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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1996-01-01

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 WW       1        ^^-*.
^________fl_[       ^k_    1                 __^^
January 1996           rag
from CiTR 101.9!
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;v^m:   k                ,mMMSm            H
W'A    'r*5"^|||||
cid © Super Friendz © Red Rec
The Snitches © Velvets Return
I Meat © Boss Hog © Ashley Maclsaac
is! © Plus how you can save CiTR
■ mm
■                  .  Die-cover
"I should be laughing, I -should be laughing..."
This month's gloomy cover by Allster MacKinnon of Montreal.
Vancouver special 5
dear .00365% 7
between the lines 6>
interview hell 9
7' \b
shindig 19
real live action 21
under review 22
velvets christian comics 23
on the dial 25
datebook 26
Editor; dylanarlfflth
Art Director: ken paul
Ad Pimp: kevln pendergraft,
Graphic Design/Layout; ken paul, keveln pendergraft, lee vegas.
mark pilon
ProductlonAsslstants: krlst* petal-****, mark pilon
Copy Editors: petra fisher, x-tlna zeller
Prggram guide; miko hoffman
Charts: poo-head mallet
Datebook: sophle hamley
Distribution: matt etefflch
US Distribution; krlsta peters
Discorder On-line: brian wieser, ben lal, ryan & his chums
G linda echolten
"DiSCORDER" 1996 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 20,000.
Subscriptions, payable in advance, to Canadian residents aro $15 for one year, to residents of
the USA are $ 15 USD; $24 CDN elsewhere. Single copies are $2.00 (to cover postage, of course).
Please make checks or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the February issue is January 10th. Ad space is available until
January 12th and can be booked by calling Kevin at (604) 822-3017 ext. 3. Our rates art
available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to
unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs
and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac,
preferably) or in type. As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM at well as
through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ line at 822-2487, our office at 822-3017 ext. 0, or our news and sports lines at 822-
3017 ext. 2. Fax us at 822-9364, e-mail us at CiTR@UNlXG.UBC.CA, visit our web site at http:/
/ or just pick up a goddamn pen and -write #233-6138 SUB Blvd., Vancouver, B.C. CANADA V6T 1Z1.
ODVttE" ililPOTO
TEL (604) 669-6644   ©   FAX (604) 669-7978
mm   »   johnny |
&.:*"tfie reatfpacie*
i^gx^oupiis * stfi#iwfl
stMShbidiq! ^ontaii
Special thanks to all
participating bands, volunteers,
>rs, the Starfish Room
regular patrons and
of tfie Railway Club.
winners for Shindig 1995 are
1st: The Readymade
* nd: 1000 Stamps
3rd: Plpedream
po^nd • sugarcajii
mtWof vM
wfter■• thrpatf
U   •   johjjnj
Ihe sal
||1 kmt»me«m4*l^*>*
/^,     "   pREDSIONSOUNO
JAN 15-19
events in SUB concourse
Tues-Thurs 12:30pm
Want to find out wore about CiTR?
Visit th&^P concourse 10am-4pm
Tuesday to Thursday, come up and visit
us in room 1M, or reach us by phone
at %TL-$
email at ci
CITR JAN 15-19
(see page 6) COCAC DIRTt
As this is the season of giving, it's been great to see two successful
benefits happen in Vancouver this month. Two all ages shows at the
St. James Community Square, one for Women's Shelters and Rape
Relief and the other for Women Against Violence Against Women,
raised a combined total of $1500 for those causes. Another benefit is
set to happen on January 19lh at the New York Theatre, wilh the
bands Daytona, ten days late, th* Sweaters, the Cowards,
Preston, and Bogue playing for the Environmental Youth Alliance.
Congratulations go out to this year's Shindig winners Tho
Roadymado, as well as the other finalists 1000 Stamps and
Pipodroam, and all of the olher bands who entered CiTR's battle of
the bands this year. You now have eight months to get your tapes/
vinyl/CDs in to QTR to enter Shindig '96.
NeoBeat performer Ralph has a busy January scheduled, with
several live performances and a release of a new Ralph CD-EP called
Orymp'ia '66, a tribute to '60s UK beat music and '50s poetry, recorded last year at the Gastown Music Hall. As well, he'll be on a
compilation of spoken word featuring Henry Rollins, Lydia Lunch,
Richard Hell and many others.
It was supposed to be the farewell show for Japan's Teengenerate
on December 8 at the Hungry Eye, but it turned out to be the final
performance of Vancouver's Bum as well, as they broke up that night.
Apparently, their lack of success outside of Spain (where a huge following was developed through tours and record n '
More Mint nupluals: Lisa Marr, former Discorder
editor and current singer-bassist of cub, has recently
married Ronnie Barnett of Los Angeles' Muffs. Perhaps
not coincidentalfy, cub will be breaking from their touring hiatus to join the Muffs for a New Year's Eve performance at Maxwell's in Hoboken, New Jersey.
Nettwerk Records have signed Vancouver's
Another White Male. No word on a new album
release ihough.
Vancouver's (and Canada's??) loudest band,
Facepuller, will now have their new CD distributed
in the United Slates and Europe through the legendary Alternative Tentacles label out of San Francisco.
It will be made available as both CD and full length
vinyl, but to obtain the vinyl in Canada, you'll need
to buy it as an import.
That's all ihe dirt I could dig up for this month. See
Yal :)
1995 has been a strangely quiet year For Christmas
demos. Normally, I receive a small handful of Christmas cassettes which range from the pathetically banal
to the refreshingly weird, wilh a few in between lhat
just plain rock out. Past faves include, but are definitely
not limited to, the Sistor Lovers, Speedbuggy,
1000 Stamps and Thurston, Aging Youth Gang,
ihe Squirrels, and Shadowy Men from a Shadowy Planet. But what happened ihis year? So far, as
I write this piece, I've received nought. Nada. Rien.
Nothing, you hear me? What are we, chopped liver?
Thankfully, I've been able to squeeze a few carols
from otherwise non-holiday-oriented tapes from the
Unhappios, Cool Hand Luke, and True Love Forever Take those names down, Santa. Extra coal all
Some of the finest pop-rock you'll ever hear is being currently generated by a new bunch called the
Emptys. They're Empty because they take all ihey have
and fill you up with urgent melodies, clever lyrics, and
assertive hooks. Not to mention nimble drumming from
a fellow who's asked me not to use his real name (no
wonder he always wears a mask on stage). It was a
treat to receive their debut cassette, which showcases
the strong lunes from iheir live set. "Never Been There"
and "Opportunist's Holiday* are the more upbeof of
ihe bunch, while "Sister Song" and "Last Train Leaving" revel in their intensity and sparse blasts of di
nance. And "Disparate Times" slides off the speakers
wilh a smooth feel not attempted since Seals & Crofts
blew everyone's minds a few years back.
Regrettably, the Emptys' 'secret weapon', trotted out
ot a couple of recent Treehouse gigs and operated with
admirable prowess by Manifold's Daniel Jones, is not
to be heard on this tape. But if you seek inspired song writing and
decent playing, check out the Emptys.
Challenging the Emptys for ihe pop-rock cassette crown is 308,
who greased ihe alley wilh a wry inclusion of an expired in-store
coupon for 20% off Leibniz German biscuits. This trio, featuring Jared
on drums and two guys name Jeff on stringed power tools, has a gift
for writing memorable songs, and the rough basement recording contributes some punk rock cred to the whole show. The ten cuts on Abducted by Aliens are fun and hummable and, as most evident in "My
Life" (where ihe onfy lyrics are "My life is going nowhere"), spunkify
simple. Fears that the Police had finished it for power-pop trios are
allayed by such grass-roots audio cave paintings as this.
Wiggler is an interesting solo lo-fi recording project lhat should
appeal to 4-track minds everywhere. The 17 songs on No the Yeah
are an onslaught of indie-rock in-jokes and postmodern parody. There
are voice-manipulated generation-benders ("Adult", "We Love You,
Junior"), hero-worship satire ("Mulligan (Hooray for...)"), and air-punching space-metal (ihe instrumental "Panfried"). A version of cub's "Go
Fish" slogs along like a mix of industrial-strength molasses and tar-
flavoured Cheez Whiz, and it is so unrecognizable lhat I'm left wondering if Wiggler actually had the local classic in mind when initially
recording this 'cover'. The principal reference I should make here is
early Ween, especially when the Scolchgard-powered bong was being used as God intended. "No the Yeah" is Wggler's first release,
and while it is the tape I'm chiefly familiar with, it should be noted that
he's since put out another one that is even more ambitious in its utilisation of bedroom recording technology.
There you go - a brief ond bouncy Vancouver Special. I'm told that
DiSCORDER is on o squeeze for space this month, so I've been asked
to keep it brief. Well, too bad it onfy c
even ihough there's pnillions (well, at leasl
that deserve mention in ihis praise-heavy c
all the brakes I can get. That's not a gift hin
ya next month.
year, because,
a couple) of fine cassettes
id slag-shy column, I need
, just poor spelling. Talk to
Friday, January 19: Environmental Youth Alliance Benefit w/
Daytona, tens days late, the Sweaters, the Cowards, Preston, and
Bogue af the New York Theatre (7:00).
I'm sorry!!
I don't know what it ie about photo
credits, but it seems that almoet
every month I either credit the
wrong photographer or forget to
credit anyone at all. The latter was
the case back in November when I neglected to thank CLANCY DENNEHY for
ie super deluxe photo of Download. Mark
Spybey he supplied for our cover. Sorry,
— 6orry. Now please stop being 60
the Marks. cowshead chronicles
"don't tell me which way i outta run
what good i could do anyone
cause my heart, it was a gun
but it's unloaded now
'gun' uncle tupelo|
have in past writen, directly or otherwise about heart
break and all that comes with it. i have decided that
will no longer write about love and sex and brokenl
hearts, it's a tough act to follow sometimes, and following yourself, not that the subject was always me, as t
wasn't - i swear man - wasn't a pretty sight, i made a
guy in a band cry once, my phone used to ring off of the
hook with complaints and the voices bantered behind
my back, christ, my ears were so damn hot most of the
time i thought i might pass out. love, i'll admit it here
and now, makes me weak at the knees, hell, for a I
lintents and purposes it just makes me weak, i'm trying
to remedy this though, and while i've often been
accused of being too honest or hopelessly romantic or a
pathetic love struck fool at least i'm not afraid to bear
my soul and say 'i love you', and god damn it! strike me
[down now if i've ever uttered an untrue word about love
to a woman in my life, many a sorry bastard has made
me sick with his pathetic moaning about not being able
to tell his mate he loves her. shit man, you're sleeping
with her the least you can do is tell her you like her. but
digress, my decision to abandon all talk of love etc. s
one of great pain to me. too many people were seeing
themselves in the stories, which sometimes was true
others not, and i don't need that weight, i was being
accused of all sorts of shit, dragging "our" personal life
through the dirt, why does anyone need to know]
that?...whatever, my last girlfriend, god bless he
seemed to get it. my exercises of written exorcism, myl
love related through cars and guys with guns, the|
thoughts of bullets ripping through flesh and bone
sights set on bottles on fences and cars heading back]
home because of brake failure, men sitting out on decks
after shooting their toes off with a twelve gauge, it a I
made sense to me and to some others as well, but the
heart is often a dark place, as mine is now, and the light
shouldn't be cast on it unless it's an emergency, for th s
reason and many others i am going to set back and
write about the everyday stuff, the stuff that made|
denny boyd famous, love? i love my mom, man.
jJust say Yes!H
CiTR 101.9fM is licensed as a campus/community radio sta-
 Hon, and for ihe last fourteen years it has grown to be one of
1 the most respected in the country. Indeed, we modestly assert
m that it is one of the finest radio stations in Canada (and, apparently, in olher parts of the continent, as if wos once referred to
as one of the coolest radio stations in "these United States" by
Details magazine). CiTR provides not just 'college rock', but
jazz, techno, lounge, ambient, hip-hop, Nardwuar, Indian
music, African music, women's programmes, spoken word,
queer-friendly programmes, poetry, news, sports... Basically,
onylhing you could possibly be interested in is covered by CiTR
at some stage in its programming week - just take a quick peek
at 'On the Dial' in this issue of DiSCORDER (which is, by the
way, the programme guide for the station, amongst other
things). CiTR is a vital, energetic part of the UBC campus, and
of Voncouver. Many people would be hard-pressed to imagine
CiTR not existing, but it is possible.
In order to run a radio station like CiTR, and to publish magazines like DiSCORDER and Elements (CiTR's (relatively) new hip
hop magazine), we need Iwo things. First and foremost, we need
volunteers, whose desire to be involved is not directed by financial incentives. Almost as important, we need money to maintain
our infrastructure, which includes all the equipment we need to
work with and a scant one and a half paid staff members.
*■ Unforfcmatefy for all of us, both of these elements are at risk.
I The bulk of the volunteers who run CiTR are UBC students
who spend time between classes in the radio station. With a
pressing need for high grade point averages ot UBC, and students who have completed a secondary school system which
prioritizes academic achievement, those who wind up at UBC
ire increasingly more likely to spend their time in class, or
studying, than to spend time volunteering. Further, wilh many
faculties aiming for full cost-recovery over the next decade,
itudents who would not have needed to work during school-
terms in the past may need to now. What this means is that
CiTR will likely get fewer volunteers in the future, and lhat
those students who do volunteer will be able to devote less
time to the station. Consequently, it will be more important
than ever lhat CiTR's resources be dedicated to getting ihe
most out of our volunteers.
CiTR requires over $100,000 to operate each year. To
receive this money, we must make a request to the AMS (ihe
Alma Mater Society, UBC's student government) Budget
Committee. They will consider our request, and then ihey will
how much money we con spend. For ihe 1995-'96 year,
CiTR requested $85,000, a modest increase over our 1994-95
expenditures. We were given $75,000. Clearly, our financial
position is a tenuous one, and our future may be in peril.
by Brian
— Wieser
While it may be a bit premature to herald ihe
CiTR, these financial uncertainties do put the station in a pos
Hon of vulnerability from which it will be difficult for us to odap
to some of the dramatic changes presently occurring in th
media-scape. For example, the CRTC (Canadian Radio
Television and TelecommunicaHons Commission - radio's licensing body) has decided lhat it wants to eliminate AM and fM
rodio by the year 2017 in favour of digital radio (a CD-quality
format using technology similar to that found in cellula
'phones). When ihis happens, your AM and fM radios will no
work; nor will our broadcasHng equipment. The cost of 'goin
digital' will be tremendous, and at the present Hme CiTR doe
not have the financial security to plon for the upgrades we wi
require. For that matter, we can't plan any long-term budgets
as each year we are subject to the same political proces
which puts us at the mercy of ihe AMS.
Our solution to this impending crisis is to take this matter to
ihe students of UBC, the main beneficiaries of CiTR's octiviHes
Their student fees fund us, and we will ask ihem to give u
financial security in the upcoming AMS elections, held betwee
January 15th and 19th. We are asking for student fees to be
increased by $5 to replace ihe AMS' Budget Committee as a Kl
source for our funding, guaranteeing CiTR approximate! jjl
$125,000 per year in perpetuity. This will provide enoug
money to pay for cost-of-living increases, and for the equipmen
we need, and to ensure lhat CiTR has what it needs to provid
its listeners, and its readers (through DiSCORDER and
Elements), wilh ihe best we can offer.
What we need from you is this: if you ore a UBC studen
there is nothing more important than bringing your library can
and voting YES in January in polling stations throughout th
UBC campus. Even if you're not a student, you can sHll tell people you know who are students to vote yes. This is so incredibly W
important because we must not only get a majority of students 9
who vote to vote yes, but we must receive at least 3200 vote
in favour of our question to achieve quorum. In the last 1
years, ihere has onfy been one successful referendum campaign at UBC; ihe rest have foiled for lack of quorum.
Further, from January 2nd to January 19th, we need your
help in ihe referendum campaign - postering the campus, phoning potential voters, promoting our cause, and speaking to students on campus, amongst other things. You con start by phoning us at 822-1242, e-mailing ot at, or by
coming up to CiTR in room 233 of the Student Union Buildin
at UBC and telling us lhat you want to help out.
You can find out what CiTR is all about by tuning in to
101.9IM right now. Let's make sure lhat you can sHll do ihi
from now by winning this referendum.
We should brush our teeth well
every morning and at night, too.
This keeps them clean and bright!
Another friendly
hygiene tip from
the Ad Captain
Advertise in
Book space by
January 15th!
M/JCevin at 822-3017 (ext 3) for detdUsJl
1043 GRANVILLE STREET 688-6225
THE EXPERIENCED PIERCERS I was talking to o Voncouver writer the other evening. She was
complaining, as writers are wont to do, about reviewers.
"The problem with conventional book reviews," she said,
"is that they only fake half the equation into account. You guys
only pick on writers."
I assured her that, personally, there's nothing I'd rather do less
than waste a column talking about writers. Books are easier. But then,
after o few more drinks, I ended up agreeing with her. It does seem a
little unfair. I mean, writers and readers come out of the same slock,
and the readership must have some influence on what's being
written. Why not review the readers for a change?
Tfiis is difficult to do, to be sure. Unlike writers, readers don't leave
traces around to review, except for lhat dog-eared Stephen King beside the loo, or ihe odd Danielle Steel on the back bench of the Hastings bus. The olher problem is lhat, ideally, there are a lot more readers than writers, even though only a Hny fracHon of the population
reads voluntarily. Readers are basically factory products - units of
basic literacy cranked out of educational institutions like paperback
novels - so you can write about them, but in doing so you risk being
dolefully staHstical, not to menHon condescending. But, ihough it's
difficult to review readers in any meaningful way, you con go where
they crank out the readers, ond interrogate some of the people responsible for quality control. I undertook this project for the writers out
there whom I may have offended over the past several months, as a
way of putting my inadvertent insults into context.
The most obvious place to conduct my little inquiry, I thought, is
the place lhat presumably manufactures the best product*, that bastion
of literacy, the university. Of course, university-generated readers are
essentially different from acHve readers in lhat university students don't
buy books and read them because they want to, but because they
have to. Even a programme as scurrilous as Business AdministraHon
demands thot its graduates have a passing familiarity wilh the language, which forces them to take a first year English course.
With these limitaHons in mind, I wandered up to one of Vancouver's two universiHes to chat up a teacher or two. I must confess I was
a bit excited at ihe prospect. I've never been able to have a converso-
Hon wilh a teacher as an equal, only as a subordinate. You probably
know what I mean, even if you've never been forced to go to college.
Most everyone has, at least once in their life, had one of those deranged high school teachers who, believing fervently in 'youthful curiosity', has tried to convince you lhat your shiny paperback edition of
Never Cry Wo/fwas "like a Christmos present waiHng to be opened".
Personally, I blame these teachers for my natural disinclinaHon for
reading. To ihis day, if I force myself to remain immobile for the extended periods needed to slog through a 400 page novel, my body
starts to feel like its coming down with the 'flu.
When I arrive at the university, the English Department is abandoned, no doubt because exams are on. I can't find any tenured
professors (who are sort of like members of the academic board-of-
directors) lo talk to, ond sessionals (the plant managers) ore impossible to find, so I have to settle for a teaching assistant, the minimum
wage migrant labourer of the teaching community. IntuiHvef/, I go to
the student pub to hunt down one of these creatures. Sure enough, I
find one hunched over a tell-tale pile of exam booklets, enshrouded
by a cloud of cigarette smoke. He's long-haired and unshaven, and
the nervous acHon of thumb and forefinger have denuded half his left
eyebrow of its hairs. When I ask him if I can buy him a beer in exchange for a few quesHons, he regards me wilh the sort of suspicious
glower you see in feral children. Finally though, unable to resist the
temptation of free libations, he consents to my request.
"What do you teach up here?"
"First-year ficHon and first-year essay. One in the classroom, the
other by distance."
"What do you mean, "by distance"?*
"Distance Educalion. Students pay a lil_e extra money for the privilege of
not attending leclures and only having to talk to me over iie phone."
"So which one makes better readers?"
"Well, the Distance people have to read a study guide, so I guess
they do more reading."
"No, no. Not more reading. Better readers."
"Beg your pardon?"
"Which course is more likely to make the student want to read
more books once they've taken it?"
He squints at me suspiciously for a few seconds. "What kind of
quesHon is lhat?"
"I'm just wondering about people's reading habits. I write this
column for Discorder -"
"You're obviously not in university yourself."
I shake my head. He crushes his cigarette end against the inside
of a coffee mug.
"Well, first of all, first-year English has nothing to do with encouraging students to read more books. At least the way it's
taught around here."
"What does it have to do wilh, then?"
