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 Your Guide to UBC's Campus/Community Radio Station, CITR 101.9 FM
liave a hard time expressing their thoughts on the expression ofthe inexpressible
) brazil a Me edgy, a little rock, don't even mention t
the spinanes: rebecca gates likes chocolate sorbet test
the donnas: the state of apathetic teenagers today
arab Strap: there's a reason that Scotland's indie rock industry is booming, read up!
bernard butler:  c—-nQTS3 _•
■£
5®0
_T
1 °
Features
The Spinanes
10
The Donnas
13
Bernard Butler
14
Blonde Redhead
15
Arap Strap
16
Jets to Brazil
c
OLUMNS
Vancouver Special
Grumpy Old Dog
Demo Derby
Interview Hell
Localseen
Seven Inch
18
6
6
6
7
8
19
Staplegun Showdown
19
Under Review
21
Film Fest
23
Real Live Action
24
Charts
27
On The Dial
28
November Datebook
30
!     editrix: miko hoffman
!   art director: ken paul
; ad rep: kevin pendergraft
! production manager:
tristan winch
graphic design/layout:
kenny, atomos, randal mindell
malcolm van deist
j production: travis clarke,
richard folgar, ann goncalves,
andrea gin, christa min,
randal m, malcolm, eli
walker, kirsten weisenburger
photography &
illustrations: jason da
silva, ted dave, andrew
dennison, chris eng,
richard f, ann a
contributors: markus a,
tania a, cody b, don b,
Joshua b, nic b, paul b, brady
c, chris c, julie c, michelle c,
bryce d, jay d, jules d, glenn
d'c, chris e, david e, greg e,
sarah e, anna f, trevor f,
ciprian g, christine g, patrick
g, alia h, briana i, angela k,
blaine k, namiko k, sarah k,
siobhan m, janis mck, clinton
m, randal m, nardwuar, ken
p, dave t, tobias v, Jerome y
programme guide:
anna friz
charts: julie colero/tristan
datebook: ann
distribution: matt steffich
us distribution: tristie
discorder on-line: malcolm
publisher: linda scholten
Comics
Botched Ampallang
Good Tasty Comic
5
27
Cover
It's safe to say that Blonde Redhead made
a good attempt at blowing the Make-Up
off the Starfish Room stage on October 16th. Photo by Richard Folgar, design by Kenneth.
/ed. Cir<
s $15 US; $24
ver postage, of
© "DiSCORDER" 1 998 by the Student Radio Society of the
University of British Columbia. All rights n
tion 17, 500.
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CDN elsewhere. Single copies are $2 (to <
course). Please make checks or money oi
DiSCORDER Magazine.
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From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822-2487, our office at 822-3017 ext. 0, or our news and
sports lines at 822-3017 ext. 2. Fax us at 822-9364, e-mail us at:
citrradio@mail.ams.ubc.ca, visit our web site at http://
www.ams.ubc.ca/media/citr or just pick up a goddamn pen and
write #233^5138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Printed In Canada
STOP BY FOR LUNCH,
DINNER, DESSERT, OR
SOMETHING COLD TO DRINK.
M   7   am   #o   7   am
IDAY  TO   FRIDAY
[EN   9   am   *a   T  u
URDAY  /   SUNDAY     D
THE
_?ENDU lum
RESTAURANT       St
LICENSED    PATI O lauryn hill
the miseducation of
lauryn hill
fulliedialedinn
selected by
ross rebagliati
• •-.-■YiXriii.?*
explore
neuu music sampler
slam
the soundtrack
prozzak
hot show
hot new
kid capri
soundtrack
for the streets
€^~   PP A^ 1 IW»TilfcSTREETS
pras
ghetto supastar
Sony Music Dear
Airhead
IHMIDIBQOTI ^7aw_
Hi Janis,
Just a note to say thanks for the nice review of my CD, Notes From the Underground, by
the United Empire Loyalists. I like your phrase "pioneers of psychedelia." Can I use that?
I did the CD with the idea of just selling it to some old fans from the 60's, but the response
has been much bigger than anticipated. We are selling in Germany and soon in the USA.
Thanks again.
JEFF
Dear Airhead,
I quote your article in October 1998 on Autechre:
Europe and Britain have been into techno and electronica for quite some time, so it
has evolved and grown — but in North America, apart from the few small scenes that
were coinciding with Europe's, the whole electronic thing is currently exploding and is still
quite young.
Although "electronica" may be bigger, ie. more commerically viable, in Europe, did
the interviewer, Christine Gfroerer, know that techno originated in Detroit and house from
Chicago? The two scenes did not "coincide." Electro as we know it is mainly a product
from Detroit. Europe learnt a lot from North America.
Just some history; perhaps you could print a correction.
Tobias
PS Glad to see Autechre point it out: "The Detroit scene is still strong."
PPS Being a bastard as usual.
(We don't doubt that Ms.Gfroerer, having grown up in Detroit, is aware ofthe city's role
in the techno scene. But we'll let her respond to you if she wants. Anyhow, thanks for the
history lesson and thanks for being ... you. Ed.j
Dear Airhead,
This is directed to Mr. Blaine Kyllo, who I'm sure is a great, generous, loving, and probably good-looking guy. But BK, what the hell are you trying to say? Maybe you should
change the title of your column from "Grumpy Old Dog" to "Happy Little Puppy." You said
in the beginning that this was going to be a column on what you "sense is happening" in
the music scene. All I'm seeing is how cute your relationship with little sister is, and what
records you buy. Where is your deep-rooted anger at the music industry? Where is your
hatred towards groupies and lip synching? You kind of poke fun at things, but people
usually tease things they like. I want reasons, dark pessimistic, passionate explanations as
to why you're even making the effort to talk about the Backstreet Boys and Brandy and
Vodka.
What you focus on is not what's happening, it's what is. Why talk about what is
already in the spotlight unless you're going to attempt to bash them?
Maybe all of this is just a result of my longing for the Cowshead Chronicles. GTH was
one hell of a writer. I cried with him, I anticipated his every sentence, sigh ...
BK, find some sort of theme or distinctive voice in your column. Or at least change the
title to "Soft Kittens" so it's not misleading.
I hope this makes you really mad.
Sincerely,
Christa
WIN TICKETS TO SEE
MEAT BEAT MANIFESTO & JOSH Wih
@ THE PALLADIUM ON SUNDAY, NOVEMBER 29th    \^ *
& WIN MEAT BEAT MANIFESTO'S ACTUAL SOUNDS +
cd and JOSH WINK's HEREHEAR c
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CONTEST CLOSES NOVEMBER 20th
^TJ^&,
Vrltirh
_#J \
\*   \ II il
LXI  II
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T£OOAV£9Z
tired
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Special
■affTf
BY JANIS McKENZIE
THE DARKEST OF THE HILLSIDE THICKETS
Great Old Ones
(independent)
When you're reviewing a CD
where the cover art features the
severed heads of the band members in jars, the lyrics are about
Lovecraft characters, and the
sound is a metal-tinged post-punk,
where do you begin? Great Old
Ones is mainly a compilation of
previously released songs, and
most of these seem to be inspired
by Black Sabbath, role-playing games, and those picked-on
American kiddies who ultimately
bring semi-automatic weapons to
school. Lyrics like "Here's some
barbed wire/Feed it up her colon" make me nervous, to say the
least, but the Thickets' cover of
"Walking on the Moon" proves
that Ozzie can whup Sting any
day, and that's got to be worth
something. Visit the band's
website (www.holycow.com/
thickets/) to find out how to join
the newsgroup.
JOE FOOL
(guitar driven)
The first time I heard of this band
they were described to me as
"chamber music," and I guess in
a way that's true, although they
play guitars, dobro, harmonica,
and accordian instead of violins,
etc. Quite easy to listen to, in a
small jazz combo-slash-folk kind
of way. And nobody in the band
is called Joe, either.
