602 9442
665 3050
685 5585
Railway Club 579 Dunsmuir St. (at Seymour)
Richard's on Richards 1036 Richards St. (downtown)
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs)
Ridge Cinema 3131 Arbutus St. (at 16th)
Scrape Records 17 W. Broadway (near Main)
Scratch Records 726 Richards St. (downtown)
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Silvertone Tavern 2733 Commercial Drive
Singles Going Steady 3296 Main St. (at 17th)
Sonar 66 Water St. (Gastown)
Starfish Room 1055 Homer St. (downtown)
Starlight Cinema 935 Denman St. (West End)
Station Street Arts Centre 930 Station (off Main)
Sugar Refinery 1115 Granville St. (downtown)
Tart Gallery 1869 W. 4th Ave.
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Tru Valu Vintage Robson (downstairs)
Vancouver E. Cultural Centre 1895Venables (at Victoria)
Vancouver Little Theatre 3102 Main (Mt. Pleasant)
Varsity Theatre 4375 W. 10th (Point Grey)
Video In Studios 1965 Main (Mt. Pleasant)
Vinyl Rekkids 76 W. Cordova (Gastown)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theatre 1405 Anderson (Granville Is.)
Western Front 303 E. 8th Ave (near Main)
Weft 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 1 869 W. 4th (Kitsilano)
681 1625
687 6794
738 7734
738 6311
877 1676
687 0499
291 6864
877 2245
876 9233
683 6695
682 4171
689 0096
688 3312
683 2004
738 0856
681 8915
988 2473
685 5403
254 9578
876 4165
222 2235
872 8337
689 3326
331 7909
685 6217
876 9343
230 6278
874 4687
254 5858
732 4128
681 9253
738 3232
26 -oAjhsyvJhla. WOO 568 Seymour St (LuHtfiB&CffUfALto s floors *t fa"-r
CANADA'S LARGEST AND BEST KNOWN RECORD STORE
Richard Ashcroft
Alone with Everybody
Coldplay
Parachutes
Fat Boy Slim
Halfway Between the Gutter and the Stars
In Stores Now!
from the voice of the Verve, Richard Ashcroft's debut solo
album. Features the Singles "A Song For The Lovers",
"Money to Burn" and "C'mon People"
Performing Live Nov 18th @ Sonar! -SOLD OUT
The Dandy Warhols
13 Tales from Urban Bohemia
In Stores N
featuring "Yellow" and "Shiver".
Nominated for the Mercury Music Prize.
Find out what made Parachutes
a #1 album in the UK.
In Stores November 7
Norman Cook: the Funk Soul Brother returns with his
Brilliant follow up to "You've Come a Long way Baby".
Featuring the singles "Ya Mama" and "Sunset (Bird of
Prey)". Includes first time ever vocal collaborations with
Macy Gray, Bootsy Collins, Jim Morrison, and Roland Clark.
blur:
the best of
Svek
After the Rain
In Stores Now!
Check out the Dandy's
IN CONCERT,
Dec 4th @
Richard's on Richards.
Everclear
Songs From An American Movie, Volume Two:
Good Time For A Bad Attitude
In Stores Now!
features 17 classic blur tracks including "Song 2", "Girls
& Boys", "Parklife", "Charmless Man" & the new single:
"Music is My Radar". Also available: "blur: the best Of
Limited Edition" featuring 10 of blur's best recorded live
@ Wembley Stadium (while quantities last)
Shirley Bassey
Diamonds Are Forever
-the Remix Album
In Stores November 7
The ultimate chill-out album, "After the Rain" features
12 incredibly smooth, deep, jazz-house tracks produced by Svek recording artists Jesper Dahlback, Cari
Lekebusch, Adam Beyer and others. On the international house scene, the Swedish independent SVEK
label is the hottest.
Lazy Dog
Lazy Dog
In stores November 21
Features the First Single "Where it all Goes Wrong
Again", and 11 other smokin' songs that leader Art
Alexakis calls "Malevolent, it's all pretty pissed off
In Stores Now!
Features Shirley Bassey's timeless classics such as
"Diamonds Are Forever" and "Where Do I Begin" as
remixed by awayTEAM, Groove Armada, Nightmares
on Wax, Propellerheads & more
In Stores Now!