He smiles at me like someone who's just figured out the rules of gin
rummy after a couple of awkward hands. "Okoy, it's like ihis. Students come up here in iheir first year, right? Don't have a clue what
they want to do. All they know is that Pop's pavin' for it, or
student loans're payin' for it, so they better do something
that lands them a job."
I nod. He lights another smoke.
"So right away you know most of the people here are just fulfilling
the breadth requirements for iheir science degree, or some professional school or other. Around here that means Business AdministraHon, but there are others. People who start out in the arts generally go
into the EducaHon deportment."
I've been expecting this type of response. "Yeah, so those students
are forced to read, but they're sHll reading, right? They sHll develop
some sort of reloHonship with literature."
My statement catches him in mid-swallow, and the ensuing
convulsion of laughter sends a spray of foam over his exam
booklets. He wipes his mouth in his shirt sleeve. "Relationship
wilh literature. That's a good one. You're assuming that these
students are here to learn. To think. For most of my students,
taking university courses is capital accumulation."
"You sound like you've landed a real batch of winners this term."
"No, they're bright enough. They just haven't been taught how to
ihink. All ihey get taught in high school is to shut up and not to ask any
quesHons the teacher can't answer. Tfien when they get up here there's
all this pressure to do well. You know, so they can get one of the Iwo
or three jobs lhat aren't at fucking Starbucks."
"So what's wrong with expecting a job when you graduate from
"Nolhing. It just doesn't give you Hme to fuck up. Fucking up is
how you learn, right? When's the last Hme you mastered something
the first Hme you tried it? But up here learning is investment, and
fucking up means watching your stock portfolio drop in value. How
can you learn anything if you're scared shitless lhat you're gonna fuck
up your grade point average?"
"That's a tad cynical, don't you think?"
"Of course it's cynical. But that thing you said just
developing a relationship with literature? That's just fucking
friend. Most of my students want the best grades pos
sible, by whatever means necessary. And for some of them,
mere's no way a little thing like reading a book's gonna get in
the way of that."
"I don't follow."
"Most of my students this semester? I haven't met them. That's
'cause they're fulfilling their breadth requirement by doing English by Distance. They fax me their papers. I mail 'em back with
a grade and some comments. There's no final exam, so I'll never
even talk to 90% of'em."
"So eilher this is the most brilliant batch of first year students ever,
or most of 'em aren't doing iheir own work. I never meet 'em, so I've
got no way of knowing if they're doing their own work or not. Ran
into a guy I know the other doy who told me lhat his roommate is
wriHng English papers for first year students for 30 bucks a page and
up, depending on how high a grade you want."
"Sounds pretty enterprising to me."
"Yeah, well, I figure most of 'em ore Business students. Putting
their learning to good use."
"So you're not saying your students are dumb, just lazy."
"No, man. It's not the students. The system is designed for
abuse and they're taking advantage of it. It's the university that's
fucked. The bastards who run this place hate learning. All it's
good for is distracting radicals. Domesticates 'em so they don't
go stirring up shit on the street. But they love shit like Distance
Ed 'cause it's cost effective. It's a helluva lot cheaper for them to
pay piecework woges to schmucks like me than lo pay some
Prof to lecture in the classroom. That means soon it'll be the only
way to go to university. Virtual learning, man."
It takes me a few minutes to recover from my informant's
apocalyptic rant. But eventually I shake myself out of it. "Look, I
appreciate the lovely picture you're painting for me. But I came
up here to talk to someone about readers, not the shitty state of
universities. You teach English, right? So tell me something about
university readers."
He blows smoke over the cigarette between his knuckles and
the flanker glows a bright red in the gloom. He finishes the dregs
of his beer.
"You got any more money?" I look forword to the coming of each New Year for ihe opporluni
ty it affords me to try to resolve what's been troubling me during the preceding months,
and to make an effort to better myself. This
New Year, as always, I will make many reso-
luHons to lead a healthier, happier, and more
producHve life. For anyone else trying to stay
true to those New Year's resoluHons, Andrea
and I have chosen zines that inspired us to
work on improving ourselves. We hope they do
the same for you.
Wot grrrl press catalogue
riot grrrl press is a distribution service for poliHcal
and personal zines done by women, its main purpose being to promote dialogue, rgp's 1995 catalogue features both recent and older zines from the
Vancouver area, other parts of Canado, ond the
US. Ordering through riot grrrl press is wise because
their information is very up-to-date, with the most
recent addresses and zine and postage prices. The
catalogue also explains what riot grrrl is, why it's
important, and how to become more involved. Write
riot grrrl press Q PO Box 33, 345 East Broadway,
Vancouver, BC,V5T1W5.
Sandbox #10
(8.5X5.5; 18 pgs)
"I just want to be pure. I want to get rid of all the hangups due to
past troumafic experiences, tradiHon, fear, or unwillingness to boldly put forth hue feelings."
In Sandbox if 10, Elisa Rose hos done just that. This zine was
written after its author returned from a crossCanada rood trip, ond
I could detect lhat feeling of self-awareness lhat comes with traveling. The topics she's written about ore more personal than those in
Aid tt\6se are a. Pev-/ of our
t Favourite tl\ings/
[The Mt T Experience! J
k>ve Is Dead* CD*/LP_|
The Smugglers ,
»& The Hi-Fives 1
LrS-jmmer Gaines' 7"/CD-EPj
jjn&k ■*■-«**
j, The Smugglers!
rSellingThe Sizzle!* CD/LPj
^6 The Potatomen!]
it 77CD-EP.
*, Get your Mint Records fix @ Scratch, Track, Zulu, Boom, Sam's, A&B & HMV!
v^vld Ot write us @ Mint for your free Mint Mall Mailorder Catalogue! Happy Holidays!
-c-" Mint Records, Inc. » 810 West Broadway #699, Vancouver, BC Canada V5Z 4C9
her previous zines, focusing primarily on
relationships. But I parHcularly enjoyed
her response to the "creepy man on the
street late at night", which is about
avoiding o victim mentality in
response to encountering inHmidaHng
strangers at night.
Elisa Rose's wriHng style is very
poetic and, as wilh her olher zines,
very unimposing, allowing for personal interpretations to be mode.
Gotta dollar? Send it to Sandbox
© Box 42, 199 West Hastings,
Vancouver, BC, V6B 1 H4.
Photobootb Toolbox
(5.5 X 8.5; 1 8 pgs)
uplifting to read about
ing in love with
herself, especially when she's
been conditioned to dislike
who she is. Photobooth
Toolbox tells the story of a
irl who left South America at age seven,
leaving behind her mother culture, longuage, and tradi-
Hons, to eventually relocate to North Vancouver. Its author reveals
some hard truths about growing up as an immigrant in a mostly
white community. She also discusses her struggle to come to terms
with her family's transition from working to middle class, the
oppression she hos experienced as o result of being overweight,
and the negaHve body image such oppression has engendered.
Although I om not personally affected by these issues, I reconsidered my attitude towards them after reading this zine. Obviously,
the author has overcome a lot of built-up negativity. Photobooth
Toolbox is an overwhelming ond eye-opening story with an endearing, yet powerful, ending. Write
Photobooth Toolbox Q PO Box
249, 1027 Davie St, Vancouver,
BC, V6E 4L2.
Sometimes I'm a Pretty Girl #4
(32 pgs)
This zine discusses the steps its
writer went through after her
mother committed suicide. As
such, it is a powerful documentation of the healing process ond
the author's feelings about her
mother's death. What impresses
me most about SlaPG is lhat the
author realizes the importance of
telling her story and reaching out
to people who have had similar
experiences in order to begin an
immediate recovery. Send a dollar to Zanna © PO Box 33, 345
Eost Broadway, Vancouver, BC,
Hands Off
(5.5X8.5; 16 pgs)
Sometimes a zine is born in a few
days as a release of what has
been building up inside of you for
a long Hme. In this way, zines con
be a therapeutic means of
analysing yourself and your life.
Hands Off is a perfect example of what can be achieved once
this process starts. In it, the author
writes about her borderline rape,
the everyday sexual harassment
she experiences, and the way sexism and abuse in daily life can
build up ond make it difficult to
break the cycle of silence. After
reading this zine I realised the
pansy pivisiows
 ~H tV TAKEW ,
,The Mr T Experience!
live Is Here To Stay!_
importance of speaking up against often ignored sexist attitudes.
Send a $1  US to Heather Lynn © PO Box 724, Lake Zurich, IL,
60047-0724, USA.
The Stuff Dreams Arm Made Of
(8.5 X 5.5,16pgs)
Billed as "A zine about vilification, a zine about healing", The Stuff
Dreams Are Made Of pieces together the author's history of
molestation and rope, dealing wilh bolh emotional issues (such as
feeling lhat you must have been a bad person who
deserved to be molested) and
physical effects
(sterility and internal scarring). The
author's  stories
eventually lead up  1
to her recent prob- 1
lems with her first I
girlfriend, and her 1
realization lhal girl  |
love isn't necessarily I
safe from abuse. She  1
also realizes lhat her j
past abuse mokes her
more prone to becom- ]
ing an abuser herself.
It seems to me lhat I
The Stuff Dreams ore
Mode Of is the
author's search for 1
olher women who have 1
had similar experiences j
with abuse. Often v
Hms of child abuse and 1
molestation feel like ihey 1
ore alone and lhat what
has happened to ihem
occurred because they deserved it. Finding other vicHms often helps
to facilitate the healing process. I found myself questioning my past
after reading this zine; I also found myself admiring its author for
having the courage to tell her story in a format that is so easily
judged and open to ridicule. Send a $1 to See the World, Chicken
© #406-1701 Powell St, Vancouver, BC, V5L 1 H6.
(5.5X4; 22 pgs)
Usually when I tell people I'm an only child their first response is "of
course you are*. Am I lhat transparent? If so, what is it exactly that
gives me away?
Reading Shatter was an insightful look in the mirror for me.
Christina, an only child of a Iwo parent family, discusses the discomfort of knowing her miserable parents onfy stay together far her
benefit, her uneasiness about being alone, and her repressed
anger. This zine examines anger a lol, which I feel is admirable
since anger is such a difficult emoHon to come to terms wilh.
Something else I admire about this zine is ChrisHna's attitude
towards writing it. She sees wriHng as a process of growth and
change, and it is apparent that Shatter is the beginning of her own
process of self-discovery. She's written for herself, but I nevertheless
felt that her zine is very giving. Write Christina © 249-1027 Davie
St, Vancouver, BC, V6E 4L2.
Mak» Out Club #5
(8.5 X 5.5; 30 pgs)
Those of you who are familiar with Trish Kelly's zines don't need
to be told she is full of surprises; I have come to expect to be
astonished by this girl, who is in a continuous state of inlrospec-
Hon and evolufion.
A while back Trish and I were having a discussion about overcoming girl compeHtion and she noted lhat it's a lot harder to proc-
Hce when it's 'more than a slogan'. In MOC #5 Trish distances herself from slogans ond generalizations to explore issues from a more
complex, internal perspective. Instead of expressing opinions about
girl competition, ihe punk rock scene, sexism, and her dysfunctional
family, she describes her own role in relaHon to these subjects. She
also analyses her sexual identity, comparing her actual feelings to
those she has been taught to have. Write to Trish © Box 33-345
East Broadway, Voncouver, BC, VST 1W5. the forgotten
Who are you, how old are you, and what do you play?
Jack Duckworth, 17 winters old, guitar and lead vocals.
Glen Poison, 16 winters old, lead drums and vocals.
Spencer Kennedy, 17 winters, bass and vocals.
Chris Booth, 16 winters, the other guitar and vocals.
Describe your sound in 25 words or less.
Jock: Duh...if's like Fugazi/D.C. hardcore meets Epitaph.
Chris: What he said.
Spence: When we started it wos hard to come by non-mainstream
tapes in the valley, so we made our own fast and heavy music, which
I guess turned out to be sort of original. We make up oil our own
stuff, and Jack uses really weird chords which keeps it a little original.
Whafs it like playing in Courtenay, which some have
referred to as a hick town?
Jack: It's like playing a war/fight. Damage is inevitable.
Chris: Our problems aren't so much hicks as much os idiots show-
up to gigs looking for a place to drink and fight.
Spence: They start out good until the last two bands when the
wannabe rednecks charge the door and mess things up.
Does anyone in Courtenay remember Keith Parry (of
Superconductor/Scratch Records), who grew up there?
Is he a local hero?
Jack: I hod to do a story about this guy for my school's newspaper,
The Breezawoy, and I couldn't really get a hold of him. Anyway,
they got like fuckin' posters and statues of this guy all over
Courtenay. I even heard there's a culfl
Spence: I heard lhat when he went to Vanier High he used to get
death threats for totally shutting down Michael Jackson in his
school newspaper music reviews.
Has Jason Flower of Victoria's Mexican Power
Authority helped you out?
Jack: Oh yes. This guy is awesome. He recorded our first record even
1 we were on a small budget. He's done so much for us. I haven't
him in a while, ihough - he's been hitch-hiking to Montreal.
Spence: Seeing os he did a free recording for us, I'd say lhat has
totally helped us out financially. Plus he has introduced us to many
bigger-than-us bands.
Is it hard to organize an all-ages show on the Island?
What problems have you encountered and what
advice would you give to potential gig organizers?
Jack: Not so much in cities - Nanaimo and south of lhat • but up
north you have to get mucho security or kiss goodbye to your damage deposit. We've organized shows with bands like d.b.s.,
Pipebomb, Floalboy and shit ond some bonds don't even play
'cause the show gets jacked.
Spence: Sometimes it may be more worth hiring someone to clean
all of ihe empHes and broken glass because we always have to do
it. But mostly it's only Courtenay gigs lhat get wrecked anyways.
How did you meet Tetiey and Discharge of Jerk zine?
Jack: Alrighty then... We were playing a hometown show with
Gob, Breach, and Chronic Inbreeding and this unknown girl
bought a tope after our set and gave us her # and shit. I gave her
a call later and BANGI we're on CiTR radio.
Spence: They somehow got to know Jack and next thing you know
I wos staying in iheir house.
Please comment on your gig experiences In these places:
Duncan - Spence: My favourite place to play by far is Duncan.
From playing there I have olso met some totally cool people. The hall
barely gets any damage to it, which is a rare sight in Courtenay.
Port Alberni - Jack: There's a dedication to the scene but too
many assholes fuck it up. It's kinda dead actually.
Spence: It seems as ihough ihey don't have many gigs there.
Victoria - Jack: Really 'cliquey'. People tend to make out-of-
town bands feel homeless. We've played there a couple of times
and it's weird.
Spence: We have played two shows there, but the people I ihink
liked really slow and heavy music, and don't mosh, which we like.
Nanaimo -Jack: '80s punk rockers in your face! Mega cool people. We've played ihere lots ond it's a rod scene.
Chris: I liked it.
Spence: Yah, I like Nanimo because people there go to shows to
have a rod Hme and they will accept any band.
If you had 200 Double Bubble comics, would you pick
the beach ball or a frisbee?
Jack: Frisbee - you can eat out of it.
Chris: Frisbee fasts longer.
Spence: Frisbee, because the gome UlHmate rips.
What do people on the Island think of the Vancouver scene?
Jack: I don't really know 'cause we haven't played here yet, but
from what I've heard it's peachy keen. Oops, I answered the ques-
Hon wrong.
Spence: I think most think of the Vancouver scene only as the sort
of trendy Lollapalooza deal. Personally I don't really know what
the scene is like. Soon ihough.
Why do so many bands on the Island break up?
Jack: Why can't we oil just get along?
Spence: When the bands can't find a place to jam, ihey don't really know each olher, have different expectaHons of each olher or
there is just the one jerk.
Does anyone care about NoMeansNo, Dayglos or Gus
anymore? Who are your biggest 'local' influences?
Chris: I like NoMeansNo and Gus but there's only one original
member left in the Dayglos so...
interview hel
Who an you?
Hello TV land, I am Mrl Erik. I play the instruments and run ihe
Where were you bom?
s born in St. Joseph's Hospital in Hamilton, Ontario. My mom
there for moral support. I grew up in Burlington, Ontario.
Before you moved to Vancouver, what five images did
the city conjure up?
My friend, Mike Brown, was from Vancouver. He stuck his finger in
G.G. Allin'* ass. He showed me his Prince Albert on Bloor St. in
Toronto. He's but one man, but he's five images.
Now that you've lived in the city for a while, what five
images stick in your head?
Clean-looking kids in NOFX sweatshirts, barrette fanzines, good
pot, chin patch goatees, no Toco Bell.
What's with the guitar/drum machine set-up? Were
you inspired by Wandering Lucy?
I don't have to worry about schedule conflicts when arranging
pracHces. As to the Wandering Lucy influence, if you can tell me
who lhat is, I'll tell you about it.
Would you ever consider adding any more members to
Wiggler or are you just totally disillusioned by the
whole band thing?
Originally Wiggler was going to be a full band, but I never got
around to corralling any other band members, so I just recorded all
the parts myself. Bands are cool and all, but you run into problems
when everyone wants to sing and stand up ot the front. I can do
■ything I want to and not have to justify it to anyone. It helps to
keep a sense of continuity to the songs.
By Ihe way, what is your past band experience, Mr. Wiggler?
It's Mrl Erik to you, man. I've played guitars, bass and drums in
various punk rock bands over ihe last 8 years. Of the eight or so
bands, ihe best three were fourstoryforehead, Rats Eat Children
ond the original Moist. We were around before the olher weirdos.
Have you left the punk scene?
I haven't really left the scene so much as grown from it. This guy
Scott said to me lhat if you ever 'used to be a punk' you never really were one. Unfortunately, that's the only intelligent thing he ever
said. I guess I'm just all barre-chorded out.
Can you name one good band that came out of the '80s?
Warlock Pinchers, Dead Kennedys, ond Bulthole Surfers. There's ihree.
Do you still contribute to EMIT fanzine?
Those of us who started EMIT decided to end it after issue #4. The
issues after issue 4 were done by Nik Cambie olone, and under
protest from the rest of the crew. I guess he just gets lonely in his
parents' house and needs the safety of someone else's flag to
speak his mind. It's a shame, 'cause I used to really like him.
Didn't the EMIT crew and the Dunderheads once make
a surprise appearance on KUDS TV's To Serve and
Protect? Please explain the story.
H.P. Hovercraft from EMIT used to be in ihe Dunderheads. They
had a party busted up by To Swerve and Neglect', but pisseckjp
punks having fun doesn't make for controversial ratings hype, so
it's on the floor of an ediHng room somewhere.
Why hasn't Wiggler played many gigs in Vancouver?
Before now, I didn't have the gear to play ihe back-up parts live. Now,
it's just a matter of Hme before I get more gigs. I've entered Shindig
two years in a row, ihough, so your guess is as good as mine.
How do you feel about genital body piercings?
I don't feel about them so much as feel around them. My best girl
Spence: Personally I love the Dayglos and NoMeansNo. I've never
heard Gus before (sorry!) but Dayglos just have the funniest fyri
Whafs the most you've ever eaten in one sitting?
Chris: Two boxes of KD at age 12.
Jock: Nine bags of ketchup chips and fuck, I felt I'd eaten ihe world!
Spence: Bonanza all-you-can eat salad bar, had way more food
and dessert than salod. Boy did I get my 2 dollars' worth.
Oooh, did I ever.
Who makes the rules?
Jack: Urn...well, who really does make the rules? (Laura does)
Chris: Depends who you listen to.
Spence: My parents used to make the rules, but now I'm a teenager and know everything. I make the rules!
Are there many hippies in the Comox Valley?
Chris: Too fuckin' many, you don't even know.
Jack: Patchouli oil, anyone?
Spence: Hippy capital of B.C. (Hornby, Denman, Merville and the
vegetarian Bar None cafe rakes in many).
Ultimate ambition?
Spence: To cure my bod luck.
Chris: To get jerked off by the First Lady of the White House.
Forgotten demo tape (Break Even Records)
ALF compilation (out soon!)
A CD in the making soon on Schtuff Records
Contact Forgotten c/o Glen Poison, 663 Salish Ave., Comox, BC,
V9M 3K8, KANATA (Glen: 339-3197, Jack: 338-5302).
Arlene from My Little Crimson (CiTR's own sex show - alternate
Saturdays from lOpm-lam) inspired me to get an ampollang. It'll
be an engagement ring for the '90s, man.
What's The Ass Project?
I'm hoping to put out a 7" EP colled The Ass Project. I go to recording school, so I can use the studio there. I just have to appropriate
the funds to press it.
What does your tattoo mean? If you got another tattoo, what would it be?
It says "Death to Music" in Japanese. I also want a Jolt Cola logo
for my leg. Maybe a little Herve Villechaise.
Why do you like Jolt Cola? How many cans do you
drink a day?
I started drinking it for ihe caffeine buzz when I was 16 and
hardcore band. Now lhat I'm 23, I drink it to stay awake after
work. I drink about two of the 592ml bottles a day. You got a
problem wilh that, tough guy?