THE MYSTERONS
Hot Dog, Pop 'n' Corn
(Blue Lizard)
ZOOX COBY
& THE BOPNICK BEAT
Lazer Bing-Gol
(Blue Lizard)
Those Blue Lizard folks not only
single-handedly got the local
lounge and swing scenes rolling, they also sponsor stylish
shows by out-of-towners (like
Combustible Edison, November 5 at the Starfish Room),
and they even put out records
by bands like The Molestics,
The Dino Martinis, and Lee
Press-On and the Nails
But the Blue Lizard empire is not
solely concerned with cocktail
swilling, breathing new life
into old music and clothes, and
doing the Lindy: The
Mysterons and Zoox Coby
sound more like spectacle, yet
another element of the BL plan
for world domination.
Lazer Bing-Gol is practically
indescribable, a collection of assorted goofy jazz-showman-
based sonic doodles that transcends genres. The Lizards' own
attempt at a description beats
anything I could do:
"Intergalactic Hypenik Jazzcat
Scatman Cartooner Bebop-
ballooner SkaDIDdlidooWAH
Lunar Crooner."
The Mysterons are another
story, alternating between various
lo-fi garage-surfy sounds, Martin Denny esque effects (one
song, "Head Hunter," made me
expect artwork featuring a scantily clad young lady posed
among African masks and grass
huts), and '50s sci-fi movie ee-
riness. (Could that really have
been a theremin I heard on "Life
Signs"?) Light-hearted, speedy,
handclaps-driven "Dinky" and
spooky/goofy "Witchy" are a
ouple
of
fave
Mysterons songs, combining the
best and most exuberant elements of the Sonics, Enigmas,
and fellow instrumental band
The Ventures.*
Grumpy
Old Dog
Two weeks in London. Galleries, museums, fish
and chips, standing stones, pubs, bands, clubs,
street musicians, left kerb driving, good beer,
vindaloo, theatre. I could go on. So much music history
can be traced to the UK. Even now, much of what we
listen to flows from there. I thought London would be a
good place to get current.
Less than a week before I
rived, The Afghan Whigs, Yo La
Tengo, and Mojave 3 played. I
lament my timing. And this was
in September, the trough between
the summer concert run and the
fall tour blitz. There are so many
venues for DJ and live music that
on an average night, I had my
choice of more than 30 music
gigs. So much to choose from, in
fact, that I gave up trying to do
everything and decided to simply sample.
I didn't know where I was going anyway. Although Time Out
is a good bible for what's up,
something told me the most progressive, new music was going
to be harder to find. That kind of
detective work was going to take
longer than two weeks.
But I did notice a few things:
• PJ. Harvey was everywhere,
having just released Is This De
sire?, although all anyone
wanted to talk about was her
short-lived affair with Nick Cave.
• Simply Red sold out a weeks
worth of shows in and around
London.
• Massive Attack was being
lauded back home as much as
they were here and with good
reason. In my opinion, Mezzanine has yet to be replaced as
the best album of the year.
• Even the Brits are still talking
about the Spice Girls and Diana,
although most with more than a
bit of contempt.
• Sarah gets as much attention
overseas as she does in North
America. People were genuinely
happy that Lilith was making a
stop in London. I didn't go.
• Glam rock is the new retro.
Poor Suede was simply too early
in their bid to bring it back.
The one night I had the en-
BY BLAINE K
ergy to go clubbing found me at
Heaven, at one time the premiere
(or so I was told) gay club just off
Trafalgar Square. It was
crowded, loud, expensive, and
a whole lotta fun.
I was utterly amazed by one
show. South African opera star
and jazz singer Sibongile
Khumalo — a mezzo-soprano
with something like a 12 octave
range — played the famous
Ronnie Scotts. The space was just
what you'd expect, a low-
ceilinged, crowded, dark, and
intimate club. Khumalo was
breathtaking. Many of her lyrics
were in Zulu, and even listening
to her talk sent shivers through
me. An emotionally-charged and
beautiful experience I will never
forget.
The cause of all this diversity
and choice is obvious: population density. Cram 18 million
people into Greater Vancouver
(the whole and the sum of its
parts), step back, and see what
happens. It's a simple law: the
more people you have, the more
there is happening.
So let's cram some more people into our little city. Let's get
some energy back into our lives.*
Demo
Derb
France pulled out of the discussions on the Multilateral Agreement on
Investment last month, which
led to the collapse of the negotiations. The MAI is being negotiated by the Organization of
Economic Cooperation and
Development, which is based
in Paris and represents the 29
most developed nations. French
Prime Minister Lionel Jospin
abandoned support of the agreement because of fear of the effect on culture and the erosion of
national sovereignly. Under the
agreement, culture-promoting
policies, such as Canadian content regulations for radio stations
and grants to Canadian artists,
could be seen as unfair subsidies.
On October 20, negotiations
resumed and international activist and civil society groups held
parallel meetings in Paris. They
met to strategize and further develop alternatives to the MAI and
economic globalization. On October 21, hundreds of activists
from around the world surrounded and occupied the Paris
International Chamber of Commerce Building. The group targeted the International Chamber
of Commerce because this is the
group which first drafted the MAI.
Two well-known Canadian activists, Maude Barlow and Tony
Clarke, led the charge across
the barricades to occupy the
building. As activists demonstrated outside, the remaining
negotiators were unsure about
what to do. Negotiations collapsed
and there are no plans to continue
discussions on the MAI within the
OECD. But the idea lives on and
negotiators and investors are look
ing tc
lulati *;
policies ttirough the World Trade
Organization Activists are
claiming a success because at least
the WTO gives a voice to developing nations, who are not a part
of the OECD.
In Vancouver, local activists
have been the victims of an ongoing smear campaign by local
officials and police. Similar things
are going on all across the country. Five protesters were banned
from entering the Ontario Leg
islature grounds after participating in a demonstration commemorating the third anniversary
of the provincial cuts to social
assistance. The non-violent protesters were charged with trespassing and are now forbidden
to go to the Legislature for an
indefinate amount of time. In a
letter to the House Speaker Chris
Stockwell, the activists said "...
our constitutionally-guaranteed
right of access to the legislature
to speak out against policies of
this government has been eliminated ... At a time when the rights
of so many Ontario residents are
disappearing — especially the
rights of those without money
and, hence, political influence -
- we feel it doubly imperative that
any impediment to speaking out
against this injustice must not be
accepted in any way." The activists risk arrest if they return to the
Legislature grounds.
Milton Friedman, the
Nobel- Prize-winning economist
famous for his support of the
neoliberal economic agenda, got
his "just dessert" this past week
when a group calling themselves
the Biotic Baking Brigade
tossed a pie in his face at a conference in San Francisco. The
event, organized by Friedman,
featured a number of notable
participants including Ronald
Reagan's former Secretary of
Stale George Schultz, Forbes
Magazine CEO Steve Forbes
and California Governor Pete
Wilson. The conference, entitled
"School Choice and Corporate
America" sought to illustrate the
benefits of privatizing the education system.
Al Decker, also known as
Special Agent Apple, was responsible for the incident and
said, "We hold Milton Friedman
responsible for crimes against the
people for organizing this appalling conference. With Milton
Friedman, Governor Pete Wilson,
and financial magnate Steve
Forbes all expected at this conference, I thought the three
stooges might enjoy a taste of
their own medicine. When it
comes to defending the earth
from the scum of the corporate
universe, the pie's the limit."
In the past, the Biotic Baking
Brigade has been responsible for
pieing Charles Hurwitz, the
CEO of MAXXAM who defrauded the American taxpayers
of 1.6 billion dollars during the
1980's Savings and Loan scandal. The group's coconut creme
crusade is part of a spat of recent onslaughts that have struck
fear into corporate hearts, including the pieing of Bill Gates in
Belgium and the creme chantilly
attack on former World Banker
Chinh Vu and Fraser Institute
hack Herb Grublel at UBC.