A Double disk collection of Deep House Music mixed by
BEN WATT (EVERYTHING BUT THE GIRL) and Jay Hannan,
inspired by their London Club, Lazy Dog. Includes the current Club-land Buzz track Tracey In My Room". RICHARD BUCKNER The Hill CD 16.98 .
jrrect adiective to describe the bams scattered about the Prairie landscape? Enchanted? Spooky? Stoic? Austere? Richard Buckner is
the perfect candidate to help us out with this description He recently moved up to Edmonton, smitten and to be married. Was the wedding in a barn? Wheat field? Silo? Best men John and Joey of Calexico/Giant Sand were in
attendance — as they are on this lovely collection of alt-country ballads about life, the roads we travel and the people we meet. Defiriety enchanted
CHICKS ON SPEED The Re-Release of the Unreleased CD 16.98 i
vsing through foreign record bins. I stumbled upon a band that was bound to revolutionise my sum-
id maybe even my fall Truly, the merits and longevity of this band are up for debate, but if you ignore the un-hype and choose to listen to those in the know, you're likely to stumble onto some seriously kickin' cut-and-paste
" ar (gotta work on that, ladies) are messing around with electronic collages; they're walking that fine line, and could lose control at any minute. At times uncontrol-
m who front up the m
:ording. It's the result of an evening of music at said establishment.
1. is the Corn Sisters and this is their record. They are The Other
ring underground hip-hop — a la Anti-Pop Consortium — above ground. Thus,
sad Consortium MC Beans checks in as do Peanut Butter Wolf. Money Mark.
lably danceable and alternately thoroughly confusing, this collection of 33 tracks, featuring songs from Inked vinyl releases, the Chicks' European full-length, and clever interview snippets, w
Germany. Feel free to book your flight, and maybe you can hang with the Chicks. Peaches, and Gonzales for Christmas' There'll be laptops under Ihe tree for everyone'
CORN SISTERS Paity Girl CD 12.98 Ever heard of Hathes Ha, ,n Seattle. Washington? We had*
featuring the raw and true talents of wayward island girl Carolyn Mark wandering star Neko Case, a guitar, a drum and a stomp boa
Women
DELTRON 3030 CD 16.98 /2LP 16.98 The record label is 75 Arte an offsho«rt of tephodel. ite rr»
introductions in, DELTRON is Kid Koala. Dan the Automator (Kool Keith's ex-producer) and, yes. Del! The name checking doesn't st
Sean Lennon and Blurs Damon Albarn. We sense a concept-style angle on this record—a playful and positive lock at sci-fi futunsi
DAVE DOUGLAS A Thousand Evenings CD 16.98 a thousand w^gs ^ „<* ,u%
this is a good thing, a very good thing And this doesn't mean that this record is in anyway too obscure or difficult Instead, it is so ir
ty, and become mesmerised spellbound. Yet. with further listens, and they come easily, the thoughtful complexity of the music becoi
Guy Klucevsek on accordion. Greg Cohen on bass, and Dave Douglas on trumpet. Also features a stirring cover of GoWfinget |ust I
EUPHONE Hashin'ltOut CD 16.98/LP 14.98 ^^^^um^m^am.
ideal for the practising musician, artist or writer Look at Montreal — once the Canadian business beehive now the perfect low-rent I
Yes, it too is a precinct of creativity, style and artistic musical advancement. Euphone. from Chicago, reside in the "post-Tortoise" nei
their praises before - to a compositionally dextrous tune played on horns, marimba and juicy electro-acoustics Features help from m
GODSPEED YOU BLACK EMPEROR Raise Your Skinny Fists... 2CI
grandiose, one might expect Godspeed to embody the worst excesses of progressive rock pomposity. 8ut — oh the humanity — flii
huge in the tiny and the tiny in the huge Montreal's finest post-rock orchestra has created something almost impossibly poignant witl
Canada's crustiest nine-piece has truly immortalised the human spirit a$ ft stands today Two CD's worth of sheer nerve-wracking oli!