No the Yeahll- 16-song cassette, September 1994.
Coll o' Ihe Wigg Hut- 16-song cassette, May 1995.
Bring th'Fudge - out soon.
Wiggler can be contacted c/o: MR! Erik, 4-2425 Granville Street,
Vancouver, BC, V6H 3G5 (736-1147). First there was Friends of Betty, a rau-
|cous combo charmingly described
in a SubPop press release as "an
unsightly and irksome boil on Ihe ass
of Chicago rock ". With the departure
of that band's drummer in 1990,
[remaining FoB members Tim Rutili
and Glynis Johnson teamed up with
guitarist Glenn Girard and drummer
Ron Massarella to form Red Red
Meat, purveyors of bluesy, emotional, pull-at-your-heartstrings music.
Since its inception, the band has
undergone several line up changes
(the current roster consists of Rutili,
[Girard, drummer Brian Deck and
bassist Tim Hurley) and has released
[three albums and a handful of seven
inches. Their latest full-length is
[called Bunny Gets Paid, and rt was
in support of this record that the
band made an appearance at the
[Starfish Room in late November.
Grahame Quan was there, and he
had the opportunity to pose the fol-
[lowing questions to Tim Rutili.
DISCORDER: Are any of you vegetarians?
I don't eat a lot of meat. I eat meat
once In a while. (Tim Hurley) is a vegetarian.
Is it true you went to film school?
I did. but I didn't (graduate). I quit
because I started touring with the band
and I was having more fun doing that. But
Imy day job is that I direct music videos, so I
[have been working In film.
What videos have you directed?
Tim: Veruca Salt, one for Mudhoney. I've
done two for us now. I did one for a band
called King Cobb Steelie from Toronto, (and
did   one   for)   Polara.   a   band   from
Minneapolis. I did about eight this year.
Do you like touring?
Tim: Yes, very much..
What's your favourite show that you've
Tim: There's a lot of favourite ones. There was
one in Chicago where we sat on chairs and
| played quietly. It worked really well and we got
to do a lot of covers and our friends played with
us. Recently the best one was in Memphis with
the Grifters. I got to play my favourite Grifters
song with them on-stage. It was amazing.
Whafs the worst show?
<««<«<«««<««<««««««the snitche
Tim: We opened up for the Jayhawks at
Northwestern University, north of Chicago.
That was horrible, (the crowd) was a bunch
of people who were like Hootie and the
Blowflsh fans. They were sitting on the floor
staring at us. I could have made it a good
show by saying what was on my mind:
"Leave the fucking room. Stop looking at
me and leave the room. We're gonna play
to people who want to hear It." I should
have done that. I thought of all these awesome Insults the day after. I was like. "Why
didn't I say that?" That was the worst one.
I was wondering about your first album {Red
Red Meat) that was on Perishable, was that
label |ust for that particular album or is
Perishable a label you run?
Tim: We released a single by another band
before ours. We're going to keep doing stuff
like that; when we have the Inspiration, we'll
put out a record.
I was wondering about the cover art for
Bunny Gets Paid - what was the inspiration
behind that?
Tim: It was a Hungarian sedative ad. A
friend of mine lived in Budapest for a while
and she had all these cool books from art
shows. I was looking through the book and
I saw that, (though) it wasn't that exact
So it's a representation of It, and not
the original?
Tim: We tried to use the original one but the
label wouldn't let us because they thought
we were going to get sued. I thought we
should just find whoever did it and buy it
from them or get permission to use It. I guess
(SubPop) didn't have enough time to do It
so they just had a photographer in Seattle
re-create that poster for the cover.
I was wondering about the Flank seven inch
cover. Was that deliberately meant to be
Tim: I thought that picture was really beautiful. The (photographer) took a picture of
herself and she let us use it. It wasn't meant
to be controversial, it was meant to be
beautiful, and that's what I thought It was.
Anybody who would take offense to something like that has a problem, I think.
There's a particular line in the song "Oxtail"
that I wanted to ask you about the meaning of: "Sandpaper tongue like a brand
new thing".
Tim: I think I was thinking about a little kitten. It seemed like a good bunch of words
to put together. I like the words In that songl FLANK 7" COVER
a lot. Words of music to me should be more
like a smell, they shoulcftrigger things that,
way. Usually when a song Is like "The Wreck
of the Edmund Fitzgerald", it's like a narra
five and it's linear and It's usually like al
scratch and sniff - you're kind of told what
to think. I like it when It's really open, it's a
lot more fun.
What are some of your favourite bands?
Tim: Number One Cup. they're pretty
cool. The Grifters are one of my favourite
bands In the whole world. Rex is really
excellent right now, they're from New
York. It's Doug who was the drummer In
Codeine and a couple of other guys and
they're amazing. We're going to make a
record together In January. We just got off
a  tour with the  Grifters and  Rex.
January, Rex are coming to Chicago to
make a record so we're going to try to
get their record done and then do som<
thing (collaboratively).
Do you get much fan mail?
Tim: We get letters once In a while,
haven't been really good about returning
them, so anybody who has written, I'm
sorry. On the records we usually put,
"Send Polaroids or send sad teenage
poetry", and we get that stuff and It
awesome to get. I really should write
back. I've been saving people's addresses and letters. One of these days we're
going to get to that.
Do you have any hobbies?
Tim: I do artwork at home. I paint and do
Have you had any formal training?
Tim: No. not at all. (I use) anything that Is
around. Oils, acrylic, crayons - mostly a lot
of cutting and pasting. I take a lot of pic
tures. I usually buy old frames and usually
whatever I do starts with a frame. It's real
ly fun to do.
What's the weirdest interview question that|
you've ever been asked?
Tim: We did a whole interview with some-l
one with a magazine called Cake in
Minneapolis and it was all about food. That
was really weird and it was really fun.
Is there any questions that no one has|
asked you that you'd like to be asked?
Tim: I always kind of wanted to do
Interview with Guitar Player magazine andl
talk about guitar gear and stuff. That's
never happened. -By Grahame Quon
[The Snitches are coming! The Snitches are coming! If this makes you clutch your diary to
your chest as you envision a hoard of gossipy twelve-year-olds descending on Vancouver,
fear not, The Snitches are one of Montreal's most lively and edectic acts, and they're making their way west this month, with their debut CD and a whole lotta hoopla in tow.
musicians comprise the Snitch collective. I recently spoke with guitarist/singer Mike Webber and violinist Joellen Houscgo, the absent Snitches being Isabelle Lussier on drums, Patrick Hamilton on guitar,
Chris Hazou on bass and Scott Moodie on backup vocals and general mayhem.
Self-described as "polysexual, polylingual, polygendered, polyCanadian", the Snitches are a micro-
osm of Montreal. Their music is quirky and catchy, at times brooding with teen angst, but mostly
ironic and "rebelliously optimistic". Appropriately, the crowd that turns out to a Snitches gig is just as
[hard to pigeon-hole: the band enjoys a strong following in the queer community as much as they
:ract the college scene.
The Snitches are a relatively recent phenomenon, but in a little over two years they have gigged and giggled their way from playing their own warehouse parties to being the toast ofthe town. Rather than being
imidated or downright frightened ofthe hell of getting a gig at a club as an unknown band, the Snitches
fell gendy into the Montreal music scene. The earliest Snitch gigs were in the dance community, playing
cabarets and fundraising parties. And then there were those infamous warehouse panics that thrived until
recent police crackdowns (thirty cops showing up to issue a teensy little $10,000 fine...) pulled that scene
into remission. Mike remembers those days fondly: no cover, cheap beer, and the line between stage and
audience becoming a slippery blur. Snitch schtickster Scott Moodie - given to feather boas, sudden nudity
and risking gravel-embedded knees for the sake of an - was in his glory here.
These days, the Snitches have moved from playing in benefits in parking lots to playing on stage as a
tight, focused unit. Even Scon has changed tactics and has taken more to stage diving and wallowing in the
touch of the audience, "bridging the gap between stage and spectator" as Mike says. The strength of the
Snitches' live show is their unpredictability and their infectious energy. Despite the darkness of some ofthe
songs, the mood is never nihilistic or apathetic. Joellen calls it "celebratory bile-lcuing".
Though the Snitches have forged their own musical category, \
they are often saddled with being called "the next Me, Mom andN
Morgentaler", if only because their debut CD A Day At The A is released\
by the same Chooch Records as MMM. The Snitches had plans to produc
an independent release, but chose to go with the experience of promoterN
Duncan MacTavish and the benefit of Cargo Records distribution. The album has\
a tight eclectic sound that stands out from other indie pop-rock releases, with >
Joellens violin and guest musician Maryse Poulin on accordion and saxophone adding \
A Snitch claim to fame is almost opening for Carol Pope, and Mike once thought he
heard a riff from their "Head In Hands" in the muzak at a Pharmaprix in Montreal. But they >
really hit the big time when they were the opening band for the opening band for Moist ii
Montreal. For the Snitches, this offered a chance to play for an all-ages, sell-out crowd, but they also \
got a glimpse ofthe ickincss ofthe music industry - the intense industry pecking order that surrounded Moist in an airtight bubble, and the excessive organization of time and space, but the gleefuly
Snitch chaos remained unsquelched. Mike has only good things to say ofthe all-ages crowd though: .
"The kids are shamelessly wonderfully enthusiastic and goofy".
I asked Joellen and Mike what their Snitchapalooza would be like. "Engelber
Humperdinck", says Mike without a second thought. Joellen suggests the Sneetches from >
San Francisco, (Snitches, Sneetches, get it?) and Giant Sand. Both agree that Weeny
must be on the bill. This may sound like a pretty bizarre line-up, but the Snitches
really do draw their influences from anywhere and everywhere. "A good song is
a good song whether it was wrinen by Joni Mitchell or Elvis Costello".
The Snitches will be playing Vancouver, Victoria and Denman Island v
in mid-December. If you don't get out to sec them, then you'll be,
sorry, and I'll say I told you
<by Anna Friz» BOSS Hog
Despite getting soaked by do really evil things like Rush Limbaugh does, which is
r the downpour, Cristina Martinez f?a"y bre?din9 'gnorance. What's scary is when peo-
r «# m«.„ v     i,    o          u                 u P'e are vot,n9 'n people like Newt Gingrich, and I think
Of New York S BOSS Hog, IS Charm- peop,e -ike Rush Limbaugh encourage that kind of
Ting and beautiful. Two weeks into a behaviour, they really spark the fire of ignorance.
Jfive-and-a-ha/f week tour, / spoke to °*'rrJ,!r[r,}on
■her during the band's soundcheck at
■the Starfish Room, it says something
■about Martinez that she can hold your
■attention, while Jon Spencer, the (for
■now) more famous half of her band
land marriage is wandering around
■the room. She drinks a beer and f
■holier questions.
■Discorder: Doe8 touring make you happy?
■Cristina: Absolutely. One of the reasons we signed to
■a major label [DGC] was that it would afford us the
■opportunity to do this. Before we were so tied to our
■day jobs that we couldn't afford to.
■When  you  were   13,   you   said   you  were
■going to be a star. Now that you're really
■becoming one, do you still want it?
■l think everyone dreams, when they're little, of
■becoming rich and famous. My family wasn't poor,
■but we were not wealthy by any means. Being able
■to do what I want to do makes me happy, and mak-
■ing a living af it. I don't know if I want to do anything more than that, so I'm pretty happy.
If wanted to ask you about sex, religion
land politics,   y'know,   the  stuff you're
■not supposed to talk about at the dln-
Iner table with family.
IfLaughsJ You have to be more specific...
IOK, poiitlcs. You're trapped in an elevator
with Newt Gingrich and Rush  Limbaugh.
[You only have enough time to kill one of
Ithem. Which one would it be?
^Definitely Rush Limbaugh. Politicians aren't as
w frightening, because they can be reined in by
.other politicians and politics ends up being a
middle-of-the-road thing. [They] can't
i'm Catholic.
I do not practise Catholicism, no. I grew up Catholic,
I went to Catholic school until the ninth grade, but I
don't practise religion. I was married, however, in a
Catholic church, to appease my parents. And if I had
a child, I wou/d probably baptize it so it wouldn't end
up in limbo. They really scared me, and I figure I'm in
limbo, so I can't do that to my child.
Alright, sex.
Love it/
Of course, you've been on album covers
naked. Is It true you performed your first
show nude?
The record company bio says that.
[Laughs] That's interesting. I performed [partially
naked] a few times [on] our first tour that we ever
did, in Europe, I think because of the chaos of it. We
were really excited to play, and we were in a different country where you just got up and left the next
day, so I didn't have to deal with it. You're playing in
front of complete strangers and it is a very liberating feeling, and a couple of times ) stripped - but I
didn't strip to full frontal nudity, I just took off my
dress or something. It was kinda lame, as stripping
goes, but it was fun.
New topic: How was working with DGC? Did
they leave you to do your own thing?
Absolutely) I just read a Sonic Youth interview
today, where they said that this record was the first
time that they were really freed up from having DGC
present at their recordings, and having DGC ask
them for demos of their forthcoming records. We
never dealt with any of that, and I was surprised to
see that type of interference, because we have
never been a party to that at all. They left us completely alone. Once some bigwig from the record
company came to hear us mixing down a song, and
we played it for him 'cause it just
happened to be the song that we were mixing down. He asked to hear other stuff, but we 1
told him no. We asked him to leavel
And they were cool with that?
Oh yeah. They've been really great to us, I thinkl
from the start they understood what we were about,!
where we're coming from. We're not some new band,!
that they can make something out of and mould inl
their vision of what we should be. We've been work-r
ing for a long time and they understood that we didl
not want anybody to fuck with us at all, or tell usM
what to do in any respect, artwise, musicwise, cre-f
atively... It was like, sorry, we'll hand you the record*
when it's done, you guys can put it out, and that's itlj
I can't speak highly enough of them.
So   now   that   the   Blues   Explosion   has!
become  really popular,  do you  have  tol
demand time lot Jon] for Boss Hog?
The Blues Explosion is definitely his priority,   so itM
does sometimes happen that we have to barter time.r
But we do set up, like, a year in advance. We're inl
the process now of setting up next year - when the|
Blues Explosion's going to record, when they need to|
tour, what Boss Hog needs to do. He and I sit downl
and allot time for each band.
How adult of you.
Oh, we're highly organized individuals.
Do you have any performance goals whenl
you play live, or do you care about enter-f
taining people?
Performing for me is really about communication,!
and about being inspirational to other people. I make!
a big effort to have people move and get into it. TheM
best shows that I remember were things thatj
inspired me to go home and play, so I hope tha
do that for people. I work hard to do it. So I guessl
that's my goal, to make people shake their booty, tol
make sure they're moving and feeling it. That makes!
me feel good.
Do you  have the best job in the world?_j
Absolutely! Can't think of a better one.
Interview by Tara Nelsor^
^ >;#> :#^Bf^> >>>>>>>> >>
AA ,....
the Nectarine Mo 9 Snintjgck
Davey Henderson, of Fire Enjjnes and Win fame/lack there of, and crew
continue re-constructing the |>o|) song. On Saint Jack, you can't help but
feel you are listening to a band that knows they've hit their stride. Prom the
inverted comma set; " shits confidence. It really is that good." If you
are looking for a jyeat read, |>ick u|> Irvihe Welsh's book "Trainspotting".
The band are currently workingon a sound-track insured by the book-
Also available:
The Nectarine No 9 Niagara falls
The Vacant Lot Shuta Well
The third album from Brooklyn's finest, and it certainly is their finest!
Produced by Bryan Martin (That Petrol Emotion), 14 |»|> gems. There':
an inherent quality to this stuff that leaves most of the ilk still counting eft
—2, 3, 4... Years of reading others hybe sheets rears it's ugly head.
My|>e or not we're happy and I guess that's what counts.
Also available:
The Vacant Lot      Because They Car
The Vacant Lot      Wroni
■Don't fotget out 7 (>qge muil-otdet cijtqlogue with nil sorts of cool"
fptuff. Mice ftices, quick tutnqtound, friendly ot snotty service youi^
■ choice. Nice |>onytqil, nice sidebutns...we got it all! ■
59? VICTORIA CP. 365?7
This fiddle-action
wunderkinder has received a
lot of press of late, and a lot
of videoplay for "Devils in the
Kitchen", from his album Hi,
How Are You Today? But he
doesn't appear to be letting it
go to his 20-year-old head, as
you shall see.
Discorder: Welcome to the west
coast - have you played here
IWe've played in the West a lot of times.
|The first time I come out here to play
to open for Sarah McLachlan in
Vanier Park. Every time we've come out
here we've ended up getting to play at
neot things, so we like the west.
Not tempted to move here?
"d be tempted but, no, not tempted
enough to leave Cape Breton, that's for
e. I love it out here, but I've
found two places in the world [I'd live
in], Cope Breton being the serene, somewhat
keep-you-sane-and-normal place, and if I wont
have the opposite of that, well, the city I like
New York...
iThat sort of leapfrogs me forward to a
question I was going to ask you later on -
how did you enjoy your time in New York
City? I know you were taken there by
Phillip Glass, and you played with Paul
Simon - was that during your stay there?
Actually, I went there the first time for about four-
and-a-half months to do this play, and then, over
the course of the next year-and-a-holf, I met a
couple of other people down there and did
some things, like the Paul Simon stuff. But I just
|loved New York. I went there when I was sev-
ears old, and in the first week I went
lout to every bad place I shouldn't have gone to.
went to every Iransvestite club, every drag
club, every male burlesque theatre I could find,
every underground area. It was the first time I'd
ever really gone away somewhere myself, ond I
was like, *Wooh, this place is really, really
I sorta like it." So, yeah, I got along
really well there. I had fun.
It must have been quite an experience for a seventeen-
year-old, I imagine.
Well, it was quite an experience for a seventeen-year-old fiddle
player from Cape Breton even more. Yes, it was quite extreme.
You're still only twenty years of age - did you plan on
this sort of career at this age, or at any age?
' had no plans at all for any of the things I've done because I did-
1't know that I could do any of these things. I just did my gig ond
had no idea what I was going to do For a living or anything. But,
hey, I'm very happy now that I'm getting to do this.
It's pretty good to be able to earn a living at something
you love.
jWhat I love, really, is sitting down on stage and playing the fiddle
ilhout thinking about anything. I guess there's a whole other level
of my personality lhat's developed because of the last few years,
and it's the one that does like going out and jumping around
onstage and doing this whole show. But, you know, my arse is still
arse that was on me when I left Cape Breton, and I still do
like to sit on it and play rather than get up and jump around.
I've read that you like to wear kilts onstage, and I was
wondering if that's because, as Keanu Reeves has said
in the past, they're just comfortable, or have you been
taking fashion tips from Axl Rose?
O.K., now, wait - Keanu Reeves has said lhat a kilt is comfortable?
Now, Keanu, if you're reading this, I know you better than lhat.
[Actually, I don't know you at all - but I would like to. But...I think
of the reasons that you're wearing lhat kilt is probably for more
ons than that. Now, give me a break, it's probably just because
you like to be regimental, don't you? You know, I don't own a kilt.
Well, your bio is wrong.
All the pictures of me in kilts and stuff, it's because any time a photo
ling has come up there's been someone there wilh a kilt- a rent-
i-kilt-who's said, 'Ashley, will you wear this kilt?'.  But they're too
expensive to buy one.
Last night on CBC TV, on Zero Avenue, Ken Hegan men-l
tioned that your fan club is called the Cape Breton
Diddling Club. He also said that you were the only
Maritimer currently earning a living, and he told me
that the original line was that you and Rita MocNeil
are the only Maritimers earning a living. Do you feel
this is a true statement, Ashley Maclsaac?
No, I don't think it's a true statement at all. But the name of the fan
club lhat's been set up is the Cape Breton Diddling Association,
yes. It's an association of diddlers who get together and diddle,
and, if you'd like to join the club, all you have to be able to do is
go, 'deedlydeedly-deedly-dye', or whatever else you may want to
add to the group. As for making a living, well, I made more of a
living when I was playing for square dances. But, you know
there's lots of other people making money down there. The
Rankins, man, they're makin' the most. You forgot about them
Have you heard of the Dirty Three?
Are they pipers? Are ihey three pipers?
No, they have a violin player, and thafs why I wasl
asking. I remember thinking -when I heard about you
that suddenly there were two rather prominent violin
or fiddle-based acts around. A minor epidemic, rela
ttvely speaking.