And now for some upcoming
actions you might want to attend:
Friday November 1 Oth marks the
death of Ken Saro-Wiwa, environmental and human rights activist who, along with eight other
Nigerian activists, was killed for
treason by the Nigerian government in 1995. Join the Ogoni
Solidarity Network on November 1 Oth between 4-6pm at the
Shell station on Davie and Burrard
for a Boycott Shell Rally The
University of Victoria will be the site
for British Columbia's first Ecological Restoration Conference
from November 5-7. Themes discussed will include forest rehabilitation, eco-forestry and stream restoration. The conference is co-
sponsored by the British Columbia Environmental Network
and you can register by calling
them at 879-2279. This confer-
enviro's. CiTR Radio will host a
glorious day of programming all
about sex, censorship and queer
issues of every shade for Sex FM
on November 13. Tune in to
101.9 fm for the readings,
rantings and raunch which characterize this annual event.
If you want to tell Demo Derby
about any activist issues and
Comin' up
next issue:
interviews
with:
Cat Power
Fantastic
Plastic Machine
Pedro the
Lion
Liquid Soul
& more ...
PLUS THE
SAME great
reviews, columns, comix,
etc!      „
V Who are you (names, instruments played, favourite I
snack)?
Scott*, bass, martini, shaken, not stirred?, David Ediger:
guitar, pussy ... cats; Chris Janos Sivak: drums, paint chips, j
Gary McKenna: guitar, vocals, nachos; Alanna Scott: alto s<
playdoh; Jesse Godwin: the new guy who plays keyboards, k
ichiban chow mein.
Are you aware that your name is an oxymoron? I
We, Random Order, are collectively aware that our name is an |
j oxymoron. However, it was not our initial intention to confu
: immaculate public. We apologize profusely. If there is any way, |
I whatsoever, that we could make it up to you, the reader, or what-1
I ever you'd like to call yourselves, please let us know. Thanks. I
Name five other oxymorons.
| Government intelligence, safe sex, organised chaos, civil war,:
IIrandom order — good band.
How hard is it to snag a gig in the suburbs?
1 What a coincidence. We were just thanking our lucky stars;::
i that it's so easy to get a gig in the suburbs. Basically, if you |
have the physical and mental power to show up at your local
rec. centre, you got the gig. Really, if you think about it, it'sf
kinda like shooting fish in a barrel.
Explain the importance of French immersion in the ^
development of Random Order. How did you guys
amalgamate?
| Blessed French immersion, where would we be without it? If iff
n't for French immersion, we wouldn't be a band and that
d really, really, really, really suck.
| Why do you thank the Coquitlam RCMP in the liner
I notes of your debut CD Heavy Metal Hoedown?
Plus, who is Twist and his people?
We thanked the RCMP sarcastically. They kicked our sorry
out of Chris' parents' house for being the loudestf
j f#©king band in the world. Not only that, it took two cops in
[two squad cars to let us know that fhe volume was unacceptable, and fhey didn't even let us fake pictures with them.
'Assholes. Twist and his people are the United Youth Movement
nd they do really awesome stuff for youth causes.
[Lauren, tell our readers and your fans the story
I behind your gold and glittery amp.
I Umm ... let's see ... the year was 1979. Disco was dead. I
Iking aimlessly down the street one night, down the
J disco strip, when I perchanced to notice a yellow
| glow coming from inside one of fhe discotheques. There it was, j
[ my Kusfom Bass Amp, left over from the deceased disco days.'
I What a beaut! I've had if ever since.
J Gary, you have a rather stylish ease as well. Is
I there a pattern here? Also, Random Order practices
I in your house, with which your parents share. Does
this create any familial hostility? i
I My grampa built my case, he's a really good carpenter. I *
with my mom and I could take her anyday. So there m
I any hostility.
I Dare we ask if it is personal experience that ledj|
[you to write the tune 'Dingo Ate Me, Baby?'
nd 1 don't want to talk about it.
I Anything else to add?
lWe would like to thank Nardwuar and his people because;-
I they're so cool.
I Ask yourself two questions and answer them.
Who is the best band playing in suburbia, right
now?
The Instrumen.
Is Random Order currently looking for a trombone"
player?
• Why, funny you should ask. Yes, we are currently on the look-«
out for a trombone player to complete our horn section. If you §
can blow hard and go for a long time, you're in. Long walks]
; on the beach are a must.
Discography:
I Heavy Metal Hoedown (Red Eye Records)
! Contact:
| Gary McKenna, 503 Fader, New Westminster, BC, V3L
3T8, 604 520.0688, <redeyerecords@conk.com>,
http://skapunx ml org/~randomorder/
view
Live from Thunderbird Radio Hell can I
be heard Thursdays from 9-1 1 pm c
10   1.9       f  A/
sV i
Who are you?
Marq Desouza (Guitar, Vox, Harmonica, Lions),
Justin Clow (Bass, Tigers), Scott Anderson (Drums,
bears (Oh My!)).
From whence came Solarbaby, and why,
baby?
Solarbaby started as a songwriting project for
Marq. When the labels came a-knockin', he knew
that partners in crime were needed. Scott was an
obvious choice, given his penchant for ballroom
dancing. Numerous bassists were tried before
Justin came aboard. The line-up became official
after the second show. After a blistering set played
to the staff at the Columbia, Solarbaby proceeded
to drink themselves silly. Closing time moved the
action to Justin's place, where Marq had had
enough. The vomit flowed free, covering furniture,
the floor and anyone brave enough to try to stop it.
Justin was kind enough to accompany Marq in
a cab to fake him home. After several false
addresses were explored and 60 odd dollars spent
on a not-amused taxi driver, Marq was tucked safely in his own bed. That explains the baby part!
Using five other band names, describe
your sound.
Picture a post-apocalyptic, juke-joint tavern. Neil
Young sits at a table with Robert Johnson, explaining the art of amplified guitar feedback. Robert
Zimmerman is up on the dim stage, reciting a poem
about how to milk a cow with a monkeywrench.
The Replacements serve up stiff drinks to an inebriated Mick 'n' Keith who are harassing a fellow
boozer who looks suspiciously like Elvis Costello.
Do you really think The Devil Rules This
World?
That is a pretty obvious statement; however, that
isn't really what that song is about. There are
pieces of us in all our songs, but it's never the
whole picture. We have a song called 'I Just Can't
Keep From Crying.' It's adapted from a Blind Willie
Johnson song from the 1920s. I re-wrote the verses
about a guy who kills his wife and goes on the lam.
Now, I've killed many people in my life, but I've
never been married. So it's rare that a song is
100% autobiographical.
Please name your contemporaries.
be able to fit on a wide-
variety of shows. A lot of people hear the country
influence in us and Palace Flophouse was complimentary to play with. We can rock out too, though,
and   the   Transvestimentals,   Jetset,   Bored   of
Authority, Bonafide, Cloverhoney, Liplickers, 4
Bone Chain, and Kristy Thirsk have all shared the
stage (and a few pitchers) with us.
Do people get confused that you —a VANCOUVER band — are on Teenage USA
Recordings, a TORONTO label?
Only us and them.
Ask yourself two questions and answer
them.
What's the main reason you guys get
thrown out of so many bars?
We have a habit of overturning drink-laden tables.
Where do you guys like to hang out?
Any place with drink-laden tables.
Anything else to add?
Come to the Marine Club on November 27. It's bet-
like it if v.
Contact address and number:
#105-1775 Pendrell St., Vancouver, BC, V6G 1T2,
604.682.2860
www.geocities.com/~solarbaby   or
www.members.home.net/solarbaby
Discography:
The Power of Negative Prayer CD
(Teenage USA)
7 wmsMimm The Secret Three
If you're in a
hn nrl n nrl
These three fellers making
mood music aren't so much
of a secret, or at least they
shouldn't be. They're quiet,
but they shouldn't be unheard.
