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. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for thejancember issue is November 22nd. Ad space is available until December 6th and can be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred. 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 MINISTRY OF SOUND @ Club XFM/Cherry Bombs Fri Nov 17 DETROIT GRAND PU BAHS j ei6„. & DJ ASSAULT r,o wax) @ Club XFM/Cherry Bombs Fri Nov 26 CROSSFADE TumtaWist Series DJ CRAZE CHARLES WEBSTER (Presence) in room 2 GAVIN BONGO (Mr.Bongo/Disorient) Fri Nov 10 VIRGIN &XFM pre ;ent the FAT BOY SUM CD LISTENING PARTY J by... CROSSFADE Tumtablist Series SCRATCH PERVERTS (London, UK) @ CLUB XFM/CHERRY BOMBS presented by 104.9XFM and Spectrum Ent. 99 DMC WORLD TEAM CHAMPIONS featuring: TONY VEGAS - 98 UK DMC Champ.1 st runner-up at 98 World DMC's PRIMECUTS 1999 ITF World Scratching Champion Premiere BC with MC KINQYATA plus DJ Kemo THE NEW DEAL Sat Dec 16 phttfMjde FEVER Many Shades of House w/DJ HOSCHI Sense Recordings Germany 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 http://iuiuiu.cLTns.ubc.ca/citr/cliscorcler VANCOUVER'S LIVEMUSIC RESOURCE Dynamic Calendars Search our wicked, dynamic calendars by Band, Club, Date or Style Features and Reviews Get the goods up front with our in depth features, hard hitting reviews and "how'd they get that?!" photos Discussion Boards Get your voice heard - rant, rave, rate, review or just plain ramble Reminders Have us send you an email reminder for all the bands you want to catch. ...And A Load More including free listings for bands and venues WWW.City9i9S.COm Is Looking For You! Know your stuff? Were on the prowl for writers, photographers and a redhot sales person. 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 [Noise conspiracy B1!0E>TIR_ L^AirstWChampions Sunday November 12 £1^ELEMENTSCDOD; Friday November 17 N 2!!! Death Cab for Cutie I pedro the lion \\n^m\mmm7i mm m rBANGER ue»r God AwafcrfiisPetrilied Early Shown! UZJ5MED0MA FORD PIER MBS RjREKftlLtS; 3ffi h3 0\)tHb*C ft No' SSrttV IIP! THE BRICKYARD 315CARRALIST. GASTOWN 685.3978 9Very rA/^AyJ v^ait, JolZ. IaZ2 i-\V\« \?e<voS *^c. WTMrOty TW «/ieM\i>A v<mc\ CM*\* Acs TCt tear- .1^ electro rue 'S)anvv\\orTnerP £U noospWrP ig) clcvct^r-Ws ^vrAep<?rA<>/\T <-r—^cAnrCS K«>\\y i^SoloSotaolo £7) v*>e v?oc\U<c."Vi( g) bottle ss tVf& BLUE LIGHT |X3£*f«3eJt SUNDAYS VOOVXG MONDAYS November 1 glass head Money gftot i i I 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 ^secret to great dreadlocks! ALL NATURAL DREAD PRODUCT FOR CLEAN, HEALTHY DREADLOCKS! fCnotty JB>ov J_>reaci pVax www.knotty boy.com Wholesale Inquires call 250-537-0058 AVAILABLE AT SALONS, HEMP STORES, AND OTHER COOL PLACES NEAR YOU! i**ax • shampoo • jrasta. Jhats • appaxeL 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
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-11-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2000-11-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2000_11 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | f15bb723-f86a-47e9-8a45-b8cccc7d89f8 |
DOI | 10.14288/1.0050208 |
AggregatedSourceRepository | CONTENTdm |
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- Original Record: discorder-1.0050208-source.json
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https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0050208/manifest