Well, I don't know, I ihink possibly fiddle is just going to take over
the guitar yet. But no, I don't know lhat band. The thing is, I don t|
have any music. I don't own any CDs. I basically came up throug i
a pub scene, playing fiddles al square dances and drunken parties
afterwards. So it was a different thing, and the only difference
wilh me in the whole scene was lhat I always
felt removed from what was going on around
me. I always felt like an entertainer because I
was the only person at anything lhat ever went
on who didn't drink. I was twelve years
and I was wilh my father, so I wasn't going to
drink, and I got in the habit of not drink
And lhat's, I think, one of the ways I learnc
be a performer. If I was the drunk in the pub
while I was doing it, well, I wouldn't have got
to do as many things as I'm doing now.
You're playing the MuchEast theme
aren't you?
I've heard a lot of people mention you
in the context of that theme. Has it|
brought you a lot of exposure?
I guess it must have. But the whole idea of me|
being, like, the little theme boy on it, I get
kick out of it when I watch it because, for the
first time, I am dancing around in a kilt i
It's sort of fun.
You mentioned that you might go tol
college one day. If you were to go,
hypothetic ally speaking, -what -would
you like to study?
If I was going to college, which I will d<
I basically want to go to take inforrrv
tional courses, whether it's in history <
literature or different things like that,
don't know if I'll ever go into college to
have   someone   teach   me   trains   of
thought, because I ihink that ideas and
thought patterns and ways to get into
different mental areas - I don't parti*
larly need a college professor to angstl
me into lhat. But I don't think lhat I'll ever|
go in and be much of a philosophi
anything like that.
Well you can probably meditate!
on life through your musk more
than anything. Ifs pretty much the
same thing, in a way, ifs just a different expression
I do get to express and feel a lot of different emotions with [music'
And lhat ability is really neat. If you can go on and you can pro-l
vide angst or violence with your instrument, and then you can
vide softness and niceness, you actually feel it when you're doing
it. So it's pretty amazing. It's meditative for sure.
I have to wrap it up, but I wanted to ask you - is therel
anything you ever wanted someone to ask you in an
interview but they never have? If so, ask yourself that
question and answer it.
Is Ashley Maclsaac a real person? Well, the onswer to that
really don't know, because I'm twenty years old, ond you know
that song, Alanis Morrisette's song, "Hand in My Pocket"? I feel
like that every day, because I don't know what's going on. I cc
and talk about things afterwards and bring relevance to it all
lhat's nice and fine and dandy but, you know, when I'm actually
doing it at the point, I'm just particularly doing it and hoping that
the next interview comes along and I do lhat one OK, too. So,
yes, I'm a real person. SI
Drew: Only about two weeks, and we've got about
three weeks left, I guess we'll be back some time In
mid-December, at home, so...It's kind of a cruddy
time of the year to travel. It's pretty frlggin' cold out In
the prairies and stuff, but it's nice to be out here in
Vancouver where It's warm.
As Tho Super Friendz swung out to the westcoast on a
national tour In support ol their Murderrecords release
Mock Up, Scale Down, Discorder nabbed three of those
fun-lovln', hot-tubbin' Halifax superstars, and probed
the inner depths of their talented minds. The cast ot
characters: Drew Yamada (guitar & vocals), Charles
Austin (bass & vocals) and, occasionally, Matt Murphy
(adrenalin, guitar & vocals).
Dteader. Please introduce yourselves and say who* you play.
Drew: I'm Drew, and I play guitar.
Charles: My name's Charles, I play bass. And not present
Is Matthew, who's our flashy lead guitar player. And
Lonny, our drummer.
How long have you guys been together?
Drew: We've been playing shows for about two years,
and for about a couple of months before that we just
screwed around in Mart's basement playing acoustic
guitar because we couldn't find a drummer.
How did you come up with the name, the Super Friendz?
Charles: Drew and I used to play in a band with this guy
named Greg Temishenko. He was in another band
called the Leather Uppers for a while, and he's, like, a
complete wild man. We had this band about
five years ago and we were looking for a
name, and he suggested the Super Friendz.
That   was   kind   of   before,   you   know.
Supersuckers, Super - whatever - there's, like,
five billion. We used the name kind of facetiously - we didn't think we were going to be
playing for very long. We can't really change
it now. I mean, it's fine, but, you know, there
are ten million 'super' bands.
Drew: It's kind of remarkably stupid of us in
many ways. We called it the Super Friendz,
and the humour to us was in basically being
like some sort of triumphant losers or something. But the obvious thing is to say there's some
sort of retro thing - you know, there's the cartoon
from when you were a kid. But that really, really
wasn't the intention behind naming it.
So, you guys were just on the CBC?
Drew: Yeah, we went on Realtime with Al Tuck.
We played one of our songs, and a song of
Al's called "One Day to Warn Her". (To
Charles) Is it a Hank Williams tune, or who is it?
Charles: Someone else wrote it. Leon Payne.
I think. But it's a song Hank Williams made
famous, called "Lost Highway".
Do you like country music?
Drew: I do. Matt, especially, is the big fan, and Charles as
well. Charles knows a lot more about it than I do. I'm kind
of learning quickly to like it quite a bit, 'cause I hear it
Incessantly in the band
Charles: He has to hear it all the time anyway, vcause all
Matt plays are all the country records. But we like it a lot.
What do you like about It?
Charles: I dunno, it's just nice. The singing is always really good, the words are great, and the playing is always
really good. It's kinda relaxing, you know? Especially
when you're playing rock music all the time. Sometimes
the last thing you want to listen to is rock music, so country's kind of a nice alternative to alternative.
Drew: It's a pretty sincere music form - it's so honest. It's
pretty meaningful as compared to pop. which can be
pretty vapid. I don't mean to characterise pop music that
way, and certainly there's country music that isn't good...
Charles: All the good country is old. Basically, everything
good in country was done, like, 50,40 years ago.
Do you like the Flying Burrito Brothers?
Charles: Yeah, I like Gram Parsons (of the Flying Burrito
Brothers) a lot. and so does Matt. But I'd say we're probably bigger fans of old bluegrass stuff, like Bill Monroe,
just "cause some of it's so fast. And Hank Williams, too.
Hank Wlliams Sr, not Jr - Jr parties with Van Halen and
stuff like that and he's kind of a gross guy.
And walking in right now Is Matt. Say something nice
to everyone.
Matt: What would you have me say? Do you have a
question for me? I'll answer it. , „,„„„ HW  „ o_menn
How did you like the Smugglers? and talk for o i*ti_Ve1,COU'd 9° on and plav n <n
Matt: How would I like the Smugglers? No. I loved them,   Ing. We'd be borari but >f would just be so bo
I thought they were wicked. I'd never seen them before,   so we flaurert u,AAand We wouldn't want t<-> ri-A
Drew: They were so great. have some fun 9hf °S We" scte» around and
Matt: I was so psyched, I was very into it. Four sick people  I notice your albu    »_■,
singing is so wicked, and it was so together. I loved it. It than your show i _T       a mofe acoustic sounri t« ■*
was very - well, whatever. It reminded me of these Charles* We tried?* wondofi"9 why. a IOn
Nuggets albums a little bit. record, and when w« ^t ° rea"y n'ce-soundlnQ
Charles: Very cool. all. Tonight was kCn? ** "Ve ,f's m°»* of a free*?
So how long have you guys been on tour now? pretty bad. Was ,f scraPPy? I mink it\vas
Mt  ^
Matt: Do you want to ask one last question before I go?
Do you want one?
Matt: Sure.
Why did you wear makeup on your Wedge appearance with Sook-Yin Lee?
Matt: Because we didn't get a lot of sleep the night
before and we had bags under our eyes, and we
had to, you know, make ourselves look good. And it
felt kinda good, too.
Drew: People always wear makeup on TV. And it was
only slightly more obvious in fhe harsh daylight.
It's fhe glam thing, isn't it?
Charles: Aaah...
Matt: We felt pretty glamorous.
Charles: That thing - the Wedgie - we just wanted to
do something that was kind of different than just
going in and playing our song. (Bands) always sound
really bad on TV, especially singing. I've seen friends
of ours on the Wedge and it never really made them
sound very good, so we figured we'd just play something that sounds awful Just do something stupid, you
know, wear makeup and smash our guitars.
Did you show up in a Cadillac?
Charles: Yeah. Somebody we knew, their brother
owned -
Drew: It was like a friend of a friend of a friend, I think,
who had this car. And our friend Andrew drove us.
So you felt like real rock stars?
Drew: Mmm. no. we felt like we were playing rock
stars for the day. It was pretty fun. I don't know - it's
so boring to watch shit on that show sometimes. If
Just seemed like we could ao *->*-» •--■-■-* -
Drew: I think it was pretty scrappy tonight.
Charles: When you play live, the things that work are the
rock songs, we find. The more energy there is. the better.
Whenever we play a slow song I can kind of feel the audience slipping away.
I don't know, there are a lot of girls there that seem like
they might want to hear a slow one, you know.
Charles: Oh. yeah, well...
Drew: We don't really try to pull any of that stuff, especially at an all-ages show.
Charles. We're old men.
Are you guys playing all-ages shows all over Canada?
Drew: Unfortunately, no. That's one of the things about touring with Al Tuck - he doesn't wash with an all-ages crowd.
The kids don't know how to receive him. This is one of two all-
ages shows on our trip, which is a pity. I think. It's a real drag.
Oh, Matt. Walking in again.
Matt: What's the subject area on now?
All-ages shows.
Matt: Oh, the best. Compared to the bar shows - the best.
Why do you think that?
Matt: Just because people are there to hear music and not
guzzle ales and throw things at ya. It's just way more fun.
Charles: In Calgary there's a bar called the Night Gallery
that's really cool. People are there to see bands, and it's
great. But in Kelowna, a floor hockey team - not even a
real hockey team - they were all drunk and belligerent
and winged an ashtray at Al Tuck.
Did Al Tuck keep playing?
Charles: No. this is after.
Drew: He was just sitting there, talking to someone.
Matt: But he continued talking.
Charles: Bars are generally full of meatheads. Occasionally
meatheads get into us, which is kind of frightening.
Matt: And the other story is when we played with Sloan in
Kingston, at another famous hock bar called A.J.'s Hangar,
someone threw a glass at Jay and hit him in the chest. This
doesn't happen at all-ages shows. You're gonna hurt the
kids before they hurt you. That's probably better.
Charles: That's great.
Matt: By accident! I'm gonna pound the kids. 'Cause I'm
loaded. I'm the loaded one.
Charles: I'm the drunk. I'm the meathead. And I really like
that, you know.
What's your favourite Canadian city to play in, so far?
Matt: Vancouver has been really fun. Honest to god. Last
night and tonight were really, really fun. In general,
Windsor is realty good for us.
Charles: Let's talk about what cities really suck.
Matt: Saskatoon and Regina can really just, basically, be
blown off the map, as far as I'm concerned.
Why is that?
Drew: Remember what we were saying about floor hockey teams? It's basically, like, barsville.
Matt: We don't drink and drive and sing about it. you
know, so they don't want us.
Matt: As far as cities go - Windsor is, like, freakishly into us.
but I think that's because they play us on the major radio
station there, which makes a big difference. London,
yeah. Toronto.
Drew: Calgary's pretty good, too.
Matt: Fuck, the whole country's so awesome. Edit - the
whole country's so awesome. I swore, sorry. It's been really good. It's hard to slag anybody.
Charles: We can slag that bar in Kelowna. though.
Matt: That's a piece of shit. Why bother even mentioning it?
What about your home town?
Matt: Yeah, it's fun.
You're well-liked?
Drew: I don't know.
Matt: Yeah, probably. If we have any enemies, they probably live there. But -
Charles: We're well-liked.
Matt: We're liked there.
Charles: I dunno...We weren't when we started. It's pretty
funny, you know. You make a video, and you have the
show, and it's all, like, hundreds of drunken Dalhousie
University *k*eients. whereas, like, before...uurrhh. I just
sounded like a $qu: ;,- iss AAW:,S**:«
Interview by Selena
Harrington w/Sophh
Hamley. Pictures by i
Yamazaki. Nardwuar: Who are you?
Lars: Who am I? My name's Lars Frederlksen
and I play In a band called Rancid.
And, Lars, who else Is In Rancid?
Tim Armstrong on guitars and vocals. Matt
Freeman on bass and vocals, and Brett Reed
on drums.
What's the average age of Rancid?
Wow - 23. 24. Around there.
What Is Splodge?
Uke. Max Splodge?
Yeah, what Is the name "Splodge", Lars of
You know, like when you throw some gooey
stuff against something, you splodge It.
'Cause I just met a guy called Splodge and it
conjured up Images of Rancid.
Max Splodge?
I don't - who Is Max Splodge?
Max Splodge, two pints of lager and a packet
of crisps.
OK, there we go, an English allusion, kinda.
Yeah, he played drums for the Angelic
So you guys are coming to Vancouver on
December 6, Lars, you Ranclder you, and,
guess what? There's a magazine In Vancouver
that's running a special contest where you too
can look like the members of Rancid.
(Much laughter from Lars)
It's, like, lucky winners will get hair dyes, scissors, safety pins, glue, and a comb.
At first 1 thought it was that if you looked like
Rancid you get a free ticket to the gig, but I
think it's, like, actually you win the stuff to do it.
What do you think about that? Has that promotion been run anywhere else?
I have no fuckin' Idea.
Did you ever get to the Rancid article?
I did eventually get to the Rancid interview.
Oh good. Well, then, why don't we start from
there and tell me what you thought.
Lars, I was looking at your mohawk In the article, and yours seemed a lot more friendly
than Tim's, didn't If?
I had a mohawk In the article? No, I didn't
have a mohawk in that article.
You did have a mohawk.
No. I think I had short hair.
Ooh - well, maybe that was on SPIN magazine.
That's probably SPIN.
Friendly Mohawk!
Mean wohawk!
Dwelling on the looks, there, Lars?
I don't give a shit, you know, whatever.
It was weird, though - on the cover of Details
magazine, were Tim and Justine In the same
studio together?
I don't think so. I think the photos were done
at different times.
It was a really weird kind of article. I flipped It
open looking for an article on you guys, and I
kept on flipping to something that said "hate
music - Nazi skins". Did you see that?
Yeah, I did see that. It's sorta weird. Isn't It? It's
sorta funny. The media always pays attention
to the negative side of things. I mean, skinheads have been around for, like, thirty years.
The Skinhead Moon Stomp.
Yeah, you know, with the old reggae songs, the
whole nine yards. It seems like a lot of the
American - basically, the media that covers
them now. It's always about a hate group or
something. The skinheads out there who I communicate with or our band communicates with
or hangs out with are traditional reggae-ska-
punk rock-oi-llstening skinheads, you know, the
real skinheads. There's no such thing to me as a
Nazi skinhead. They're just really big Idiots.
It was just weird how the articles were juxtaposed together. It was Just kind of an ironic thing.
Your mohawk, though, Lars, it's a more friendly type, Isn't it?
(Laughs) What, it's like you can come up and
pet it or something?
I was always more scared by pointy mohawks
than bushy ones. Pointy ones, they really have
that mean look. But your mohawk, Lars of
Rancid, Is really nice. Why Is yours that way?
(Much laughter) Why don't you get a job.
man? (Still more laughter) You're hella funny.
Are you sure you're in the right business, 'cause
the comedy stuff... You're awesome, I love you.
Well thank you, Lars of Rancid, I love you too.
This is funny. I don't know. I basically cut it for
the record, you know, the cover of the record,
and - uh. I don't know.
Which one Is the more authentic mohawk?
What do you mean by that?
Well, the first punk gig I ever went to was on
July 5, 1985, which wasn't too long ago, but
actually It was the rock'n'roll band Skinny
Puppy - who ain't really
too punk-rock - but when I went
into the gig there were a lot of guys with
mohawks, and the pointy ones always scared
me. Now, when I'm looking at your band and
stuff, I was wondering, your mohawk is the
bushy type, Tim's is kind of the spiked type -
which type, do you think, would have been
around in 1985? Yours is kind of like the old
school kind of one and Tim's is like the later
generation mohawk.
Well, mine looks like Tim's now. 'cause it's
grown out.
Who killed the mohawk, do you think, Lars? I
blame It on the Beastie Boys.
(Laughter) I don't know. man. You can blame
whoever you want. I don't think the mo... (trails
off Into laughter). Next question.
Did Tim's mohawk, finishing the mohawk
questions here with Lars of Rancid, once get
caught in a cab?
I don't know. I don't know.
I've been fascinated by mohawks,
actually, Lars. What do you wear over
It when you go outside? How come
Tim always wears a toque over his
mohawk? When you go out, what do
you wear, how come you don't wear
a toque?
Well, most of the time our hair is up. but
when it gets cold outside, you know, you
wear a toque, or you wear a baseball
cap or something like that.
Tim seems to wear more toques than you.
I'm actually wearing a toque right now.
Oh you are? Oh, that's great, 'cause that
comes back to my theory that Tim's
mohawk is more scary than your mohawk.
(Laughter) Yeah, his is more scary.
One thing that also surprised me, Lars of
Rancid, was, on the
cover of SPIN, I was
surprised to see you
wearing - were those
acid-wash shorts you
were wearing?
No, those were
bleached Jeans.
That was kind of a weird
picture, wasn't It, the way
you  guys  were  kind  of
No. I thought It was pretty cod.
But those acid-wash jeans...
No, no, no. hold on a second. They're not acid-
wash, they're bleached
jeans. Ol punks and skins used to wear
bleached jeans. They'd throw bleach on a
pair of Levi's red tags... I just cut 'em off
'cause it gets hot sometimes.
That's what I wanted, some historical relevancy
there, that's exactly what I wanted. You guys just
played on Saturday Night Live. When the
Replacements played on Saturday Night Live,
Paul Westerberg said something to his guitarist
guy Bob Stinson, who actually Is now dead, "Bob
Stinson, get It together motherfucker". All I saw
when you guys played, you Ranclders you, was
a bit of spit fly. Did anything else happen at all?
Well, no. We just played our
hearts out, 'cause It was like a
dream for us to be able to play
on Saturday Night Live. I mean,
everybody did it, you know - you
just mentioned the Replacements.
ijj0tau , The  Specials, the  Clash,  Elvis
Costello, Rolling Stones. Fear...
Did you learn anything from the
host, Laura Leighton? Hell, she's
on Melrose Place - did she teach
you anything?
Urn. no. I met her boyfriend - her
^ boyfriend Is that guy also In
Melrose Place, I forgot what his
name was - but they're just really
nice people, you know.
Lars, after Saturday Night Live,
what happened to you at Coney
Island High?
There was a punk gig that happened there.
Yeah. I just went up to sing with a friend of
mine's band -
The Blank 77?
Yeah, and this kid grabbed me. I grabbed him
back, and then 20 of my friends Jumped on
him and beat the hell out of him.
'Cause throughout the Internet -1 don't know if
you've been checking this out - there's all
these postings about 'Lars beaten up by New
York City punks'.
No. no I didn't get touched.
Like you were on stage, or something, singing,
and all these people started chucking leaflets
at you that said, 'Fuck corporate rock'?
And you got hurt. What do you think about
that - going to a gig and people pushing you
or getting mean to you - are you ready for
Yeah. I mean, first of all. it's been happening
to me my whole life.
Does it give you second thoughts for being in
a band that is punk. I know you've been
doing It all your life, but -
No. No.
Not even when guys are posting this on the
Internet? Have you checked any of the stuff
at all, Lars of Rancid?
No. I don't repd the Internet, 'cause most of
the people. In my experience, are just these
little rich kids who haven't decided to move
out of their mom and dad's house to experience the real world.
'Cause this Is supposedly from a guy who
was at the show that you were beat up at,
Lars of Rancid -
Well, why don't we just set the
record straight right now? First of all. I wasn't
touched. And secondly, there were maybe six
or seven people that were there who maybe
didn't like my band. The reason why there
were a lot of people there in the first place is
because we were going to be doing an
unannounced show, which we couldn't end
up doing. I didn't get touched. I never threw a
punch. All my friends threw punches.
How do you deal with guys that say stuff like,
"I kinda felt bad for Lars, but I kinda didn't. I
don't think it's just shitty albums that the punx
were objecting to, I think it's the whole MTV,
interviews in Rolling Stone/Spin, thing. I mean,
I myself find it disgusting how Rancid keeps
trying to hit It big with videos (and keeps failing! None of their buzz clips have been anywhere near Offspring/Green Day success.
Ha-hal), and It's so sad to read Interviews
where these idiot rock journalists fawn over
Rancid and proclaim them the ultimate punk. The worst part is, Rancid go along with It. I
mean, no one forced them to send their
videos to MTV or to go on the cover of SPIN.
Why did they do this? Shameless self-promotion to the mainstream. Basically, Lars got
what he deserved. If he and his band are
going to reject punk in favor of MTV success,
they can't expect to just show up and be welcomed with open arms. They made their
choice, now they have to live with It."
(Downloaded from the Internet) What do you
think of guys like this?