The band's members
come from prairie lands
(Brady Cranfield, drums), island community (Rob Lang,
guitar), and popular suburbia
(Scott Malin, bass). They
merged, musically, in a Windsor Street household, "the
practice and living space for
previous projects," such as
Vancouver's supercool indie
bands, Meet Daisy, Kid
Champion, and, at times,
Blaise Pascal. And, as Scott
of the Secret Three says,
"These were merely the bands
that had formal names." This
was 1993.
In 1996, six months after
The Secret Three's formation,
Rob moved out East while the
others remained here, "playing with friends from the
aforementioned bands and
regularly lamenting the crumble." Rob is back, however,
and The Secret Three continue
to create their unique (but
easily released by, say, Thrill
Jockey Records) and quiet instrumental sounds.
They are planning to
record, play shows (go see
them! At the Sugar Refinery
on Tuesday, December 8),
and "improve sound and repertoire."
Their request to you: "If
you have or know of a place
that suits atmospheric, instrumental music, please let us
know. We prefer to play sitting down."
Contact them c/o Brady
Cranfield, 604.739.1118 or
<jcranfie@sfu.ca>»
a part of the
LocalSeen
scene, send us
yourselves that
will make us interested in you!
You can fax us
at 822.9364
or drop something (music,
info, candies,
etc) off at our
office: #233,
2nd floor Student Union
Building, UBC
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ROUNDHOUSE PRODUCTIONS PRESENTS
II Slill OIK II ill
tisssiis
tirus
AH INTERGALACTIC LASER
AND LIGHT SPECTACULAR
atthe
IS LOOKING FOR
AN ADVERTISING REPRESENTATIVE &
IT COULD BE YOU!
DiSCORDER Magazine is currently looking for a dynamic and
self-motivated individual to fill the position of Ad Rep.
The successful applicant will have good communication skills,
knowledge of and appreciation of the magazine, some proficiency
in graphic arts & desktop publishing, and, YES, an interest in sales.
Deadline for applications is November 20th.
Mail or drop off a resume and
cover letter to
Linda Scholten, Publisher
DiSCORDER Magazine
233-6138 SUB Blvd
Vancouver, BC V6T 1Z1
For more info call Linda @ 822-1242
,JBC  Comp
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Tuesday, Number 24,1998
your favorim Adotefonw* deSt
• Demos on the shop floor
• Prizes to win from Adobe
.Your questions answered bythe experts
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If eloquence and paraphrasing have ever found a place to coexist, it is
surely within Rebecca Gates' diction. Even though her mind should
have been preoccupied with thoughts of a late vegetarian dinner, she
managed to give off her playfulness and "some foreign word could
describe it"<ool. In town to play out and promote her
Arches and Aisles, Gates is leading another new backing band. Her
newest arrangement (Ted Lao, guitar; Kendall Meade, keyboards and
bass; and Jerry Busher, drums) comes after on-andoff solo touring. She
says she's glad to be playing the "assault," but it's obvious that she's
just happy playing. After sending her band off for vegetarian on Davie,
Rebecca and, later, Ted, took time to chat on the picnic tables outside
that place on the corner. Rock and Roll Hoochy-Coo.
DiSCORDER: Your format seems to always
be changing. How is that going to work
out in the future? Are you going to stick
with that rotating cast?
Rebecca: It seems to me to be just evolving that
way. If for some reason something solidifies, then it
will solidify because it's meant to be, you know?
For me right now, I am really enjoying playing with
a lot of different people and learning a lot of different things from all of them. It's really great and I
never know what's going to happen.
You release an album about every two
years. Do you have a long refining
process?
Rebecca: I do; I really go over things and make
sure they are effective. A lot of people will write
really quickly and they'll just be done and say,
'Okay, that's my song,' and to them it's important
that it is of the moment. For me, my songs tend to
usually get better the more that I work on them. And
also, I don't write all the time. A lot of people do,
but I just don't. I'll go through six months where I
won't write a song. In that period, I'll be doing different things and I'll get absorbed in that and then
I come back to that.
You designed the front cover of a recent
Chestnut Station EP. Is design one of those
other things that you get absorbed in?
Rebecca: Mostly it's just a hobby. I like to do it and
I know Rian [Murphy, of Chestnut Station], and he
was having trouble with the logo, so I was like, let
me do some lettering for you,' to see if he'd like it
and he did. They took what I did and put it in a
computer and did whatever with it.
So, what about geography?
Rebecca: It's a science.
Some people aren't really honest with
themselves about the effect geography
and the subsequent weather has on them.
Rebecca: I'm definitely affected. I mean, Portland is
a classic example of too much rain and too many
people down in the dumps. For me, when I first
moved, I was so relieved to be out of Portland but I
really missed it. Even in separate ways: when I'm on
tour, home is nice, when I'm home I think tour is nice.
You have been lending your voice to other
records as well as welcoming voices to
your own records for the first time. You
did the Mekons record and you have Sam
Prekop on yours. Is it nice to be, you
know, trading voices?
Rebecca: It's great. Excuse me, I'm all chomp
chomp. Actually, on the second record I had my
friend John [Moen] sing on one song and my friend
Elliott [Smith] sing on two songs. They were mixed
pretty low; it wasn't obvious. But it's been nice to
have other voices, especially a male voice on the
record, partially because I just get sick of mine. I
think that when Sam pops up on the record, the
record really needs him suddenly. You need someone to kind of answer for a second.
Some songwriters have different voices
within their songs. Lyle Lovett is known
for his three different styles: the creep, the
10    November 1998
heartbreak, and the sass. Do you have
different voices?
Rebecca: I don't think I consciously write like that.
I don't write consistently in one voice. I think maybe,
in his songs, what I know of him, you could say the
whole song is written in that perspective and I think
mine changes a lot more from verse to verse,
maybe. I think I am a lot more sarcastic than people
realize. People will say, 'Oh, you're really sad' or
whatever. I mean, I'm pretty evil sometimes and I
don't know how people really miss out on that.
Has someone ever really misinterpreted
you that way?
Rebecca: As far as what?
Has anyone ever gone up to you and
said, 'This song means so much to me,'
and you feel a sense of guilt because ...
Rebecca: Noooo. Sometimes I get frustrated
because I think a reviewer or a listener didn't really pick up on how pissed off I was in that song, or
So you got to grab some incidental fans.
Rebecca: Hopefully. People I talked to would say,
'I came here with my friend to shop and now I like
Between your first album and now, you
have gone from, basically, chords to much
more note-oriented music. The sound is
much cleaner and, from seeing you on
stage, I didn't even notice any pedals.
Rebecca: You can only stay strummy for so long.
I used to play strictly as a rhythm guitarist and still
that's my favourite way to play, but after a while
you just get tired of it.
You are a tall woman, so I can ask you
this next one.
Rebecca: Lindsay Davenport!
If you had the choice of being 3'11" or
7'1", which would you be?
Rebecca: 7 1".
And why?
how sexy I was, or whatever. I think it's important
for songs to have room for people to bring their
own experience into it and take what they want
from it. That's more important to me than people
picking up on what I'm putting down.
You were touring Urban Outfitters stores
across America. How did that come about?
Rebecca: I wanted to go out and do a tour of free
shows. It ended up being seven cities. I wanted to
do in every city a free, or cheap, over-21 show
and I wanted to do an all-ages show. When I was
talking to the label about this, it turned out Urban
Outfitters has a lot of music-oriented programs.
They actually have a person in Philadelphia that
coordinates music for their stores. The record label
asked me what I thought about playing an Urban
Outfitters, and I thought 'Great!' I ended up playing
four shows, and it ended up pretty good.
Rebecca: Because at 3'11" I wouldn't be able to
carry my amp.