staggeringly full-on live performances
GORKY'S ZYGOTIC MYNCI The Blue Trees CD14.98 ^0^^
Beach Boys-esque pop records. Welsh eccentrics Gorky's Zygotic Mynci have been rewarded with sadly little public applause Obsci
sails of Nick Drake, Scott Walker and Jimmy Webb! Undo the wrong! Do not let their harmonious pop choir-songs be fodder for Me
Yes, ring the bells and release a pig in the streets to wipe away the trash, for 8ortcy'»Zygotic Mynci are more than just another pop r
TALIB KWELI & HI TEK Reflection Eternal CD 16.98 /LP 19.98 r„,.»
have finally released their first, self titled a&um Kweli. half of the dynamic duo Black Star, has stayed true to form, with the kind of i
laid back to hype. Also, Mos Def, De La Soul and Les Nubians nicely collaborate. These two New Yorkers have put out head nodding
i ideas to spare, there is much to take in. But, in fact,
most too easy to be won over by its enchanting quali-
sicianship of the performers, Mark Feldman on violin,
rterce. reach peaks, and then dramatically transform into spaces
k Now take Chicago, the forgotten jewel of America's Midwest.
ation (though this isn't really a valid summing-up). We've sung
Ire and Lonesome Organist. A relocation is in order....
I With 3 sound that is at once highly melodic and enormously
•whelming drama of every little life on earth. By seeing the
attempt to sound coolly detached or smugly contemporary,
et — capturing as it does the full intensity of their, at best.
sed opinion) post-romantic
with the wind that billows in the
of contemporary press! Gasp.
:hv«ly known as Reflection Eternal,
correct, providing beats ranging from
ssigned for you to pump through your
MICROSTORIA Model3, Step2 CD 19.98/LP 14.98 Mm**and»»„«»*
allow, they hang out. And when they do. after much good humour and handshaking, of course, they make crazy music, crazy tike nothing else Ant
ful electro-tomfoolery, or maybe it's the other way around. In any case, Microstoria are the definition of uniqueness — a fresh style in an increasir
tener-friendly! Hurrah. AVAIL Nov 7th.
NEW PORNOGRAPHERS Mass Romantic CD 12.98 *. bom P0P has „*. ^ «!„«
your jeans. Pop is about the Beach Boys playing behind the Iron Curtain in the summer of '68 - a tradition of changing the course of fiving Vancoi
your moves before you enjoy a night out? No! Instead they meet to discuss strategy 'Mass Romantic' is their gambit, their campaign. The battle i<
various THE STATE OF EMOTION VOL 8 2CD 14.98 m^^^,^
accented regional variations, so each stop on my tour of discos and indie-record shops was met with a totally distinct electro-beat sound. Benin's
detours from the Western Hemisphere. I spent countless evenings intimately listening to Monolake Burnt Friedman. Chicks on Speed. Senior 0
OTHER NEW RELEASES:
Elf Power- Winter is Coming CD/LP
Johnny Cash- American Three-Solitary Man CD/LP
The Letter E- No. 5ive Longplayer CD
Various- American Breakbeat Electronic Music From USA And
n- Looks Like A Russian CD
s- Buzzle Bee CD/LP
Werner ate good pals. Every once in a while, when their busy schedules
a good fit: Popp's digital obscurantism nicely offsets Werner's more play-
tered and like-sounding market. And now, somehow, they're even more lis
ten. Pop is not a hairstyle on the barber's wall. Pop is more than the cut of
Hew Pernographers don't meet regularly to rehearse. Why? Do you practise
- a pornographic life surrounds us.
jre introduced to the next wave of Electronica. As the beautiful countryside
jats. Colonge's minimal pocketbook spirit... All were very adventurous sonic
! and more — plus I fell in love with a DJ known to me only as "Gonzales".
DeaBi Cab For Cnfie- Forbidden Love CDEP
Fly Pan Am- Sedatifs En Frequencies CDEP/12"
Various- Rubric Records 01 Compilation CO
Add N to X-Plug Me In CD/LP
B. Fleischmann- Pop Loops for Breakfast CD/LP
1 Speed Bike- Droopy Butt Begone CD/LP
Lilys-Selected 12" CDEP/12"
all prices in effect
until m
plus check out
i our mezzanine by
a photo essay
richard folgar
wrflw<ffi an ffotjc roup stew
at our 1972 location:
selected used cd's on sale throughout november I
see slope lor details j|
Zulu Records
r *; ■ 1972 W 4th Ave
( L-9 Vancouver BC
KZC0r?D2 tel 738.3232
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-11-01
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