I don't give a fuck. man. You know, that's the
thing about It. I'm unaffected by what people think about me. If I was, then I wouldn't
have been a punk for fourteen years, I wouldn't have been -
So you're ready for these people who are out
to get you?
You know what, man, I can't go out and try to
fight the world. That's not what I'm all about,
and none of us in my band are like that.
But If I was In Rancid and I was checking this stuff
out, like, 'you cheesled-up the band, it's your
fault, you're not punk 'cause you changed your
outfits on SNL' - that would kinda hurt me, Lars.
Well, It looks like you're a different person
than I am.
None of that affects you.
No, why would It?
When did you start moonstomping?
Yeah, when did you start getting into the
moonstomping, English, you know, skinhead     again, I saw em at -
Aren't they great?
I love that, "I spy for the F.B.I.", "Wild Child" -
those are great tunes.
Yeah. yeah. But I always loved, like, the '60s
stuff,  like  Toots  and  the  Maytells,   and
Desmond Decker, and Eric -
Byron Lee.
Yeah. Lee Scratch Perry -
Whafs up with Byron Lee? He's sill touring isn't he?
I don't know, I haven't seen his name in a
long time.
What did you think of those bands In the mid-
'80s? I know you're more Into the older stuff,
but those California ska bands, a lot of them
were kinda commercial-sounding, kinda light,
weren't they?
Like which bands are you speaking of?
You know, bands like the Toasters and stuff.
They're pretty lite-ska.
The Toasters are from New York, aren't they?
Well, you know what I mean. That whole
scene, that whole Moon scene - some of the
bands were pretty light and they kinda got
commercial-ly towards the end there. They're
kinda now going back to their roots. But what
do you think about lite-ska-type stuff?
Well. I love the Toasters. I actually had a
chance to see them In Central Park one time,
when I was In New York with my skinhead
friend Angel.
You got to meet Bucket of the Toasters?
No, I didn't get to meet any of 'em. Then
feel? When was that?
The reggae?
Yeah, the reggae, the ska/oi kind of thing.
When did you first get tipped off on that, Lars
of Rancid?
It was probably some of the first music I ever
really heard besides, like. Kiss or AC/DC. My
brother was into It, and there was this kid on
the street that we grew up wit*;, named Sean,
who moved up from LA In. like, '78, '79. and
he came Into our town with spiky hair and the
whole nine yards. My brother Just kinda hung
out with him. and for me, just hanging out with
my brother and this Sean kid, and meeting all
these other punks from San Francisco and
whatever, and Just getting exposed to different types of music, the reggae, the ska. the
punk rock - it was really cool, 'cause there was
a music that I actually could identify with. I felt
like I belonged. I was, like, 10 or 11 years old
when I first heard It. probably 10 years old, I
identified with it.
To the best of your knowledge, because you
weren't In Operation Ivy, did Operation Ivy
have a mod following at all?
Operation Ivy is one of those bands that I think
were so great. I think they had the potential
to reach every sort of person. I mean, I don't
know, I loved them.
There was a pretty big ska scene In California
in the mid-'80s, and there still is a big ska
scene, but it seemed like a lot of bands like,
you know, the Untouchables, Let's Go
Bowling, those type of bands - what do you
think of that scene, that kind of mld-'80s,
mod/ska scene, were you Into that at all?
Urn - no, not really. The bands - the ska bands
I like -1 do like the Untouchables -
I always had something
against   them   'cause
they were produced by
Joe Jackson,  I never
really liked that.
Joe Jackson.
Would you ever have
your record produced
by Joe Jackson?
Me. personally. I don't
know. But Joe Jackson. I
don't know. He wrote
some great songs.
Rancid travelled all the
way to England - you've
been there a couple of
times, right?
Yeah, yeah.
You recorded that Brixton song - was it with
one of the Specials or one of the Selectors?
No, it was one of the Specials. It was John
Bradbury from the Specials, the drummer, he
produced it.
You're back on vocals on that lune that goes
kinda, "Uh-duh, the new generation, uh-duh". They
were realty California, your background vocals.
Well, you can take the boy out of California but
you can't take the California out of the boy.
'Cause It was, like, hey, the background
vocals are kinda L-l-G-H-T. But then, you know,
the kind of 'aargh' comes In, and it becomes
Rancid. But the background vocals, I was
kinda like, 'Oh no, Rancid, are you guys going
lite?' But then it kicks In. Is that Matt singing
those background vocals, or who's singing?
I think It's all four of us. actually.
Oh, really, 'cause you have a nice sound
when you come all together. Again, I said,
you're very California. When you were in
England, Lars, did many old-schoolers come
out to see you?
Oh yeah, the Business, GBH. the UK Subs -
English Dogs.
Uh. yeah.
I can't believe the English Dogs are back
You know. I've known GBH since I was. like, 11
years old. I went to their first show, and Ross
from GBH - every time I'd come to a GBH gig,
I was always treated like his little brother. He
came down to the show in Birmingham and
he loved It, and he had a great time. The
Business were at one of our shows in London -
How 'bout Wattle?
No, didn't get a chance to see Wattle.
How Is Wattle and how old Is Wattle now?
I don't know. I don't know. It's so funny.
'cause you hear stories about all these
guys, you know, and you wonder If they're
true or not.
Wattle's the oldest punk rocker, Isn't he?
Him or Charlie Harper probably. Or Shlthead.
So, you love England, don't you, Lars? You
love England so much, you joined the company, you joined the UK Subs?
Yes, sir.
»H in Vancouver 1915
How did you make it to the UK Subs? Was that
the GBH connection?
No. it was just, urn - one of my bands was
playing this show in Oakland, and -
What band was that?
Fuck. I even forgot the name.
Not significant, OK, continue on.
(Laughs) The Subs were playing at the Gilman
Street In Berkeley, and they played a matinee.
so they came down, 'cause it was. like, a big
punk show, with JFA, Blast, the Melvins. Capital
Punishment, and they came and they saw us
and we did "Organised Crime", we covered
the song, and Charlie - we just started talkin'
and he said, you know, 'we're kickin' out our
guitar player, would you like to join?' type of
thing. So I got a shit job for about four weeks
and made enough to buy a plane ticket, and
I was over there a month later.
Did you learn much about Charlie Harper?
I learned a lot about him, yeah.
How much in royalties did they get? Please
elaborate if you could, Lars of Rancid, how
much did they get as a result of Guns 'n' Roses
covering one of their tunes?
You know, I think Guns 'n' Roses actually
ripped them off.
Did they get any money for that?
I don't think so, no.
Guns 'n' Roses did a pretty good version of
that tune, eh?
No. they didn't. They fucked it up. Guns 'n'
Roses fucked up the Rose Tattoo song that they
did. You know, I don't like Guns 'n' Roses, so, to
me, when I hear the stuff. I just go -1 mean, first
of all. they played that UK Subs song wrong.
Well how was that?
Well, there's a verse and a chorus in the song,
(but) they basically played the beginning of
the song all the way through the song.
But, you know, like, Art of Noise did "Peter Gunn"
differently. Is there artistic licence allowed?
Well, I don't know. I just think that If you're
gonna try to do a song, you should try to do It
In your own style, but you also should keep to
the chord progression because, basically, if
the song was so great In your head the first
time, you know, then why try to change it?
Did Charlie Harper get any royalties, though?
You're still not sure if he got any royalties at all?
No. It's like, what am I gonna do? See my old
mate and say, 'Hey, how much money did
you make?'
Well, I was just curious, because didn't Rick
Sims of Digits get, like, $500,000 for the
Offspring covering one of his tunes on Smash?
I have no idea.
'Cause, you know, the Offspring covered a
Digits tune on the record?
Yeah. Yeah.
I was just wondering if there were, you know,
parallels between the two. But anyways, what
did you think of GBH's tune, "Slut"?
I used to love that song.
Would you ever write a song as bad as that
for Rancid? Come on, you loved the GBH
song, "Slut"?
Yeah, man - fuck, yeah. I mean, I -
I guess you are the guy who has Screwdriver in
your collection, so "Slut" would be OK, right?
No. I have Screwdriver In my collection for different reasons..
You have Screwdriver because you have to
have Screwdriver in your collection, because if
you didn't buy it somebody else would buy it.
Obviously you don't pay attention to what
you're reading, I have Screwdriver in my
record collection because a friend of mine
wanted to get rid of it. How he wanted to get
rid of it was by selling it. And I thought that was
weird. Why would you want to sell it. and then
have some, like - what if there's some 16-year-
old kid comes into this record store and gets
hold of this record?
I know, you're buying it up so it's off the market.
Well, no. I didn't buy it, he gave it to me. I convinced him into giving me the records. 11 don't
believe in that shit. man.
What about "Slut", though - how do the lyrics
of "Slut" go, Lars of Rancid?
I could probably tell you every line of it. I just
think you can't take yourself so serious all the
time, you know, and I think that's just part of it.
Speaking of City Babies and GBH, didn't your
drummer, Brett find a baby corpse at Gilman?
What's the deal on that?
I don't know. I think it was. like, some old
corpse that somebody dug out of the grave
or something, and they found it - Tim and Brett
did - and I think it was a hundred-year-old
corpse, a baby's corpse. And I think the cops
came or something like that, and, uh -
Tried to bust them for a hundred-year-
old death?
Something like that. But. basically, I think they
just took the body - a crypt I guess is what they
found, a crypt. Tim actually lived with the kids
who did it. They didn't want to rat anybody
out, you know. Basically it kinda got -
I thought it was great that members of Rancid
found a baby. Kind of like City Babies
revenge, like, GBH.
Lars, are Rancid better than the Toy Dolls?
I don't think anybody was as cool as the Toy Dolls.
What made them special?
Fuck, what didn't make 'em special? You
know, they were a great live band, they were
fuckin' great songwriters, just fun.
Do you think Cocksparrow is a good name for
a band?
Yeah. I always thought it was Cocksparrow.
No, it's Cocksparrer. Uh. yeah. Yeah.
Four Skins, though, that's a great name.
Yeah, 'cause it could mean two different
Do you and Tim share the same Agnostic
Front Skins shirt I've seen you wearing in various photos?
You share the same shirt?
It's a nice shirt, isn't it?
Yeah, well it got ripped off my back at the
last Roseland gig that we did, the one with
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CHARGE BY PHONE 280-4444 POORS AT 830 ' Oh, good, so we won't see It In any more
photos, then?
Well, no. 'cause I've got another one. Ha-ha. I
love Agnostic Front, we all do. Agnostic Front is.
like, one of our favourite bands of all time, and
any Agnostic Front shirt that I could ever wear
I'd wear. And I know Tim feels the same way.
Lars, why was the lead singer of the Musical
Youth shot dead?
Was he? Really?
Yeah. That Musical Youth guy is dead.
Yeahl Lars of Rancid, you did not know this?
No! When did this happen?
Oh, this happened a number of years ago. The
lead singer of the Musical Youth, you know, those
young guys -
Yeah. I remember, "Pass the Dutchie" and -
Agnostic Front shirti
He's dead. I thought you might know why
he's dead, or why he got shot.
Wow. No, I had no idea.
Sorry to break the news to you, Lars of Rancid.
I bought that tape at a pawn shop three
years ago when we were on tour, the Musical
Youth, "Pass the Dutchie", you know, and all
those other great songs. And, uh...
And now, when you listen to it, you can only Ihink -
He's dead.
That's horrible. That's horrible.
Speaking of tapes and buying and selling,
have Rancid, Lars -
Hang on a second, hold on a second. (Lars
tells someone in the background about the
Musical Youth guy.)
This is really important news to Rancid.
Yeah, weH, I mean, you know. It's fuckin' Musical
Youth. They're a reggae band, you know.
Again, speaking of selling and buying - have
you, Lars of Rancid, have you guys sold a million records together?
How have the albums done respectively?
I'm Just curious because I've looked in
Billboard tot that little star beside It meaning, like, you know, a million or five hundred
thousand. How much have they sold of the
new record?
I'm not too sure. I think maybe a hundred and
fifty, maybe.
Would Madonna still have fed you guys
bagels if you had only sold 150,000 records on
her label?
I have no Idea.
How come Epitaph keeps such a tight leash
on you guys, Lars?
What do you mean?
Like, when you played here in
September of 1994, according
to Epitaph, you needed an
escort to take you everywhere,
and would only do video interviews, if you did video interviews, for MTV.
Like you have an exclusive contract with MTV?
(Laughs) Where'd you hear this
The Canadian version of MTV is
called MuchMusic - I don't
know If you're familiar with them
at all, Lars of Rancid -but an
insider from Much Music said he
wanted to do an Interview with
you guys, and the label said
that you won't do an interview
because you have an exclusive
contract with MTV.
Well, obviously you shouldn't believe everything
that people tell you.
What about the Epitaph reps telling us that
you guys have to be accompanied by a
rep at all times when you're doing interviews In person?
That's bullshit. Am I accompanied by anybody right now?
No, because you're not doing it In person, you're doing it over the phone.
However, right now, your record label
said you're really concentrating on print
interviews, you're only going to be doing
print Interviews, no radio. What's the deal
on that?
I have no Idea.
Musical Ywtf»-sN«r dead?
Lars, you don't know that your record label is
saying this?
Did my record label say this to you in person?
Yes, the record label said that to the local
Epitaph representative In Vancouver.
Well, obviously If they didn't say it to you in
person then there's probably, like, some other
shit going on. isn't there?
You should get to the bottom of that, 'cause
say somebody wants to interview you -
See. people like you -
Heyl People like me? People like youi
Check this out.
Two as one, homes, Lars.
Shut up for a second and listen to me. People
like you have a responsibility, you know, basically you guys talk -
Hey, don't lump me in with those guys.
Well, whatever.
Why should people care about Rancid, Lars?
I don't know, why should -
Cause you're playing with d.b.s. in Vancouver.
That's right! That's right! And I'm talking to a
guy like you.
Anything else you'd like to add? What's on
your mind these days?
(Laughs) How fuckin' funny you are.
Any other bits of information, any shout-outs
to friends out there in Vancouver?
Um, no. I'm trying to think, d.b.s. - great bunch
o' guys. The Ripcordz. D.O.A., of course.
Joey Shithead's still going strong, 15 or 16
years. Although they are on Caroline Records,
a subsidiary of Virgin - I'm just jokin', really, I
wouldn't want to compare you to major labels
or anything like that, though, Lars.
That's D.O.A.'s business, you know. D.O.A.
has been slugging it out since, what? '77?
So obviously they can fuckin' do whatever
the fuck they want. They wrote the fuckin'
book on what punk music was about. To ,
me, you know, when people concentrate
on what label you're on, that's a bunch of
bullshit because -
You don't have to go through that speech, we
can read It in, like, SPIN or something. That's
OK, Lars, that's OK, we've seen that sound
byte before. I was curious, though, about the
Canadian  content,   the  Canadianism  of
Rancidism. What Canadian bands did you
see in your early years? I guess you must
have seen D.O.A.
D.O.A.. yeah, that was one of my first gigs.
Anything else you'd like to add? Any last,
final, parting words? Any other information
you'd like to get across, things you think
we've left out, things we've painted you as
you are not?
Uhhh... All I can say Is that you can't believe
everything you hear or you read. And that
goes for you. too.
Hey, thanks so much. And, Lars, it's fun to
believe stuff you read, though.
But then you end up getting beat up for it
because you talk shit.
Hey, I'm sorry. I'll keep away from you at the gig.
No. I'd love to meet you. you're a funny guy.
I think this is one of the funnest interviews I've
done in a long time.
Thanks for your time, keep on rawking in the
free world, and Doot Doola Doot Doo -
Doot Doo.
Send cheque or
money order to:
SuBs c/o CiTR
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T  Vaiwouver, BC
V6T 1Z1
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mmmmlmmmmmmmm__-____«B______i_■_B^_B__B_B■_■_■__M-M-JL Before we begin this month'**, column proper, we'd like lo opolo-
gize to the great Vancouver band Good Horsey (even
ihough it wasn't our fault) for mixing up their name with their
label on our list of top ten 7"s on lost month's charts page. So, toke
note: the record was by Good Horsey and the labels were
Shrimper, 1 8 Wheeler, ond Baby Huey. We love 'em, but someone
screwed up. No hard feelings? Anyhoo, on to reviewsl
We'll start wilh Canada ('cause we always do) and our
token Moncton/Eric's Trip mention. Orange Glass
is Ron Bates, formerly of the rock band
Collide, which was home also to Tara
S'Appart (of Love Tara fame), among
others. Played and recorded to 8-track
ond 4-track by Ron,  the music on
Orange Glass's four-song, self-titled
Soppy Records'  (ET's own label) 7"
matches the cover: sparse and simple
with a lot of charm. Full of fuzzy lo-fi
delights, this music is sure to worm you up
on a cold winter's night. If you are into the
Eric's Trip thing, you'll love Orange Glass.
(Orange Gloss c/o  104 Verdun Street,
Moncton, NB, El E2Y9)
Local art-rock duo Mecca Normal has become a trio for half
of iheir latest Matador Records' release, adding the drums of New
Zealander Peter Jefferies to the b-side. "The Bird That Wouldn't Fly"
b/w "Breathing in the Dark" is a follow-up to the full-length Sitting
on Snaps (which was released on Matador earlier this year), and it
continues Mecca Normal's seeming progression towards more
melodic songs. The o-side is a slow, moody tune wilh strong guitar
and equally strong, multi-layered vocals. On the b-side, David
Lester's guitar seems to mimic a piano, while Jefferies' fast, soft-yet-
powerful drumming eonlributes much to ihe Mecca Normal sound. As
usual, Jean Smith's passionate vocals top it all off. (If you like Mecca
Normal, be sure to find Two Foot Flame's new album - hear songs written
by Jean Smilh, Peter Jefferies, and Michael Modey of ihe Dead C and
Gate). (Matador Records, 676 Broadway, New York, NY, 1001 2)
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Bubblegun Records has released a clear blue 7" by The New
Grand, out of London, Ontario. Entitled A Dangerous Affair, this
record sort of reminds us of some Canadian TV shows: not great,
not horrible, but something's missing (don't tell us you don't know
what we mean!). To sum up their music in a few words, The New
Grand play fairly generic Super Friendz/Sloan-style retro power-
pop. Nothing against them, but maybe The New Grand should try
breaking some new ground instead of rehashing what's already
been done in Canadian music. (The New Grand, c/o 398 Lansing
Avenue, London, ON, N6K 2J3)
Our last Canadian release is only half Canadian, but thafs
good enough for us. Model Rocket has released a split 7" featuring
Ontario's Meowch and New Jersey's Billy Crosby's. Meowch
play simple, distorted guitar ditties wilh sweet baby-girl vocals. We
can't tell if there ore Iwo girls or one girl in this band, but we're
content listening to it - and then turning it over to hear the sort of
older, male version of Meowch on the olher side. Billy Crosby's
seem to be six young 'uns who write melodic songs with pretty
lead guitar parts and non-sensical lyrics about dancing and hiding behind dressers. (Meowch c/o 14 Loyalist Ct, Markham, ON, L3P
6A9/ Billy Crosby's c/o 19 Windy Hill Rd., Heluchen, NJ, 08840)
We've received a trio of cool punk-pop, women-powered
vinyl releases from the Portland area. HorseKitty Records/Studios
has sent us two of the three, by La Grenada and the Ce Ce
Barnes Band. The idea behind Portland's HorseKitty is a sensible and inspiring one: two women, Toni and Shannon, decided
to "build a recording studio/record label run by all women
where bands can decide how their music should sound, be distributed, and be a part of it the whole way through so one can
actually learn things they're interested in instead of everything
being some big dumb secret." (YeahI)
The members of Lo Grenuda play yer typical Kill Rock Stars (is it
now typical HorseKitty as well?) rock. Their record, Fast Girls, Fast
Living, offers us three songs: "Friend" is a generic punk song,
"Something's Wrong" is a somewhat weak ballad, and "Pitfall", the
gem of this release, is a nicer, jangly tune. Maybe their offshoot
bond Vegas Beat is more original - do check it out!
The Ce Ce Barnes Band has a little more punch than La
Grenuda. This self-titled 7" contains three punk ditties, including
"She's a Winner", which should be the anthem for all cool lesbians
out Ihere os the CCB Band yells, "She's a Winner, She's a Dyke...".
"Consuming You" is sung by a different singer than ihe first track,
with screaming/speaking vocals sounding something like Kathleen
Hanna. This is fuzzy punk/pop hardcore stuff that we like a lot!