So logical. That answer was so easy.
Rebecca: I'm a pragmatist.
I read an article that traced your past in
Portland and I noticed you used to work
in promotions.
Rebecca: I worked retail for a long time, I worked
radio for a really long time, and then I did some
promo and PR stuff.
So  -when   you're   looking  around  the
Starfish Room and you see posters of
yourself everywhere, is it strange to see
yourself plastered on all these walls?
Rebecca: No, I just get mad when they aren't
there!  Goddamn  it,  who didn't hang  up the
posters? They're  supposed to be hanging  up
posters. In the beginning, it was totally horrifying.
After a while, though, if I spent any energy being
stressed out by stuff like that, I wouldn't have a lot
of time to do a lot of things that are important.
The last album had these slow, grinding
intros. On the new one the songs are
much more up front. Is that the new mood
of the album?
Rebecca: Yeah. It's part of the learning curve. You
start making records and then suddenly you learn
how to do them differently and try different things
and all that. For me, it was important because I
really wanted to make the second record as it
turned out. I'm still really pleased with what it is.
I'm a pendulum-swinging learner. I'll start, 'I wanna
go there,' and then I'll go to the second record and
think, 'You did that well, but let's bring it back a little this way,' or 'Let's go in that direction.'
What is your favourite chord?
Rebecca: The red one.
Ted: The red one? What chord is that?
Rebecca: You didn't ask what musical chord it
OK, OK. What is your favourite musical
chord?
Ted: I thought you meant like a red chord.
Rebecca: Like Eddie Van Halen always played
brown. I don't really know if I have a favourite one.
I don't know what the chords I play are called.
You're too good, obviously.
Ted: Why go back and confuse what you know so
well?
You've accelerated.
Rebecca: Damn.
I was going to take you for ice cream, but
since you said the lactose is bad for your
singing voice, I'll have to settle for asking
you what your favourite flavour is?
Rebecca: Mmm. I would have to say I like chocolate sorbet, coffee, and pistachio. Ted just went
vegan before he went on tour. What is the ice
cream flavour you miss the most, Ted?
Ted: Soft-serve vanilla with chocolate sprinkles.
Chocolate Sorbet? You know you are
messing with the gone order of textures.
Rebecca: No, no. The Ben and Jerry's chocolate
sorbet is very good.
Ted: And it's vegan.
Hey, have you ever thought about pulling
a Bob Mould and running around aimlessly playing shows for years at a time?
Rebecca: Isn't that what we are doing right now?
You've been playing a lot this year. Which
do you prefer: the woman with guitar or
the band with assault?
Rebecca: I like 'em both, and I'm not saying that
to be diplomatic. There are really different things
you can do. Right now, I'm super-psyched to be in
band mode because I was getting really bored
with myself. It's a lot more fun. I actually do a couple of songs alone during our set, so I get the best
of both worlds. We do have to load a lot more
crap now. We just got these cigarette package
amplifiers. If we can get down to just using those,
we'll be set.* unbelievable truth
almost here
features the songs, higher than reason,
solved and almost here.
MELODY MAKER — '.'..heartbreaking melodies, devastating
vocals with choruses that swell like tears."
NME— ". .precious and delicate like pearls strung together
by gossamer spider's thread, filled with eerie, dream-like
bleakness."
Q — "...maudlin often equals magnificent."
w.virginmusiccanada.c*
PLACEBO
WITHOUT YOU I'M NOTHING
the new album,
featuring the single PURE MORNING
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Th^
Punk Rock
Confidential
OUT 101
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ROCKIN' NEW FULL LENGTH FROM THE
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HI AVE YOU EVER HAD IT WHERE
you go to talk to your friends and
you actually have something serious on your mind that you want to
discuss, but when the time comes, you're
having such a good time just shooting the
shit that it slips your mind completely? That's
what talking to The Donnas was like. The
band formerly known as the Electrocutes (a
harder-rockin' four-piece combo) from Palo
Alto, California, rolled into town to play The
Smugglers' tenth anniversary show and I
was ready. I was primed. I had my probing
and in-depth questions scrawled on a piece
of loose-leaf. They were evocative. They
were searching. They would win me a
Pulitzer. There was only one problem —
The Donnas were really off-hand and
engaging. I knew what my mission objectives were, but I had such difficulty achieving them. It was much easier to talk to them
about potato knishes and KISS than their
status and position in the rock music industry. And so, following my emotions allhough
perhaps not my instinct, that's what we discussed, and in the end I was content. My
conversation would not win me awards,
book or magazine contracts or even a free
lunch, but I did walk away from it with one
important piece of knowledge — The
Donnas are fun. They are fun to talk to, fun
to be around, and fun to watch live. And
more importantly, they're in this business for
the fun and that's a goddamn rarity in the
industry nowadays.
DiSCORDER: Your name, your
instrument, your favourite metal
band?
F: Donna F. Bass. Scorpions.
C: Donna C. Drums. Motley Crue. |
A: Donna ... um ... A. I sing   AC/DC.
R: Donna R. Guitar. KISS.
Whatever     happened     to     the
Electrocutes?
F: We killed them!
A: That shit's gonna come out. I mean™
that good shit is gonna really come out.l
Some day.
R: Yeah, we recorded some stuff and we
didn't finish.
F: We never did the cover or anything.
So it still exists, but...
R: Technically, it doesn't exist, but it's just
so different that nobody likes it, and
nobody cares that it was the Donnas
before-stuff. They don't really care.
F: The album's gonna be called Steal Your
Lunch Money.
So, are you still having fun?
All: Yeah!
R: We're having more fun, now, because
it was kind of sad when nobody liked us.
A: Last night we had all kinds of fun!
Where was that?
A: We went to sushi. Sake. Beer.
C: The drinking age here is 19.
R: Yeah, it was just really exciting for us.
So, do you get riders now?
F: Potato knishes are on our rider.
R: And Diet Pepsi and normal Pepsi, but
now we want to change it to Coke.
A: Yeah, Coke, because Pepsi tastes dif-
R: Pepsi is bad.
F: And Spice Pops.
C: They never get us our knishes.
F: We've only gotten that once.
C: In our home town.
R: No one has ever given us Spice Pops.
F: Like they're so hard to find.
C: Yeah, really.
I don't think you could find people
up here who know what knishes
. Even I'm not so well schooled.
A: No way!
against the Ramones or anything.
Is it going to be like The Elder?
[The Elder is the extraordinarily
horrible KISS concept album.
Really. It's bad. You have no idea.]
All: NO!
C: Yeah, actually!
R: No, not that kind of evil. Not evil for
the  fans.   We  just  mean  all  of those
coloured shirts 'n' stuff. We replaced the
coloured shirts with these.
[The band fingers their personalized necklaces that each spell their name.]
A: The necklaces.
F: The gold necklaces.
C: We just got them. A
R: They're good, they're great, we rip-*
them off a lot, but —
F: We're moving forward.
C: Growing.
A: We're moving i
know what poutine is? It's a cultural thing. j4^U
C: You've gotta try them. They're really
R: Anyway, next question.
So, don't people complement you
on your shows?
R: Not always. Sometimes, but nof like
every show. ^^m
F: We get the 'You're good for a girl' comment a lot.
R: We get the 'You guys were better the
last time I saw you' or 'I like your old
album better than your new album' or
'You should have played more songs from
your old album.'
'How come you don't sound like
the Ramones anymore?'
All: Yeah!
Well, the Ramones had a good
song and ihey played it really well
for a lot or albums, but —
A:  Yeah!   Not like we have anything
eruption of The Jeffers<
riieme begins and takes several moments
.to taper off.]
So, have you thought about a concept album?
F: Our next album's going to be more evil.
A: That's kind of a concept.
R: There aren't any happy songs on it.
Because people are always like, 'Where
are the shirts?' We show up at photo
shoots and they're like, 'You brought your
shirts, right?' and we're just like —
F: 'No, fuck you.'
C: After a while, people talk about the
shirts and nothing else.
R: And it was a joke, anyway. It wasn't
like we were doing it for a big glam thing
— you know those interviews where the
glam people are like, 'Everybody's just
talking about our clothes and our makeup, they're not focusing on the music,
dude.' And that's not it either, we were just
kidding around. Especially with the names
in the first place, like the initials and stuff,
we didn't really take it seriously.
A: We just did it for attention.
Yeah, and we also^/idn't think The
Donnas was going tc
F: A side-project.
'Yeah,
Electrocutes! Ojjf, we'll do the Donnas
ide-project  took
e kind of merged them for
e Rock and Roll Machine.
Electrocutes were louder ...
I had more influences, whereas
HieDonnas' first stuff is really simple and
kind of boring.
I really like the rock direction.
R: It's better. ROCK!
What kind of a code should your
fans obey?
the mmm
mmm. "
(TAKEN FROM ANGRY
WOMEN IN ROCK)
F: Gibson Thunderbird
with an acoustic amp.
C: Pearl drumset and
Zildjian cymbals.
R: Marshall JCM 2000
and two Gibson Les
Pauf studio models.
R: Don't listen to the bands that are trying
to tell you about politics.
F: Yeah, no politics.
C: No politics.
F: No school. Everyone should drop out
of school.
A:   Don't  even   have   opinions   about
Clinton and Monica — just ignore it.
R: Yeah, fuck that. Don't worry about their
sex lives, that's not going to save the
C: And don't even think about saving the
world. Just have fun.
R: Just have fun until it dies, and it's gonna
die, it's gonna die.
F: We're all gonna die.
A: We're all gonna die! That's what our
next album is actually about. We said it
R: No, that's the title!
A: We're All Gonna Die!
F & R: No, YOU'RE all gonna die.
C: And you all have to get into Backstreet
TARHMiN
NOVEMBER
LISTINGS
FRIDAY, NOVEMBER 6
TCHKUNG
JP5
BRUNDLEFLY
SATURDAY, NOVEMBER 7
EARLY SHOW
DIAMANDA GALAS
LATE SHOW
SON VOLT
WEDNESDAY, NOVEMBER 11
SPEEDBORE
LIKE HELL
FEEDBAG
THURSDAY, NOVEMBER 12
ZUBOT/DAWSON
KIERAN KANE
FRIDAY, NOVEMBER 13
SMOKIN' FROGS
SATURDAY, NOVEMBER 14
JIMMIE DALE GILMORE
DALE WATSON
SUNDAY, NOVEMBER 15
CORNELIUS
WEDNESDAY, NOVEMBER It
EARLY SHOW
DAN BERN
LATE SHOW
IAN MOORE
THURSDAY, NOVEMBER 19
COAL
ULY STARR
THERMOS
FRIDAY, NOVEMBER 20
CLOSED CAPTION RADIO
THE BEANS
CELESTIAL MAGENTA
KLAUSKINSKIS
SATURDAY, NOVEMBER 21
DISHWALLA
SONICHROME
SUNDAY, NOVEMBER 22
REEL BIG FISH
PLUTO
THURSDAY, NOVEMBER 26
LEGENDARY PINK DOTS
TWILIGHT CIRCUS
DUB SOUNDSYSTEM
FRIDAY, NOVEMBER 27
NGOMA
SATURDAY, NOVEMBER 28
EARTH CRISIS
HATEBREED
13 im^smm \l
by Christine Gfroerer
a decade, the British music press has
|g wasted oceans of ink and a forest's worth of
s dissecting the career of Bernard Butler.
! From his years as the creative guitarist in Suede,
through the acrimonious split from them and on to
the release of his recent solo effort, People Move
On, it has never been settled whether the reclusive
Londoner is the new Neil Young or whether he will
follow ex-Stone Roses John Squire into Brit-pop
blandness. Butler has earned himself a reputation
for refusing to discuss his former band and former
bandmates have been slinging insults for the last
two years. Today, however, he seemed more philosophical about this defining period of his career.
"It doesn't offend me to talk about friends I've
known in the past or to talk about people I've
loved in the past. It's like an old car that you've
thrown away — it doesn't mean you can't mention
the car. I'm sick and tired of people making
assumptions before I even meet them. Kids come
f^y^^w
The road
™^. ^M
can be
"'" llr^
rough
when you
ride alone.
M
j
\    \
°«j °*^ ^
«
i*j$
mSHBl
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that hel*"■', young offenders and children
ages 8 to 18 who are o'   .*k of getting in trouble.
up to me every night after the show and say, 'I
know I'm really going to offend you, but would
you sign this Suede record?' I think, 'Why? ...
Why on earth do you think that would offend me?'
It really gets me down. I'll get it four times a day,
every day, regularly for every day of my life. Why
should I get embarrassed by signing a Suede
record, when I made it, when I love those records
and am very proud of them? When did I ever say
anything to the contrary? It's difficult when you're
an artist to stand up for yourself because you are
immediately put into a compromising situation,
and it always comes across as confrontational."
This more relaxed attitude towards discussing
his old band is also evident in the looser musical
arrangements and more personal lyrics on People
Move On. When asked if there is a conscious
move from the detached storytelling on Suede's
debut, he enthusiastically agrees.
"I find that even if you start talking about other
people in a song, it ends up being about yourself
anyway. Even when you start using characters to
hide behind, it's about me and people who have
been around me. Some of the greatest writers start
to talk about other people or things very separate
from their own worlds and still end up discussing
their personal feelings and experiences. Every time
I mention the words 'I,' 'he,' or 'she,' it's not about
me, but the whole theme of the words is based on
my world, I suppose."
One of the biggest challenges Butler faced in
making his solo album was the prospect of handling all the vocal duties himself. He explained that
this was a natural extension of his newly-developed
songwriting technique.
"I used to write music in a very structured way,
like mathematical formulas or structures. Part of the
way I started singing was that instead of working
things out in a very structured way, I started improvising a lot, turning on the tape machine and sitting
in front of it for hours and letting whatever came
out come out, then rewinding and finding the good
bits. It became very easy to write like that and a lot
of the songs were written in that way. When things
happen, they happen in short bursts. I was writing
this morning, so I'm kind of on a roll today. I recorded something when I got to the church where I'm
playing tonight."
Upon it's release, People Move On received an
avalanche of praise and critical acclaim. Many of
the reviews expressed surprise that the album was
astonishingly good. It seemed that many people
had expected the album to be weak in comparison
to his earlier work. Butler, however, claims that he
had no expectations from the press.
"I would never expect anything from [critics]
because I have seen both sides of it. I don't read
any of the reviews and I don't read any of the
magazines apart from the odd thing here and
there. People tell me that they are very nice, but
it's really a bad idea to start reading your own
reviews. If you read something bad about yourself, it can ruin your week and it's notorious for
screwing people up. I don't want to read how
good/bad I am in one magazine and then read
another magazine about how bad/good I am. If
I read something that says incredibly wonderful
things about me I say, 'Great, okay,' but it's not
like somebody giving you a hug or like somebody telling you they love you. I don't consider
whether they are true or not — they just don't
have any relevance."
Regarding his current popularity with the press,
Butler refuses to take it too seriously.
"If you are right for that point in time, it's great
and they give you a green light and say that you
can exist this week, thank you. Or else they say
you can't exist and it's got nothing to do with
whether people like you or anything like that. I
know there is hypocrisy on both sides."
But things have not always been so friendly
between Butler and the music press. Between the
peaks of Suede's early years and People Move On,
his involvement with British soul-pop singer David
McAlmont earned him fhe accolade of "a third rate
Burt Bacarach." However, Butler manages to put a
positive spin on this low point of his career. It is his
philosophy to not consider anything he has done as
good or bad, but merely steps on his creative path.