(HorseKitty, PO Box 14284 SE, Portland, OR, 97214)
To round out the trio is Kill Rock Stars' release of The Third
Sex, who also appear on the ullra-neato Kill Rock Stars/Lookout!
compilation A Slice of Lemon. This self-tilled 7" sports ihree songs
by Trish LitHedog Walsh, Peyton Bigdog Marshall, and Killer
Downboy Melford, but the music is not nearly as scary-sounding as
their names, believe us! Think of a cross between Team Dresch
(members of which had a lot to do wilh the Third Sex's record -
Donna Dresch is listed as having recorded and mixed the songs,
while the olher Dreschers are thanked) and Bikini Kill. It's not hard, is
it? Oh, and add a bit of ihe garogey sounds of Bratmobile for good
measure. (The Third Sex, c/o PO Box 14554, Portland, OR, 97215)
Zero Hour (apparently distributed by Attic Records) has
sent us two indie-pop 7"ers, one each by Space
j Needle  and  Chomp.   We  p
j Chomp to Space Needle, as
i Space Needle's songs are more
i annoying than interesting. The o-
\ side to their "Sun Doesn't Love Me"
j b/w "Sugar Mountain" record ha*
1 a cool-sounding drum machin
accompanied by high-pitched ma
i vocals lhat remind us so much of a
certain top-40 song, we can't think of
exactly whot that song is... "Sugar
Mountain" is indeed a cover of the Neil
Young song, and boy, do they destroy it!
Chomp's music on "It's Arizona" b/w "Her First Shooting Star"
seems more deserving of the name Space Needle than that of
Space Needle. The o-side on this swirly, baby-blue 7" is a mellow,
jongry pop ditty with spacey vocals and keyboards; it seems strange
to us that music like this, which is usually so modestly arranged,
uses so many effects. The b-side is a Bunnygrunty, young boy/girl-
vocals chanson, also with echo effects. (Zero Hour Records, 1600
Broadway #701, New York City, NY, 10019)
On to the mood rock! The highlights of this month of vinyl
delights come from Silkworm and Loose Confederation of
r art for 200 of
Saturday City States. Matatdor Records, who seem to have
storied a semi-permanent relationship with Silkworm, have sent us
a double 7* by that band, packaged in a silver gate-fold cover.
Marco Collins, programmer and music director for Seattle's
"modern rock" radio station KNDD (the End), aired and recorded
these four songs on March 8, 1994. At times, the music does
sound like it was recorded on the radio, in that the vocals get a
bit distorted (stoticy almost). But, overall, everything is wonderful:
acoustic for the most part, and incredibly full but sparse-sounding. This 7" pack contains "Couldn't You Wait?" and "Cotton
Girl", both written by bassist/singer Tim Midgett, ond originally
done as electric versions on Silkworm's most recent full-length
album Libertine; "Scruffy Tumor", which was written by guitarist/singer Andy Cohen (the original version can be found on a
limited edition 12" EP, ... fiis absence is a blessing, released on
Marco Collins' own label Stampede Records); and, best of all,
"Raised by Tigers", written by former Silkworm guitarist/singer
Joel R.L. Phelps and originally found on their second LP In The
West on C/Z records. This is the last release by the four-mem-
bered Silkworm - Joel Phelps has since left the band and is doing
wonderful solo things on El Recordo. Watch for Silkworm's
upcoming double (!) album on Matador in early 1996. (see
above for address)
The Loose Confederation of Saturday City States is comprised of
semi-superstars: the enigmatic Vic Chesnutt, Camper Van
Beethoven's and Cracker's David Lowery, Mark Linkous from new
major label band Sparklehorse, and Paul Niehaus and Kurt
Wagner from Merge Records' Lambchop. Their record, entitled A
Sudden 2 Song Gestalt Amongst, contains two songs. On the A-side
is "Plagiarism", which features Chesnutt's melodic, folky vocals overtop one of the other fella's deep spoken vocals. A very dramatic
sounding song for seemingly trivial but true lyrics like "Too much
rain, not enough drain." The b-side's "How Con I Face Tomorrow",
also sung by Chesnutt, is a lush country lullaby complete wilh ste/el
guitar. (Slow River Records, 16 Nicholson Street Suite 1,
Marblehead, MA, 01945)
J. Glasser has personally hand-drawn the c
clem snide's new self-titled 7"s. We
don't know if oil the drawings are the
same, but ours is of a round,    moustache-laden,    bespectacled man waving to a dinosaur (something along
those lines, at least - we never took
art appreciation classes). And the
Mountain Goats-esque vocals and   ;
acoustic guitars. The voice is sad
and woil-y, the music is straightforward        and        harmless.
(Cardboard Records, 255 East 10th
Street #2A, New York, NY, 10009)
We like the thought of a Backporch Revolution. The lobel
must too, cuz they named themselves exactly lhat. And then they put
out a record by Shinola, called Vodka. The title track is a warped
folk song, with prominent bass lines, funky guitar, distorted fiddle
sounds ond deep mole vocals. "Who's A Fuckup?" is basically a lo-
fi folk lune wilh banjo for lhat added "down home" touch. (Backporch
Revolution, PO Box 9314, Chapel Hill, North Corolina, 27514)
Last on the agenda for this month is a couple of records we really wanted to like, but didn't. The Broadcast Choir hove a pretty
cool name, are distributed by the indie great Drag City, and included a 7" centre wilh iheir release) Unfortunately, the two tracks on
Songs that Sunk the Titanic don't sound like they have enough muscle to sink anything. Peter, Paul, and Chris write squeeky, noisy,
songs with tape loops and screeeeeching vocals. Even though the
underlying guitar and bass lines are really quite pretty, it's just not
enough. (Drag City, PO Box 476867, Chicago, II, 60647)
Finally, the Japonese label Motorway brings us Bubble
Bus' "My Funny Face" b/w "The End of Dreams/Maybe"
record. We received a nice, sincere letter from Motorway's
label manager Keisuke, who tells us that since releasing Bubble
Bus' record, they've gone on to a major. He also tells us that
future plans for the label include a Magnetic Fields release,
which should be in our hands soon! Bubble Bus is fairly mainstream sounding: "My Funny Face" is a typical pop-rock song,
"The End of Dreams" has hints of Zumpano in that cheesy
lounge vein, and "Maybe" is like a '50's doo-wop song. All with
Steven Page (from Barenaked Ladies)-like vocals. (Motorway,
c/o Keisuke Hatsuda, 1-29-16-101 Higashi-Sugano, Ichikawa-
shi Chiba 272, Japan)
Don't forget to ask your loved ones for lots of 7"s this holiday season! enNBg
Railway Club
Tuesday, November 14
This first semi-finol was everything one could wish for in a night of
competition: three great bands making the judges' task hellishly difficult, and a packed Railway Club lending oodles of atmosphere.
All of the bands were very good at what they did, providing an
evening of disparate musical styles, all of ihem entertaining.
Technicians of the Sacred started the semi with their
funk/punk/groove/rock (hang. They were immensely enjoyable,
and there were moments in their set that were actually quite exhilarating. They were all accomplished musicians who seemed to really
enjoy playing, and that always makes the punters a bit happier to
watch them, I reckon. Their songs were quite long, but I didn't really
notice because their groove was so infectious.
Gleam provided a very tight set of nicely-constructed pop-py
songs, well-written and well-executed. They were more low-fi in presence than the Technicians, but seemed to be really into it. Both guitarists and the bass player sing lead on different songs, providing
some interesting variation. My one semi-critical comment would be
lhat perhaps only the bass player should sing lead vocals, as his
voice best compliments the tone of the music. Otherwise, Gleam's
was a totally enjoyable set.
By this stage in the night, I was bloody glad I wasn't judging, as
choosing between the first two bands alone was hard. The
Readymode eventually won, a decision which was somewhot surprising. Their brand of atmospheric synth-rock effectively draws one
into its swiHs and curves and layers, but their songs were all a little
too similar to each olher for my taste. Nonetheless, it was a damn
fine set and one which clinched it for them.
Sophie Hamley .^09S^ ^c**
Railway Club
Tuesday, November 21
Ho hum, another forgettable night of Shindig... I suppose I can take
solace in the fact that each night every band seems to toke wilh
them new fans from amongst the ranks of judges and other goers. I
just didn't happen to be one of them this time.
I'm not much of a fan of their music, and maybe that's why I can't
think of too much to say about 1000 Stamps. They played four-
chord rock that skirted the edge of that granola V birkenstocks
kinda music. I wouldn't say the songs all sounded the same, but
then there wasn't much to distinguish one from another. Strong musicians, they were all capable ot what they were doing, but the songs
just seemed to lack much of a spark.
Knockin' Dog came across the same way they did they first time I
saw them: lots of interesting ideas, but few applications lhat interested me. Not too many bands would use a seashell os a musical
instrument, but Knockin' Dog did. Unfortunately, their songs
seemed to drag, which only added to my frustration in watching
their performance which, if nothing else, wos more of o performance than 90% of the bands that played this year.
I like some things retro. If we forget about good ideas for long
enough, they can almost sound fresh. Zumpano are a band lhat can
do this, but I'm afraid Sugarcandy Mountain are not - at least not on
this night. Much of that spirit of '65 showed itself in their songs, but
it came across as too forced, and sometimes too modern in a bland
way. The band was tight, perhaps too much so, reminding me of
certain bands who have played Shindig in the past and who would
have benefited from loosening up a notch - last year's finalists
Underwater Sunshine come to mind.
It wouldn't have bothered me if anyone won or if anyone lost
tonight. There wasn't anything to *wow* me, but someone hod to
advance, ond on to the finals went 1000 Stamps.
K. Geffen
Railway Club
Tuesday, November 28
Johnny Millennium won a lot of fan;
their firstround appearance wilh their r
somewhat eclectic gee-tar rock. A most enjoyable band to watch,
ihey are unselfconscious and low-key, their music is good, and ihey
dress well, too. So if ihey swing by your favourite venue, do yourself
o favour and check 'em out.
Audaciously, I will state that Thread hove been one of, if not the
best, bands of Shindig (and not to include Pound and Knockin' Dog
here would be bad), and it is a mighty big shame lhal ihey will not
be appearing in the grand final. They have wonderful, well-written,
excellently played songs. Happily, their lyrics are clearly audible,
revealing thoughtful songs of some depth. Admittedly, it is their
music lhat is most impressive, ot times touchingly quiet, a quality
lhat is not as easy to achieve as it sounds. They are a nice change
from the noise-for-noise's-sake bands that litter the contemporary
indie landscape (it's all Cobain's fault!), as they craft songs of structure and beauty. They are also a light little unit, unassuming and
versatile. The main problem wilh their set wos that they only had
half an hour to play, rather than one-and-o-holf. One can only hope
lhat they will Iry again next yeor.
This appreciation of Thread is
not to detract from winners
Pipedreom, who had many enthusiastic supporters of their dramatic,
overwhelming synth-rock. They are
very good at what they do, but,
obviously, what they do is not
everyone's non-fat grande mocha
with an extra shot. Their set wos
quite heavy-going, as their music is
so intense. To listen is not so much
to enjoy as to commit to an emotional assault - ihis is not a bod thing,
just a statement of experience. They
are sonic commandos on a headlong charge at your senses.
Sophie Hamley
favourite. To see eilher detail or motion from these shoegazers, you
would have had to stood next to ihe stage, but it wasn't needed as
their sound was more than enough to captivate the audience.
I think other people hove described Pipedreom more accurately
than I ever could - "early Pink Floyd" and "Planetarium music" being
amongst those descriptions. Certainly the most unique band to play
Shindig, the Irio's instrumentation consisted of bass, synth, moog,
farfisa, guitar and percussion played with mallets. Visuals were
also present in the form of blinding lights and smoke, intentionally
obscuring the view of the band who were busily playing their
instruments. I liked it myself, but this band is definitely of the love
'em or hate 'em variety. I also like early Genesis, so that may
If you judged this evening on energy, or "spunk", or even just
proof lhat a band was indeed breathing, 1000 Stamps would have
been the only choice. This four piece played a tight set of music lhat
was somewhat original, although I suppose one could place ihem
into a musical category inhabited by groups like Counting Crows
(folky rock?). Few bands at Shindig have actually had people dancing to their music, but 1000 Stamps proved to be an exception in
this regard. Furthermore, they demonstrated abilities as a band lhat
will probably carry them a long way for a long time.
I'm glad I didn't have to select the winning band, since any of
the three would have been worthy. However, if I did judge I probably would have voted for the eventual champions, The Readymade.
Brian Wieser
Just for YOU!
One day only,
Friday, Dec. 29th
10:00 am to 7:00 pm
Starfish Room
Saturday, December 9
Icy streets and icy cars couldn't
stop the 13-week-old monster that
was Shindig from storming to its
conclusion. After three months of
often mediocre and rarely spetocu-
lar nights at the Railway Club (but
don't let this bias you towards
future Shindigs - much like
kumquats, each year's crop of
bands is always of varying quality
and consistency), three bands
made it to the finals at the Starfish
Room. Of the three Shindig Finals
I've been to, this was probably
the best overall, and it was a
good sign for local music as a
few hundred people came to witness the proceedings.
The Readymode played first.
Their anonymity highlighted by the
shadows of projected images, the
band played songs full of melody,
heavily inspired by British music of
ihe dream-pop variety. The guitar
tone was biting and driving while
keyboard lines and vocals flowed
in and out of their songs. Perhaps
theirs wos not the most original
sound,  but it was  easily my
will be 20-50 % off..
IMHW @m tihh
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__mBi_m--M^^^ RANCID
The Din woodie, Edmonton, AB
Sunday, December 3
Punk rock was originally meant
to be a creative outlet for discontented and rebellious youth fighting to have their voices heard.
The music is driven by abrasive
guitars and ferocious rhylhms,
and the lyrical content is frequently tinged wilh anger and
cynicism. Rancid is a band that
epitomizes what it means to be
punk. I know some of you so-
colled purists out there may think
that Rancid's current popularity,
record sales, and appearance on
Saturday Night Live discredit
ihem from being punk, but lhat's
because you were not there to
witness them live at the
Vancouver's d.b.s. wore their
usual matching striped t-shirts and
ripped through their set with wild
abandon. Their less than ihree
minute songs sounded much
more interesting live than on
record. Bands like d.b.s are like
child actors: you should catch
them while ihey're still young and
fresh, because they age quickly
and get stole rather fast.
A.F.I hail from East Bay, CA,
and are one of those new school
hardcore bands lhat are trying
to recapture those glory moments
of old school hardcore without
adding anything new to it. They
were boring. Moreover, ihe leod
singer's nasal voice was annoying. Fortunately, ihey did not prolong my boredom by playing a
long set.
When Rancid finally took the
stage, they plugged in their guitars and rocked. Their ardent energy permeated the whole room
and the audience went bestial.
While their image resembles that
of pioneer punk rockers such as
GBH or Exploited, their songs surpass those old school bands in
quality. More than mere outbursts
of angst, these songs have singable melodies that even grandmas can relate to. The majority
of tunes ihey performed came
from And Out Come the Wolves,
but past favourites such as "Radio* and *l Wanna Riot* pleased
the old fans like myself quite a
bit. Their relentless rock numbers
were punctuated wilh tasteful ska
songs, which allowed the audience to squirm their bodies in a
completely different fashion.
I really cannot say where Rancid can go from here. But come
to think of it, I don't really core
either. I have seen them al Ine pinnacle of their punk rock glory.
Starfish Room
Thursday, November 30
*Hey man, get ihe fuck off the
stage!* That pretty much sums up
the Destroyer experience. They
were BOGUS. The only inspired
moment during their very long set
came courtesy of guest drummer
Barbara Manning (who happens
to from the S.F.Seals) when she
yelled, 'Let's do the EPIC!* just
after the band had finished playing a marathon 20-minute sonic
endurance lest of guitar feedback
and sampled inanities.
The Seals, on the olher hand,
were pretty happening (unfortunately, only 20 or so people
showed up to see ihem). Although
they got off to a slow start with a
so-so version of their smokingest
rune, *Don' Underestimate Me*,
they auickfy settled down. The set
was dominated by songs off their
latest release. Truth Walks in
Sleepy Shadows: "Ladies of ihe
Sea' "How Did You Know?*,
ond 'Bold Letters* were nearly
perfect representations of their
studio-produced counterparts.
However, it was *Doc Ellis", a
tune from the Baseball Trilogy,
which proved to be the highlight
of the show. Supposedly about a
major league pitcher who somehow managed to throw a no-hitter while on LSD, the song featured fantastic hand-driving gui
tars, some truly wicked drumming, and Manning's painfully
sweet vocals. It just made me
smile all over. Thank you.
Mark Arden
Starfish Room
Friday, November 24
This was a very crowded show.
So much so that when I walked
in the front entrance, two police
officers were walking out, presumably having just checked lhat
the Starfish Room was not exceeding its capacity. The security
was super-tight too, as I was
checked for tickets twice before
being allowed in. Even the coat
check was sold out.
First up was Railroad Jerk. They
ran through their set wilh their
own sense of musicol style. At
many times it sounded like they
were playing polkas. The vocals
were often much more of a chant
rather than singing. Don't get me
wrong, ihough, iheir unique style
was what made them so good. I
particularly liked when they
played 'The Ballad of Railroad
jerk". Most of the crowd really
got into it when they played
"Bang the Drum". Railroad Jerk
didn't really banter at all with the
audience, but they certainly put
on a good show.
Boss Hog took to the stage and
without a word of introduction
T (STB 002) Intelligent, poetic
punk rock, you will tall in love. II
Victoria had an East Bay...
(STB 003) Emofaialy powered,
dmiig melodies w* a suMe softness.
Lyres tend to be pereonal thoup^i they
• RAIL "Rolling little joe"
• SHOEGAZER s/t 1st
• SPITBOVRasana"
• ILLITERATE-european comp..  S10.C
started into their set. It wos very
much of o trashy, almost obnoxious style lhat Boss Hog conveys.
Cristina Martinez' vocal slylings
were very raw and she hunched
wilh the microphone covering up
her face for most of the show.
Every once in a while you could
hear lhat Jon Spencer Blues Ex-
through. Whenever Jon Spencer
was singing I was almost expecting him to scream "Blues Explosion!* Much of the audience was
bopping and dancing to the tunes
and several times throughout the
set Cristina Martinez was asking
for the disco ball to be turned on.
At times the music got quite abrasive but as a whole it was very
much dance-inducing trashy
bluesy punk rock.
In the end, Railroad Jerk was a
bit more original, but both bands
put on a crowd- pleasing show.
Colorbox, Seattle, WA
Sunday, November 12
I hadn't been to Seattle to see o
gig in a while, and ihe Remembrance Day holiday provided a
friend and me wilh a rare opportunity to see one of my late '80s
hardcore faves, L.A.'s Excel. Unfortunately for the bands, only
about 20 locals showed up for
the show. Suction rock and rolled
in a Seattle kinda way. A
listenable sel for a while, but the
sameness of the songs and the
group's cheesy stage presence
Shihad, Iwo letters a-vay from
'shilheod', played a boisterous,
tight, and inventive set of 'post-
something' rock, straight outta
New Zealand (silverchair they
ore not). Apparently, the Killing
Joke dude produced their debut
CD, Killjoy, and, occording to The
Province, Metallica like them.
Excel '95 were cool, stroight-
up hard music (nose-ring teen
angst this ain't). Sporting the
same attitude and presence from
the band's early years was singer
Dan Clements, whose personal
politics and hair-swinging
positivity won over the 10 or so
remaining patrons up-front checking out ihe band. A few old tracks
from The Joke's On You were
played but nothing from the classic Split Image record. I was disappointed, but not surprised.
Most of ihe material from their current CD, Seeking Refuge wos
showcased, ranging from intense
and bashing funk to guitar-
wanking hardcore/skate jams.
The desperation of the old-school
Excel is noticeably lacking, but
the band's growth isn't. Excel still
Kevin Templeton
PH. (604) 689-7734 FX. (604) 689-7781 THE AMPS
Think of Pacer as ihe third Breeders
album il you like. Same repetitive, distorted, power chord driven songs,
same husky Kim Deal voice, same
pop sensibilities. Upon first listen, ihis
album hints al Deal heading back lo
Ihe simpler, less-fi sounds ofPod, bul
il seems lhat really it's jusl a case ol
more effects and fuzz, especially on
the vocals. Deal seems lo be afraid
of her own voice, wanting lo mask il
wilh olmost annoyingly overproduced
layered vocal effects. Very Pixies-
esque. Very Breeders-esque. Very Kim
Deal. Basically, this album jusl goes
lo prove lhal Kim Deal is the Breed-
miko holfman
Spacey-eleclro-rubby-dubby grooves
which flow al a danceable pace - but
I like lo put this album on lale al nighl
and listen lo its Irippy oscillations. The
Brian Wright
(Mesa/Bluemoon Recordings)
The Aqua Velvets are tapping inlo a
growing surl-revivol scene in California, which has spread lo many areas and countries including Canada.
SurAnonio's songs are dreamy and
loungy, and aplly tilled ("Mexican
Roollop Afternoon", which is excellent, "Martini Time", "Martin Denny
Esq.", and "A Raymond Chandler
Evening"). The 12 tracks in summation seem lo lack ihe rawness lhal
makes many surf instrumental artists,
notably the grand-daddy ol ihem all,
Dick Dale, exciting. Surfmania is
greal martini-sipping music, bul I
wouldn't necessarily be slapping il
into my 8-lrack in my converted '69
VW beetle dunebuggy. Perhaps this
is simply not my first choice for nostalgic indulgence; I've discovered
Patrick McGoohan's Lotus 7 is slill in
production as the Caterham Seven in all I need is a tailor...
Celestial Soul
(New Electronical
Every lime you listen to Celestial Soul,
there are new subtle sounds thai you
didn't hear last lime. It's not always
blatantly groovy, bul there is definitely
a lol ol soul in this work. Wilh all the
dance Roor fodder I hear, it's really
refreshing to hear an album lhal was
created by an intelligent human being. The album is diverse, gliding from
the jazz bass loops of "Laetoli" and
"Ariois" lo the strange, mind-expanding ambiance ol "Renaissance" and
"What Might Have Been" lo the ass-
shaking bass thump of tracks like "We
No longer Understand" . Celestial
Soul is a serious and intelligent listen
lor all.
Brian Wright
Woman's Gotta Have It
Just like a corner store, you can gel
everything you need from this band,
jusl when you need il (now!): intelligent lyrics, catchy tones, and indie-
pop sounds you haven't heard elsewhere. (Note: this is a review of ihe
Wiija release, not of the new Wamer
of greal release names (i.<
Change", "Born Disco, Died Heavy
Metal"), ihis new full-length also continues the Cornershop trend of mixing European pop wilh traditional
East-Indian sounds, lyrics, and inslru-
ments. T. Singh has written and produced mid-tempo, hummable, politically-oriented songs lhal don't seem
to fit into the pop-rock norm. Strummy
for the most pari, the backbone of
ihe songs ore your typical college pop
lhal a label like Merge would, and
did, release (the Hold On it Hurts EP).
Bul add a silar, a geelar, cool tape-
loopy drum sounds, and Alrican-
sounding chanting, and the uniqueness of Cornershop settles in. The
major label 'hit' is "Wog," which has
a slicker, dancier feel to it, bul it's nifty
jusl the same - Singh proudly sings
"This Western Oriental's going full circle" atop of a mellow, folky groove.
My favourite is "Call All Destroyer,"
an upbeat, distorted ditty which encourages us (I assume) to "kill all producers, call all destroyer...and woman's golla have it." Yeah, she does,
and so do you.
miko hoffman
(Shake the Record Label)
When you think of music lhal blends
reggae, punk, ska and rap, the Red
Hot Chili Peppers, Fishbone and Bad
Ihink, 'God, il I hear another
wannabe Fish-Pepper-Brains band,
I'm going to puke'. Well, quit slicking those lingers down your throat
because here comes a band lhal kicks
■■.chine ,
Kl), th
rest are ska-filled, punked-out |
classics. If songs like "Blue Hair
Crime" and "Prison Friend" don'l gel
you off your bult, then you must be
Keith Courage
Unauthorized Volume Dealer*
(Bang-On Records)
Wilh a name like Facepuller (local talent and self-proclaimed proprietary
of Hyperinduslrialnoisecore), il should
come as no surprise that the music
on this CD is definitely not appropriate background noise for reading or
lounging. Actually, one of the merits
of this music is lhal il demands ihe
attention of the listener - either you're
listening to it or it's grating away al
your nerves. More like il clutches the
listener by the ears and smashes their
face inlo the speaker cabinet. (Prely
good analogy, eh? facepuller.)
I was surprised by the amount of
diversity to be found on the 17 Iracks
lhal comprise Unauthorized Volume
Dealers. None of thai hardcore homogeneity here. Close listening will
reveal some nifty electronic bits and
pieces. Other Iracks are tinged wilh
unding vocal FX a
of Ihe :
Thai said, I'm also glad that the
disc was only 41 minutes long - the
pace is unrelenting. Aside from thai
and a cheesy album title. Unauthorized Volume Dealers is an excellent
product, good value and quality
piece ol merchandise.
Scoop Alamode
Duniya means "the world" in Urdu,
making il an appropriate title lor this
cross-cultural journey of ethnic samples combined wi*h electronic rhythms
and groovy beats. Because so much
of il is without lyrics and focuses more
on creating emotions, all the sounds
of the world can be shared and no
listener has to feel alienated from a
song because he or she cannot understand ihe words. An upbeat pleasant listen lhal is fine for eilher relaxing or for laid-back grooving.
Brian Wright
The Luv Show
Jusl in case any ol us were holding
on lo lhal old Hollywood A 5tor is
Born fantasy of fame and fortune, The
Luv Show feeds us cheap sex, prescription drugs and leaves us washed
up and hopeless in the Valley of the
Dolls, sipping mai-tais and smoking
one last cigarette.
Ann Magnusen is the queen of
folk schmaltz and lounge sleaze wilh
a brutally ironic wit and a little Elhel
Merman thrown in for good measure.
The Luv Show is her first solo album
since her days with Bongwaler. The
album chronicles a woman's rise and
fall from ihe boondocks of the Midwest to the glitter of Sunset Boulevard
lo the last song in "a cheap apocalyptic lounge in Chinatown". All her
pathetic dreams of fame in "the
Waterbeds of Hollywood" lead our
heroine to "Sex with the Devil", catapulting her to the lop of the heap as
"Miss Pussy Pants". "L.A. Donut Day"
is the song of a girl in a hoize, her
brain double-dipped and glazed on
all the powder she could handle. She
tries lor a dubious comeback as a
"Manipulative Kennedyesque Celebrity Fucker", bul in vain. "I Remember You" is her last hurrah in a bar
where the faded glitter has gone to
The album is very entertaining if
you read the liner notes and follow
the story. Magnusen still has lhat signature Bongwaler psychedelic sound
as well as her own tongue-in-cheek
lounge crooning, ranting, and calypso sleaze ("Sex with the Devil" pub
Harry Belafonle lo shame). Exactly
whal I expected from the woman who
once paid tribute to Muzak by singing for five hours in the elevator of
the Whilney Museum in New York.
Anna Friz
A Glorious Lethal Euphoria
The slicker says, "Dick Dale meets
Sonic Youth: a sonic surf-guitar assault
from S.F.'s 'viciously psychedelic' surf
ensemble". Ya, I'll go along with lhal!
Rev. Norman
New Wet Kojak
(Touch and Go)
This album is really appealing -
moody, melancholy, groovy, jazzy -
bul whal ihe songs are aboul, I can't
tell ya, as the vocals are kind of hard
to understand. And, frankly, I was loo
busy enjoying the overall vibe of the
thing to bother to listen closely. The
only obvious reference point is the
soundtrack to the movie Angel Heart
(remember? - Mickey Rourke, Lisa
Bonel) and Courtney Pine's work
therein - intimations of menace and
elegiac beauty abounded there and
can be found here on New Wet
Kojak's LP. It's short and black and
sweet, jusl as good coffee should be.
And if lhal isn't enough k
you - buy il for ihe name c
Sophie Hamley
This Body Is Stolen
There are bands lhat know when to
play iheir strengths, and bands thai
know when to experiment. Spiritual
Heroine are definitely ihe former, bul
not quite the latter.
Musically, ihey seem lo be al their
best when ihey strip it down lo ihe
"Maiden") or when ihey construe! I
smoothly taut, off-kilter pop, such as
"Wail". When they take the eclectic
approach they begin lo stumble.
Strong tempo changes - something I
normally en joy - seem discordant, hindering whal could have been fine
tunes (such as "I Warned You" and
"Ah, My Heart"). Another area that j
was needlessly explored was the pure
percussion in "Three Bows for Brothers", which struck me as a waste of
space. More often than not, there
seems lo be a flat, almost lifeless feel
lo this CD. Perhaps they're noi quite
comfortable wilh the recording process?
Even though uneven-al limes almost bland-l consider this a worthwhile effort from a band wilh great
potential. I imagine that with a little
lime. Spiritual Heroine will definitely
be a force lo be reckoned with.
Keith Courage
aware of the hybrid vigor resulting
from such cultural synthesis (in lacl
one of his albums is named Hybrid].
Recently he was at Peter Gabriel's
Realworld studios and heard Indian
mandolin player U.Srinivas was going lo record a traditional album
there. Brook arranged to record a
couple of impromptu sessions incorporating ideas from his 'musical
sketch book' with Srinivas. The effort
grew into live-recording series eventually featuring such artists as Nigel
Kennedy, Richard Evans, and Nana
Vasconcelos, whose unique percussion style has been featured on many
olher artists' efforts including Canadian experimental trumpeter Jon
Hassell's notable Earthquake Island.
Al limes the musicians played lo
taped recordings of themselves,
which Brook eventually reassembled
into ihe four pieces included on ihis
album. The last track, "Dream", even
features vocals by Canadian pop artist Jane Siberry (whose voice aclually
overpowers the otherwise very
spooky, quiel track).
In the end. Brook ends up with an
effort which has lhal 'blended soup'
synthesis of culture and artistry, especially notable since any effort such
as ihis is naturally contrived. One can
sense lhal each musician is feeding
off the olher and contributing lo a
genuine hybrid musical form. It is hard
lo call ihe release exciting, and uninitiated ambientslers may find il a
little sleepy, but repealed listening
reveals quite a depth to ihe layers of
musical ideas going on, including
such barely distinguishable things as
Indian bicycle bells and Brook playing the handrails in ihe Realworld studio's stairwells. As well, ihe sound of
Brook's "infinite quitar" and "buzz
s he created, infuses
the whole recording.
Shake Breakl
If you're not cutlin' a rug or going
into a frenzy by the first song on The
Swingin' Neckbreakers' latest, I suggest you keep that record nailed
down lo your turntable until you dol
Quite simply, any ol ihis album's 15
cuts should have you movin' like
you've never moved before. From ihe
Jam-esque opening chords of "Action
Kid" to the down 'n' dirty "Get Down
on Your Knees", I'll bel you'll be on
your knees beggin' for more, cuz The
Swingin' Neckbreakers throw a
shake break you sure don'l wanna
Bryce Dunn
Over and Out
(Touch and Go)
I read in a recent review lhal this is lo
be ihe final recording by Tar. (The first
clue was the title ol ihe album: Over
and Out.) Maybe that's a good thing,
since, despite opening the dbum with
ihree or four tunes thai really drive,
the band quickly runs oul of gas and
heads straight for ihe ditch. It's sad
lo be run over by your own bandwagon, but you gotta gel tired of
cranking oul the same old bullshit.
These 'One Time Anomalies' are now
more accurately described as typical,
conventional, and redundant.
In "Muncie", singer John Mohr
screams repeatedly "Whal went
wrongl Whal went wrongl" Thai
aboul sums it up. If reviews lhat say,
"This melodic pop/punk noise rock
sounds like every other band oul ihere
nowadays", make you ihink, "yeah,
so what?!", ihen Over and Out will
provide endless hours of listening enjoyment. Otherwise, you won't be
missing oul by passing over this
Scoop Alamode
The Doom Generation Soundtrack
(American Recordings)
You couldn't pay me lo see Gregg
Araki's The Doom Generation, but the
music on the movie's soundtrack is
fantastic. A new, unreleased remix by
Meat Beat Manifesto, remixes of Lush
and the Wolfgang Press, and tracks
by the Jesus & Mary Chain, Cocleau
Twins, Slowdive, Medicine, Verve,
MC900fl Jesus, Curve, Pizzicato Five
and Babyland thai are worthy of a
Volume compilation. The calchphrase
on ihe cover is, "Teen is a four-lelter
word". Well, so is "fukd".
Mallrats Soundtrack
In this generic collection of 'alternative' music, ihe only refreshing moments of quasi-originalily come from
an (ironically) old tone from ihe Archers of Loaf ("Web in Front") and ihe
compelling beauty of Belly (exceptional as always on the Irack "Broken"). Olherwise, one's immediate
response lo this soundtrack, presumably pitched lo the 'alternative' market, is alternative to whal? All these
Strangely enough, silverchair
sounds like something of an alternative to these alternative pseudostars
wilh iheir obrastve-yel-simplislic song
arrangement and Daniel Johns' pre-
lernaturalry growly voice. The Girls
Against Boys and Sublime tracks are
worth a mention, bul ihe inclusion of
dialogue bytes from the movie is
pointless - ihey aren't lhal amusing,
and they make no sense unless you've
seen ihe movie (in the proper context
of which ihey ore quite amusing).
Given lhal more people will buy this
album than will probably see ihe
movie, why include ihem at all?
Sophie Hamley
(Sleazyspoon/No Place Like
Home Productions)
Much like Bellinqham's
"Garageshockl", Chapel Hill, North
Carolina plays host to "Sleazefesll",
a psychotropic convergence of bands
from all over the Southeastern slates
for Iwo nights of merriment and musical mayhem. In order to celebrate the
inaugural festivities, "Sleazefesll"
was documented by both video and
CD lo showcase some of the highlights ol '94's shakedown shimmy.
The video begins wilh a trailer for
a movie released by Something
Weird video called Teenage Tupelo,
aboul kids out for kicks and in for Irou-
ble on the streets of the South, wilh
music supplied by Memphis' instro-
maeslros, Impala.
Then the show begins wilh performances by ihe Strychnines,
Chrome Daddy Disco, ihe Woggles,
Hillbilly Frankenstein and Dexler
Romweber (ex-Flat Dudjets), providing the show's more comical moments. Armed wilh only a guitar and
his wit, he stumbled through Iwo numbers by forgetting the words and
ended his brief set with a blazing Link
Wray-inspired number lhal saw him
walk offstage, through the back door
of ihe club, and into ihe parking lol
outside, slill playing to the many pa-
Irons crowded around a bar-B-Q enjoying fine food and beer!
Intermission comes and goes and
Ihen it's time for Atlanta faves, the
Subsonics, the Bassholes, the legendary Hasil Adkins, the Family Dollar
Phardahs, and the hosts of ihis
hoolenanny, Southern Culture on the
Skids. Their hi-oclane performance
was capped off wilh both Hasil
Adkins and the Mexican Wrestling
Detective, Santo, joining S.C.O.T.S.
on stage for "The Hubcap Hunch",
complete with audience members
banging on car hubcaps while
slippin' and slidin' on chicken, watermelon and beer!
If you want lo own your own copy
of Sleazefesll, or want to know whose
goin' to be al this year's event, write
lo: No Place Like Home Productions,
PO Box 464, Chapel Hill, NC,
<§) 1995"   BLAISE L-YlE ThvRIBR
Rssoumous, r sa-i \ts up to
iwiiifli Jiii ju in ii'iii u «j :c .in 11 mil it inn n.r nm: am UTm u t hi JM&pffj^^
4Ho ^lo Hu-oki^vg Wo
•Heme's wishing Y°^ & AAe^y
(SnHshrvas ana "Happy j\lew
Vea^ jVom (SiXTv cmd
Discorder SUNDAYS
All of rima is meosured by its art. Most
broadcasting shuns art for incestuous mar
kshrwsic Tkis show presents if* most re-
cent new music From around tht world.
Eon opm. Hosted by Paul Steenhuisen and
THE ROCKERS SHOW 12:0O-3:00PM Reggae
inna all styles and fashion. Mike Cherry
and Pater Wiltons alternate as hosts.
LUCKY SCRATCH Alhrnating 3:00-5:OOPM
Blues ain't nothin' but a good woman
Win' bod. Gil down and git bock up
again - host Anna
lam & helen in their quest (or kiupnik.
HEATHER'S SHOW &00-8:00PM Dedicatated
to the gay, lesbian, bisexual, and
transsexual oommunilies of Vancouver and
listened to by everyone. Lots of human
interest features, background on current
issues and great music from musicians of
all sexual preferences and gender identities.
GEETANJAU 9:00-10:OOPM Geelanjali features a wide range of music from India,
including classical music, both Hindustani
and Camatic, popular music from Indian
movies from the )93(vs to the I990's,
Semi-classical music such as Ghazals and
Ehajans, and also Quawwalis, Folk Songs,
etc. Hosled by J. Dhar, A Patel and Y.
Join host Dave Emory and colleague Nip
Tuck for some exhaordinaiy political research guaranteed to make you thi nk twice.
Bring vow tape deck and two C-90s. Originally broadcast on KFJC (Los Altos, Cat-
4AM Drop yer gear and stay up late.
Naked radio for naked people. Get bent.
love Dave.
11:00AM Your favourite brown-sters,
James and Peter, offer a savoury blend of
fit familiar and exot'c in a blend of aural
delighhl Tune in and enjoy each weekly
brown plate special.
PM Wilh your hosts iheGourdof Ignorance
and Don In* Wanderer. What wil we play
today? Rog wil put il away.
CiTR's industrial/noise/ambient show,
- wimpy British pop, Beastie Boys, indie
guitar swing, and techno Arown in for
good measure. Hit your olfactory nerve
cenlre with June
endeavour lo feature dead air, verbal
flatulence (only when I speak), a work of
music by a IwenSelh- cenluty composer—
can you say minimalist?—and whatever
else appeals to me. Foq and dyke positive.
Mail in your requests, became I am not a
human-answering machine. Got a quarter
ihen cal someone who cares.
who sometimes don't feel fresh, but always
get fresh. Spoken word and music: light to
heavy flow. Maximum protection
recommended for male listeners. Holy
Hannah! Ifs a Feminist show.
BIRDWATCHERS 5:30-6:00PM Join Colin
Pereira for al ha weekend spoils shlock
from i\» high attitudes and thin air of Point
POLYPHONIC alternaling7:00-9:OOPM Usten
for all Canadian, mostly independent lunes,
and band interviews at 7:30!
Vancouver's longest running prime time
jazz program. Hosled by the ever-suave
Gavin Walker. Features at 11.
Jan 8: Our first show for the New Year
begins with pianist/composer Horace Silver
and his most famous ahum 'Song For My
Father," wilh tenor giant Joe Henderson
and trumpet legend Carmell Jones and
Jan 15: 'The Black Saint and the Sinner
Lady' with bassist/composer Charles
Mingus' orchestral masterpiece and whal
many people consider his finest abum.
Jan 22: Trombonist ond Modem-Jazz
pioneer JJ. Johnson is celebrating his72nd
birthday today and, in honour of lhat, we
feature an ahum that showcases his talents:
'Proof Positive.'
Jan 29: Tonight The Free Spirits, who
wil be playing in Voncouver on Feb. 4:
John McLaughlin (guitar), Joey DeFrancesco
(organ) ond Dennis Chambers (drums) •
'nun said - hear ihem tonight, then go hear
them live.
Hear! Music lhat makes you feel burned
alive on on altar of flame! Shake with
laughs! Shiver with suspense! Tremble wilh
thrills! Not for sissies or children! It'sscary!
It's screamy! It's screwy!
Women in music and grrrls in music; two
CiTR 1CXL9 £m
hours of info and rawk Ya don't need a
penis to be a musical Genius!
IQRA5:30400PM News, issues, and concerns
facing Muslims throughout ihe world.
the unherd where the unheard and the
hordes of hardly herd are heard, courtesy
of host and demo director Dole Sawyer.
Herd up!
RITMO LATINO 9-00-10:00PM Geton board
VoncaWs only tropical fiesta express
with your loco hosts Rolando, Romy, and
Paulo as they shake it and wiggle il lo the
latest in Salsa, Merengue, Cumbia and
other fiery fiesta favourites. Latin music so
Alternating Tuesdays. Live readings and
the latest in techno bizzarro with hosl Lupus
Worning: This show is moody and unpredictable. It encourages insomnia and may
prove to be hazaidous to your health,
listener discretion is advised. The music,
news and 2:00 WWOD hosted by Pierre
may not be suitable for the entire family.
LOVE SUCKS 11:30AM-1:00PM Tune in for
the musical catharsis lhat is Love Sucks. If
you can't make sense of it, at least you can
dance to it!
MOTORDADDY 3*00-5:00PM 'At club
functions there is to be no shooting of
fireaims or setting off fireworks.'
ESOTERIK 6:00-7:30PM Ambient/electronic/
industrial/ethnic/experimental music for
those of us who know about ihe illilhids.
AND SOMETIMES WHY 7:30-9:00PM boo ga
loo, smell my shoe, doodle too - MOCKET,
bikini kifl, orange glass, holiday flyer.. .
these are a few of our fave-oh-writ things.
Soukous, Samba, Salsa. Yes! Even Soca.
Enjoy this Tropical Daiquiri with El Doctor
del Rilmo.
12:00 AM Let DJ's Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkhde phutay*. Listen toalourfavorite
Punjabi tunes ■ remixes and originals.