"Certain things that I have done, that were controversial, were still worthwhile. But ultimately, I did
a lot of things that I couldn't have predicted — nor
could anyone else — and that's what great music is
all about, being able to pull different things out of
the hat that haven't been done before. I'd hate to
become just a predictable old rock 'n' roll band,
doing the same thing every album. I feel accomplished, but I don't feel like I've done anything yet.
I make records for a living. I write songs for a living. It's a very emotional thing."* /*•«■ Can Be Just As Good was a bit of a
m Before so much as passively neglect them,
but I was eagerly anticipating their newest one, In an Expression of the Inexpressible. It is,
or course, a great record. Yet, great musicians don't always make great conversationalists.
Amedeo Pace is seemingly a pleasant, polite and thoughtful guy, but hardly forthcoming.
He's almost classically inarticulate on the subject of his own work. What doesn't really come
across easily through this transcription is his soft voice and non-authoritative demeanor. What
is left is then not too tlhminatrng. Maybe a little more mystery is just fine. Perhaps his apparent reluctance or inability to be definitive is an honest expression oi his work as he sees it. fundamentally inexpressible. But this slightly pretentious conclusion is actually commonplace.
When doing art of any sort, fhe thoughts and processes involved need not necessarily be overt
and clearly demarcated in order to be productive. Value here is in the doing, the practice.
While not conclusive, the openness of his vagaries is a fine, complimentary counterpoint to
his delightful, more organized music. Hardly disingenuous, Amedeo is generous enough to
leave the explanations to us. (Blonde Redhead is Simone Pace: drums and keyboards,
Amedeo Pace: guitar and vocals, and Kazu Makino: guitar and vocals.)
b% R ■*""
DiSCORDER: What instruments do you play?
Amedeo: I play guitar and baritone guitar, and I sing some of the
songs.
What is a baritone guitar?
It's a six-string guitar that I made, that has four bass strings and two
guitar strings on it.
Your last two albums for Touch and Go have taken great
strides towards defining a unique style and sound. Do
you feel more confident of your own musical identity,
finally leaving Sonic Youth comparisons behind?
I don't know if I feel more confident, really. I do feel that we are finding our own way of expression. But actually, I feel that I am getting
more insecure as I go on. It's always difficult. It's not like it gets easier
with the more records we do. It never feels like we are more confident, for some reason.
With the new album, did you plan on not having a bass
player for the new album or was it circumstantial?
We planned on no. having one. We had done the last album with
Vern Rumsey from Unwound. At that point, we were also already
playing as a trio. That album was done with a bass, but we knew that
after that, we didn't have a bass player to play with. We put ourselves in a difficult situation, but we had decided that we didn't want
a fourth person in the band. This new album is just the three of us. It
also makes more sense for us to play the music live as a trio since it
was recorded as a trio. At times, we have a difficult time going back
and playing old songs. I'm more secure because I know we didn't
record with a bass player; it's just us and we can reproduce it live. In
a way, confidence comes from that aspect.
Were the songs on the new album written with the smaller line-up in mind?
■ It was just the three of us, but we didn't want to put any limits on what
we were going to do, in terms of writing or recording. Records can
sound different from live music, which can be great, but when we
went into the studio, we didn't say that we better do this so that we
can play it live. We just went into the studio and did what we could.
And if there were things that we wanted to add, we did, and we didn't necessarily worry about how we were going to play it live. There's
always ways to adjust. I also think that it's really good to think of
recording as a different thing.
Are you satisfied with the leaner sound?
I guess I am. It is hard for me to listen to the record right now. I liked
it when we recorded it and I had a really nice time doing it. I think it's
interesting enough, but I can't be objective right now.
With less instrumentation, do you now find it easier or
more challenging to create tension and dynamics?
Both. It's harder because with less instruments you are limited. But with
more instruments, you don't have to work as hard at thinking of how to
create tension. I'm not really worried about it. I listen to a lot of music
that is really intense with maybe just two instruments, or three, or even
one. The voice is also a great instrument: you can do so much with it.
I do find it interesting to work with less instruments. You are limited, but
there is also still so much that can be done.
Are you becoming more experimental, moving further
away from what might be more simply called pop music,
for example, with the title track 'In An Expression Of The
Inexpressible,' or do you see yourselves more as a rock
outfit, just doing what comes most naturally?
I don't know if we're becoming more experimental. I think this record
is not experimental, but a lot of people think it is. I think it's pretty
poppy and the songs are really easy to me in some ways. Some people think it's a more difficult and edgy record. To me, 'An Expression
of the Inexpressible' is like [the] blues. It's really basic: it's one chord
and Kazu's singing. I can hear the melody and simplicity in it. Maybe
!iis nari! fo Express
I had a lot of ti
o think about it, but
Why did you ask to have the new album produced by
John Goodmanson and Fugazi's Guy Picciotto?
We didn't have to, we just wanted to. We had done a couple of
singles with Guy and had a really good time. We also wanted the
two of them to meet. It was fun to be with both of them, and it
worked out.
A lot has been written about your possible influences,
notably the No-wave scene, represented by bands such
as Sonic Youth, Uzi or DNA [from whose work their name
is derived]. Would you say that, along with bands such as
Unwound, you take-off more from No-wave signifiers
rather than parade them superficially? Or is this a tedious
comparison for you now?
I don't really think about it at all. We do listen to DNA and Arto is our
friend. We were on Sonic Youth's label and Steve is our friend. When
writing music, you can't really think of influences. Of course, we're
careful to try and be as personal as possible in what we do, but it's out
of our hands. And from listening to other bands' records, there is
maybe something that comes out. It's very unconscious. I don't know
about the No-wave scene, we're not really part of it. We're just doing
what we want to do at this time.
In what context should we understand the question of
what it means to be removed or estranged from one's
true history, as is mentioned in 'Futurism vs. Passeism
Part 2?' Is there an intentional political dimension to your
work, or does it mean something else to you?
I read some Marinetti, the Futurist. I got interested in what he was
doing. I thought his ideas of the future and the past were interesting.
I think in our music, there is also a bit of both. And we listen to a bit
of both old and new music. The way we think is the same, in almost
everything we do. It's always a struggle between moving on and staying behind. That's what we mean by Futurism vs. Passeism.
As suggested by your press release, in what sense is
Blonde Redhead 'punk in a postmodernist fashion?'
I have a hard time talking about everything we say and do in detail.
I don't even know what I mean by it. People can see so many different things in what we do — that is almost the best and most satisfying
The title In An Expression of the Inexpressible is related to
film in some way. What is the connection here and, more
generally, to what extent are you influenced by film?
It does have to do with film, but also with a lot of other things. This person, Georges DeBurre, did music for a lot of Goddard movies. He
though that, with music, you can express certain things in a movie that
you cannot express with the actual images, or in any other way.
Do you have an interest in composing a soundtrack?
I would love to get into it more. We've been doing music for our friend
Jem Cohen's movies, and having a good time doing it. I would love to
make a soundtrack record, it doesn't even have to have a movie to go
with. We have actually been working on some soundtrack-like things
that we might end up doing and developing. I actually listen to a lot of
soundtracks. I really like them.
Have you made any videos?
No, we don't have videos.
Although you are based in New York [and] your band is
very cosmopolitan, this has also been the source of some
difficulty. Are you still in danger of being deported from
the States, or does your impending show in Vancouver
indicate that your citizenship problems have been
resolved?
That was a problem that is finally over. When we signed with Touch
and Go we got a work-permit from them and now we're getting green
cards, so we're going to be okay.
Finally, what is the story behind the notorious press
photo, where you and your brother are both holding onto
Kazu Makino's breasts? It's a striking and unusual image
— it gave our editor a start.
It was done for fun. Kazu's wearing armour. It's actually an old photo,
I can't believe we're still using it. We look a little older now.*
]5* 1. Arab Strap is Malcolm
Middleton (most things
musical) and Aidan Moffat (most things not).