CANADIAN LUNCH 11-.30-1:00PM Toques,
plaids, backbacon, beer, igloos and bea-
STEVE & MIKE 1:00-2:00PM  Crashing the
boys' club in the pit. Hard and fast, heavy
and slow. Listen to it, baby.
 pmr  CORE	
OUTFOR KICKS 6:00-7:30PMNoBiikenstocks,
nothing politically correct. We don't get
paid so you're damn right we have fun
wilh it. Hosted by Chris B.
Roots of rock & roll.
11:00PM Local muzok from 9. livebandz
from 10. BANDS TO BE
Greg here. Join me in the love den far a
cocktail. We'll hear retro stuff, groovy
jazz, and thicker stuff too. See you here..
. and bring some ice. XOXX
TELESIS 10:00-11:00AM Tune in for
discussions, interviews & information
relating to people who live wilh physical &
mental challenges.
The hottest, newest, cutest, bestest, raging
Ska tones wilh Scolty and Julie.
LITTLE TWIN STARS 2:00-3:30 PM Kiki Liki
Kiki Liki
Underground sound system-style
maslermix radio.
FOR THE RECORD 6:30-4:45PM Excerpts
from Dave Emory's Radio Free America
HOMEBASS 9:00PM-12:00AM The original
live mixed dance program in Vancouver.
Hosted by DJ Noah, the main focus of
the show is techno, bul also includes
some trance, acid, tribal, etc... Guest
DJ's,   interviews,   retrospectives,
art yen
the charm
lovt Den
R«di« frit
MMO snow
8ka-t'» Scenic
love sucks
justin's time
1   Wl/TAMO/
Set Tlie
FfiKlHlw Hy-fli**
nery Tyler Moore
AWAT* »6kSt
OKt for K*(
kip hop k-ufcrt
and sometimes
1     cobra.
sandwich   1
1     CMT«NJ«Li
tropic"--.! tkit-jfcir
1     ONE STEP
1     BEYOND:
wolf if Ihe door/
strS ofctt*
Groom   1
My little j
Crimson   1
1       ORIP OF
slot from
giveawoyi, and more are part of iht
UMP SINK 12:00AM-2:42AM Hosted by l*ne
G42 players. DJ Norm brings you ifie
krunk. Doctor K talks about more krunk.
Brought to you by copacetic man surfing
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Now in its 10th year on the air, The
Edge on Folk features music you won't
hear anywhere else, studio guests, new
releases, Brirish comedy sketches, folk
music calendar, ticket giveaways, etc.,
plus World Cup Report at 11:30 AM. 8-
9 AM: African/World roots. 9-12 noon:
Celtic music and fealure performances.
Vancouver's only true metal show; local
demo tapes, imports and olher rarities.
Gerald RatlleheaJ and Metal Ron do the
THE SHOW 6:00-8:00PM Strictly Hip Hop
— Strictly Undergound — Strictly Vinyl
Wilh your hosts Mr. Checka, Flip Out 4
J Swing on the 1 & 7s.
Altemating with My Little Crimson
SOMETHING l:O0-4:00AM 'You can tell
by the way I use my walk. I'm a woman's
man time lo talk."
WHOM      &      HOW
Arts Ian McKinnon
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Current Affairs Andrea Spence
■"-- Dale Sawyer
ird Anderson
Kevin O'Toole
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Programming News
NEW SHOW! Justin's
Time is a new jazz
programme, on Thursdays from 2-3pm. Tune
8)! Call CiTR if you want
to be involved!
The programming dep'
is looking for anyone
interestedin producing a
j spoken word/music show
dealing with Native/
Aboriginal issues; for info,
please contact Miko @
RITMO (WORLD BEAT) AT THE PIT PUB...Zoo Boogoloo w/djs Spun-K
and Czech (jazz, funk, reggae, hip hop) ot the Slarfish Room...Blue
Room w/dj Isis (ambient) at Automotive...80's Dance Night w/dj Brian
Si. Clair at Graceland...Readings, Music & more at the Grind Gallery
(every other Monday at 8pm)...
SOUL, HIP HOP & FUNK) AT THE PIT PUB...Winter Mountain w/dj James
Brown al Graceland...The Magic of Disco al Richard's On Richards ...Aqua
w/djs Isis and Markem (ambient) al Benny's Bagels Yaletown...Boogie
Ave w/dj Maggee (70's old school) al the Heritage House Hotel (453
Abbott)...Disco Night at the Commodore...The Greasy Spoon w/Slick at
the Hungry Eye...Klassix Night w/dj David Hawkes at Luv Yr Hair...New
Wove/Retro 80's Nighl w/dj Atomic al the Twilight Zone...Aural Fixation
al DV8 (poetry - sign-up 7:30, show al 8:00)...The Tongue of the Slip ot
the Glass Slipper (scheduled readers and open limited open mike • 9pm
on the third Tuesday of the month)...Live jozz w/ dj Brian James al the
Purple Onion...
WED: Velvet w/djs T-Bone, Dickey Doo and special gtiejis (deep house)
at The Underground...Reggae Night al Graceland w/dj Sll^. Ginger Snaps.::;
w/dj Mike & Soma and live electronic guest-, ot Mors ..Mo' Funk w/ dj*|
Soul Kid _ Seren trip hop, acid jazz & funk) ol Richard's On Richards...Gin!
& Sin Lounge at Niagara...Punk Rock Wednesday w/dj Tijirigboy at the
Twilight Zone...Suck w/dj Czech al Luvafair...Max Murphy,Collective at
Raffels...Open Mouth (open mic) w/host Carolyn Mark al fhe Malcolm
Lowry Room (9pm - call ahead to read)...El Famoio (raregrii>ove, funk,
hip-hop, jozz, reggae) al the Red Lounge...
THUR: Sol w/dj Markem and guests (progressive, trance, tribal, hard
house) at Graceland...The Bottle w/djs Clarence and: David Love Jones
(soul, jazz & rare groove) d* the Piccadilly...Soul 'n' Funk in tb«Basement
w/dj Marc and guesls at thet:St. Regis (bsmt)...Nocturnal Injection Revelation w/dj Wonderbread at lh|Twilighl Zone...Cal House w/dj Mick Shea
(house) al Celebrities.. Jazzmih,w/djs Andy Bollocks and Soul Kid (acid
jazz, trip-hop, jungle) al the Red Lounge...Step Hard w/Andy B Luke ol
898 Richards (2-4)...
FRI: Sugar w/weekly rotaliong djs ot Graceland...Lowdown w/djs Lovely
Liso and Dick at the St. Ro9is {bsmt] Explorations in Outer Bass (ambient)
al Melriches Coffee House (1 244 Davie)...Planet oy Sound w/James Brown
and guesls al the World (1-5)...Homo Homer w/'Sj Jules (house & dijco)
at the Odyssey... Malebox w/dj Mick Shea (house) at Celebrities...Blitzkrieg
(tribal, industrial, goth) at the Twilight Zone...Low DowrV.(funk, jazz, hiphop)
ol the St. Regis Basement lounge...Lounging w/ dj T-bone (house, jazz
and beyond) at the Red Lounge...Groove w/djs MaK;*gnd Todd Keller,
154 W Hostings al lam...
SAT: Noah's Arc w/dj Noah at the World (l-5)...Yo %# w/djs KiloCee
and J Swing (hip hop) at the Twilight Zone...Bad BoysNight Oul w/dj
Jules (house) al the Odyssey...djs Storm & Dickey Doo (house) at
Celebrities...Lounging w/dj Soul Kid (jazzy, groovy) al the Red Lounge...
SUN: Uranus Invades Mars w/djs Dickey Doo and Quest ot
Mars...Alternative Jazz al Cafe Deux Soleils (every other Sun) Jules
(house & disco) at the Odyssey...Ska Night w/dj Pig al the Twilight
Zone...Movie Nighl al ihe Railway Club...Pressing Poetry al the Press
Club (7:30)
f :!
FRI 22 Tiddlow's Lunchbox, Underwater Sunshine and Dirtmitts ot the
Town Pump...Wretched Ethyl with Pinwheel at the Niagara...Pauper's Feast
wilh Doug Deep and Johnny Millennium at the Hungry Eye...Runl with
Bummy, Reverser Drone ond others ot the Station Street Arts
Centre...Drunken Monkey w/Del Tho Funkee Homosapien ol the Slarfish
Room...The Chill w/js Havok, DWS and special guest >Swing pi the New
York Theatre...Planet Groove al the Commodore...The Wodd'^Best Commercials 1995 at the Ridge...The Tales of Hoffmann Ond Ihfc Elusive Pimpernel at the Pacific Cinematheque ■.
SAT 23 The Real McKenzies wilh gob at the Town Pump...Enforcer, Yeah
Whatever and Psycoruption al ihe Starfish Room...Smok .»/ith ihe Snitches
at the Mighty Niagara...Potters Field TrtskeUton with The tost Thrill ot the
Hungry Eye...The World's Best Commercials 1995 ot the Ridge...The Toles
of Hoffmann and the Elusive Pimpernel of the Pactfk Cinematheque...
SUN 24 Christmas Eve - just aboul everything's closed.
MON 25 Christmas Day - everything's closed -go the movies,
TUE 26 Ron Hayward Trio at the Railway Club...The World's fcssl Com-
mercials 1995 al the Ridge...
WED 27 Candlebox wilh guesls ot the Commodore...Econoiine Crush
with guests al the Town Pump...Spirit Merchants at tho Railway Club.. Oliver
Gannon and Chris Sigerson at Alma Street Cafe...The World's Bast Commercials 1995 at the Ridge...
THU 28 Chickenhawk, Boxculterand Erotic Jesus at the Slarfish Room...The
Rattled Roosters with the Soda Jerks at the Town Pump...Spirit Merchants
at the Railway Club...She Stole My Beer at Richard's on Richards...Sol ot
Graceland: special guest dj Mark Farina...Latin Jazz Night al Alma Street
Cafe...The World's Best Commercials 1995 at the Ridge...
FRI 29 Art Bergmann wilh guesls at the Starfish Room...Rose Chronicle.*
with guests at the Town Pump...Amanda Hughes atthe Railway Club...The
Beauticians at the Malcolm Lowry Room...Noah's Greal Rainbow with
guests ot the Gastown Music Hall..Jennifer Scott Trio at Alma Street
Cafe...Persuasion and A Month by the Lake at the Ridge...
SAT 30 The Eledrosonics, Kaneva, the Mach Ill's, Petrolia and the Tone
Bursts at the Anza Club...The Pielasters and Something Ska at the Starfish
Room...Noah's Great Rainbow with guests al the Gastown Music
Hall...Kate Ham melt- Vaughan Trio al Alma Street Cafe...Persuasion and
A Month by the Lake at the Ridge...
SUN 31 The Deadcats, the Smugglers, the Saddlesores and the Timber
Kings at the Hungry Eye...The Paperboys ond Cozy Bones ot the Starfish
Room...Age of Electric, Sex With Nixon ond the Pasties at   '
Pump.. .New Year's Eve Party with Bughouse Five at the Railway Club.. .Rcri
Condo & fhe Ricochets wilh the Colorifics at the W.I.S.E. Hall...New Year'
Revolution with the Sweaters, the Moleslics and guests al the Anza"
, Club...Psychomania, Taste, Johnny Millennium ond Deus ex Machina at
:5(he Penthouse...Brick House al the Gastown Music HalL.Songrise wilh
SoVoSo and Coco Love Alcom at St Andrew's-Wesley Church...New Year's
[ Eve Gala wilh Hugh A. Fraser al Alma Street Cafe...Long John Boldry ot
I the Hard Rock Cafe...New Year's Eve Galo at Richard's on Richards...Life
i Force with Dubtribe and guest djs: info (604) 878 7195...Peace Frog
iRaveiolli w/ djs TBone, Jay-J, Julius Papp ond others: info (604) 878-
MON 1 Latcho Drom at the Ridge...
TUES 2  Latcho Drom at the Ridge...
WED 3 Chixdiggit with guests al the Starfish Room...Ray Condo andlhpk
Ricochets at the Railway Club: .Oliver Gannon and Torben Oxbol at Alma
Street Cafe...The Promise arid Through the Olive Trees al the Ridge..,.,,,,,:•
THURS 4 Belly Button Window with guests ot the Starfish Room...Sol at
Graceland: special guest dj Garth...&.B.King at the Queen Elizabeth:
Theatre...Grames Brothers with Brick House at the Pit Pub...The Promhe
and Through it*-* Olive Treijw^hj* £idge...
FR» *» Big Toll Garden wilh guests al the Starfish Room...Ralph
v.       \d:Nauset>m:al the Railway Club...Jazzberry Ram wilh guests ot the
Gaslown M" A Hall...Latin'Jozz Nighl ot Alma Street Cafe. ,Bl
Face ani* Smoke at the Ridge ..Tent of Miiocles and Rio, 4^) Degrees at   '
tho Pacific Cinematheque... •;. #
SAT 6 Big Gulp, V- - at the StotA
fish Room.   • . .y Club .Jozzbcrry Ramwlth'-
guests,pt th n the Face and Smoi
Riuge    "fentofS -:mathequeS|;,
■ .ke filth,- Ridge...Barrel Lives and Hun- '>
MON aeiuebirdNorlh withC.Iinl'mdon .it the Roii ■ -
Double-Happiness ol the Ridge .Barren Lives and Hunger fcr Love at'the
■"■•-**-:- ■
TUES <>:Rud« .        ppinois at the Ridge..
WED 1,0 Ben Band al'fii$|
Railway Clufc ;  dge...Investi
gation of dCiti-' i .eqoe.„
THU 1 1   10 H, Henry with guests Ot the Railway CM
Music with A E<*w »•- and Cinema
Paradiso at l> Ay Little Frenchman and Rio,
Northern Zone at the '.-
FRI 12 Tlie Pursuit of Ho  .
at the Railway Club..#h ■-   >n al the Ridge ..How Tasty wos
My Little Frenchman and emotheque,..
SAT 13 1,000 Stamps ■       *ry Eye...No
Mono wilh guesls at th     -. • .■ Moon et the
Ridge...How Tasty Was N,, horn Zone ot
the Pocific Cinemothequo.,
SUN 14 Onyx ond Dos FFX at Richard's; on Richar|s..;Tne Til
Moon at the Ridge...%
MO*-' 15 Woodshed ce Moon ot the
Ridge...The Alienist and 1 I ihe Pacific Cmen
TUES 16 Gloria Steine,
ol the Roilwoy Club...The Til and the Moon at the Ridge
WED 17 Mudlarks al iheRailway Club...The Flirtations at tho C   :
: Tit and the Moon at the  Ridge...DealhsWisVenice at the
THURS  18 Soul Crib ol the Railway  Club    lazzberry Ram With Silly
:|Rdbbit at the Pil Pub...The Til and the Moon a* the Ridge.   F ,;
Women at the Pacific Cinematheque,;!
fRI 19 Environmental Youth Allia ,1oru    icn   loys fate,
the Sweaters, the Cowards, Pre- d :Qng ai
the Queen Elizabeth Theatre...SoulCribot the Railwo*.
Homs ot the Cultch...Mighty Aphrodtteiand Bullets Ove*
RifV-.-lntervista ot the Pacific Cinematheque
•SAT 20 CiTR 101.9 fMPRESE!
HAli...k.d. Lang ot Ihe Queen Eli ..xo LoVe Aktofn at
the Railway Club...The Flirtations Eighty Aphrodite and
Bullets Over Broadwoy ot the Rid ! lis Brothers ot ihe Po-*:*.
cific Cinematheque...
SUN   21   Mighty Aphrodite ond  Bullets''Over  Broadway al Ihe
Ridge...Inlervista and Amacord at the Pacific Cinematheque...
MON 22 Woodshed at the Railway Club...Feast of July and Unstrung
Heroes al the Ridge...Intervista and Amacord at the Pacific Cinematheque...
TUES 23 Paperboys at the Roilway Club...Dishwalla with Josh Clayton-
Fell at the Town Pump...MarcioMarciaMarcia Clark speaks at the
Orpheum...Feast of July and Unstrung Heroes at the Ridge...
WED 24 Paperboys at the Railway Club...Five Fingers of Funk ot
Richard's on Richards...The Robert Cray Bond at the Vogue...To Die
For ond My Own Private Idaho ot the Ridge...
THUR5. 25 The Colorifics at the Railway Club...Pure with the Papillomas
at fhe Pit-Pub...To Die For and My Own Private Idoho at the Ridge...
* Club   Celestial Magenta with guests at the Niagara...The
MySW*y of Rompo at the Ridge (till Feb 1)...
SAT 27 TheSirvsipt* at the Railway Club...
"" 29 Gy*s with guitars at the Railway Club...
JED 31 Supersize a.tjhe Railway Club...
The Abyss 315 £ Broadwoy (side entrance)
* Almo lol Broadway)
(Mount Pleasant)
(ot Cambie)
n   Granville Island)
(ot MacDonald)
- Commercial  (the Drive)
■odwoy  (Mount Pleasan
..:..'    '.'.-       H   ./  DOV .
-N-r   -,.  Theol,     .V-.
f***  870 ©ranville  (Granville Mall)
CSrtimodore LanWjS;8'38 Grafiville  (Granville Mall)
Cordova Co* astown)
Cfosstown Traffic  316 W (Hastings   (downtown)
Denman Ploce Cinema   10*30 Denman  (West Enrrrd)
N-ovie (downtown],
.16 Commercial (ihe Drive)
. „._ Scva   (al Main)
nbi VdTKObvW
• Prince Edward  (Mount Pleasant)
• .chords (downtown)
-. Yale Rd.  IChilliwock)
* (24 Main St. (Mt. Pleosant)
Csfitte. 2096 E. Hastings  (near HlSJEf
WicB'     324  AA^q*      I   A   •   *
-        ••--'    -,  ■ ,    .'*   ,     V.   . -,■■:■
:  Hunary Eye   23 V , >wrt|
Sfeflfcho Arts Cen rr
»uena   111 • DS*' '':
The Lotus Club 455 Afeb^ {Gt^tm^
flltiv-A-Fair   1 275 Seymo^:^^t^£®
■  'Malcolm Lowry Room 4125
;.Mars   1320 Richards  (downtown] ■y'M;|'
jMoximum Blues Pub  1176 Gronville  (dov^own)
;New York Theatre 639 Commerciol (the Drivfe:
^Niagara Hotel Pub 435 W. Pender (downtown)
lOdyssey Imports 534 Seymour (downtown)
I Old American Pub 928 Moin  (downtown)
i; Orpheum Theatre Smithe & Seymour (downlown)
i; Pacific Cinematheque   1131 Howe  (downtown)
UParodise 27 Church (New West)
paradise Cinen ;3ranville Mall)
rk Theotre  3 h Vancouver)
(ot Seymour)
.. ion Building  (UBC)
' W. HaslingV (downlown)
V, Granvife:: (Granville Mall)
Bfeismuir (o» Seymour)
a»::l036 Richards (downto
M-^^rt^ [V  A-     -. 6th A»e>
,^85 3288
* 685 0143
230 MARS
688 8701
254 3545
688 7574
669 6644
682 3291
665 3050
731 3456
525 0371
681 1732
876 2747
682 3221
822 6273
681 6740
685 7050
473 1593
685 5585
681 1625
687 6794
738 6311
254 3545
874 6200
687 6355
876 7463
682 4171
689 0096
688 3312
Wbell [_	
.-4198 M<* (at 26th)
Slur',.*, Cw*. tt'*__ -> -Pr  !,A^  .
I  ?.,-    H^l -m 2 ' unn   a'* >vniov,r;
Theotre E  254 E  Hastings1 (Chinatown)
mj>: 66 Water Street (Gastown)
:<ords 552 Seymour (downtown)
Tree H-- use Lounge 602 Dunsmuir St.  [downlown)
7 Alexander  (Gaslown
-iA (located in ihe SUB)
Centre Gate 4 (UBC)
ound   1082 Granville (downtown)
tost Cultural Centre  1895 Venables (ot Victoria)
I tccvver Little Theatre 3102 Main  (Mt. Pleasant)
-r Press Club 2215 Granville (S. Granville)
■aire 4375 W. 10th (Point 6rey)
2 Main (Ml Pleosant)
Video In Stu a Pleosant)
^xiue ^eotrt-  9,3Cro-,\   'e   'C       ,   e-'oli
Waterfront leatre 1405 Anderson  (Granville Is.)
Idnac  (the Drive)
Yale Blues Pub  1300 Gronville  (downlown)
Zulu Records 1869 W. 4th (Kitsilano)
Jan. 19-20
Queen Elizabeth Theatre
Jan. 24 / Vogue Theatre
Dec. 27 / Commodoi
Follow up their
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Thurs and Fri 10:30-9:00
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DECEMBER 26 • 9:00AM-6:00PM


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