2. An arab strap is actu-
ally a cock ring-a sex
aid for shoring up an ailing erection.
3. The music of Arab
Strap is a sparse mix of
beats (programmed and
organic) and simple
bass/guitar/piano, cello
and trumpet accompani-
4. Please look beyond
Belle & Sebastian further
immortalizing them with
their most recent album
title.
5. Milan Kundera's
breakthrough novel The
Unbearable Lightness of
Being was first published
in Czech in 1984. Main
premise: everything
tence seems to lose its
substance,   its   weight.
We a
ing rr
s of flee
s and e
- dreamlike, the
consequences of our private   actions   sublimely
6. Arab Strap's most
recent record, Philopho-
bia, is stark and denuded, atmospheric and
light.
7. They/We explore
post-coitus experience
through   a    series    of
realism for the morning after culture.
Ideas: an HIV test,
confronting infidelity
and imperfect love,
the mixed emotions of
family planning. There
conducted by telephone
linking Vancouver, New
York, & Glasgow.
You have a reputation
for talking the straight
shite. You seem at
ease with yourself and
your music. Does your
honesty lead to ease?
Aidan: Probably. I just
don't like lying. But then
again, being in control
plays a part in it. I think the
reason I'm personally comfortable with it is because
really you're only letting
people know what you
want them to know. It works
both ways. If I'm in control,
I can only tell as much of
something as I choose. People might forget that I might
be making ch'oices what to
tell people.
Though, there does
seem to be an ease
hanging over the
record, almost a
catharsis. It is quite a
release.
I don't know. I don't think
it's angry enough to be
cathartic. So much of it is
done in reflection. I mean,
a lot of the songs are about
stuff that happened eight
years ago or so.
There's a big difference
between the first record and
the second one [Philopho-
bia\. The second's a lot
more of a retrospective
album. I didn't feel angry
when I wrote the songs. I
don't think I was trying to
purge myself of things.
Why Philophobia and,
specifically, the fear of
falling in love rather
than just the fear of
love?
I think we thought it was a
very suiting title, considering the subject matter of the
songs. Philophobia
suggests a fear of love and
a fear of being trapped, or
rather, not really trapped,
but more so doing things
you're not really willing to
do. You know as you fall in
love that you'll end up
doing things you normally
wouldn't do. I'm not sure
why, but it's an idea that
confuses me a lot of the
How do you and Malcolm collaborate? How
do you fit your morose
lyrics with his music?
Is there a conscious
melding of each
other's emotional contribution? Or is it just
let's get this done?
What we used to do was I
would bring things in on
cassette and then he would
create a tune. But other
times we would just have
ideas in our head and wait
until we got to the studio. A
lot of the last album was
written in the studio. I think
that's where we like to
work. The ideas remain quite
fresh as we don't have a set
plan of what we're going to
There's no rehearsing of
songs previous?
No. There were some demos
done before the last one and
I'm sure there'll be some before
the next one, but they usually
end sounding very unlike the
final versions.
Philophobia is an
extremely dense album,
both musically as well as
lyrically. It solicits a range
of very intense feelings
through its sheer, honest
approach. Do you get the
impression people need to
listen to the record a number of times to really get
into it?
Yeah, I think the speed of the
whole thing puts people off.
People presume that if
something has a certain tempo,
it's going to be a certain mood
all the way.
The music of "I would've
liked me a lot last night"
captures a certain nostalgic quality and your lyrics
are equally suited. Does
Malcolm read into the
lyrics and compose music
to them?
No. I think we both understand
what direction the tunes are
going in. With that particular
one, I think that.oh actually that
was one of the tunes that I
wrote. I started off with the wee
piano bit, I had done it and I
had words worked out for it
already. I think that's the only
song that one could say I wrote
entirely- Malcolm generally
makes up a lot of the bits, but
that's not to say that I don't
have any input into the music.
How did the Bontempi
beats of "One Day After
School" come about?
Oh, that was a nice, little keyboard that was lying in the studio. We always meant to buy it,
but I think the guy who owned it
took it back. It was one of those
old family entertainment systems
— it was very nice. I'm really
fond of old drum machine
sounds and it had them. Our
live drummer, Dave, plays on it
and I think I had to hold some
buttons down while he did it.
"Islands" is a very atmospheric piece. You get the
sense that emotions are
deluged.
"Islands" wasn't really meant to
be on the album. We had finished everything we'd meant to
record and had three extra
hours in the studio. I had written
the words years ago and Malcolm had written the tune years
ago, too. So we thought we
might as well try and get everything recorded that we possibly
[could]. It turned out quite nice,
I think. It's a terrible, terrible song to
try and play livel We've done it
once or twice, but I don't.think we'll
try it again.
When you say the "bed's a
mess" in "Afterwards" -—
could you elaborate on the
importance of this image?
Maybe it's because I tend to be
rather reflective after shagging. I
think it's an image that really sits in
my mind. All the songs are about
what comes after shagging — very
few are about the act of sex itsel —
it's always the aftermath. Actually,
before there was going to be a picture of a messy bed on a record
cover, but we decided against it!
How did the packaging of
Philophobia come about? The
book-like layout was
really nice. It tends to draw
one in.
Yes. Actually, you sort of lose that
with the vinyl. The design idea was
mine. Malcolm doesn't really show
much interest in the covers of the
records. I usually end up doing a
bunch of things and then showing
them to him, but I don't think he's
very keen on how Philophobia
turned out. I don't think he likes the
painting.
It doesn't represent him.
No. Well, he had his face on the
cover of a single before, so I
figured it would be OK.
The lyrics are always your
own musings. Is it possible
for Malcolm's views to be
expressed in the songs?
Yes and no. I think you'd have to
ask him. I know that he's going to
end up making a record himself
fairly soon. Malcolm is essentially a
songwriter. He did a few songs on
the first album and I've got tapes
and tapes of his stuff. I imagine that
when he does his record, I won't be
on it. Not that I wouldn't want to be
on it, but rather that I think I'd enjoy
it more if he tried something different and apart.
Sex has become such a commodity — it can be dealt with
easier that way — dealing
with sex within a relationship
makes people uncomfortable.
Why do you think people
hide their own physicality?
I don't know. I don't think I am. I
don't think it's as much a matter of
today only. I think over time, people
have dealt with their bodies the
same, obviously today there's more
pressures put on people. But as I
say, I don't really have much experience with it. I'm quite open.
Where is Falkirk [their home
town]? I understand the local
town council aren't amused
with your depiction of life
there.
No, no. It's right in the centre of
Scotland, an industrial centre. The
council members weren't pleased
about some remarks we made to
the press about growing up there
and it being not the greatest place
in the world to live. The Sea and the
Ocean come up a
lot in your songs.
Your use of the
image of a Viking
burial was really
nice in "The Night
Before the Funeral."
What is your attraction to the sea?
thing I've always really
liked since I was
younger. It's not necessarily the sea, but perhaps more so images of
water in general. It's
very calming to sit by a
Loch.
How have things
changed between
The Weekend
Never starts
Around Here and
the recent Philophobia? Now with
major US distribution, do you
suddenly find yourselves a lot more
active?
Yeah, recently we've
been very busy. We
have a new single coming out [Afternoon
Soaps EP] and we've
been touring Europe,
but I think that after
December we have
about seven months off.
I don't think were in any
hurry to make the next
LP. It'll happen when it
happens.
Do you know what
direction things will
go?
No. Well, with the new
single that's coming out,
the two B-sides to the
remix are the most
recent things we've
done and we both feel
it's the best stuff we've
recorded. So I think this
is probably a good
place to start. I think
we'd like to do something a bit different than
Philophobia, though I
don't think the next
record will be a happy
one. Perhaps the lyrics
will be less about sex
and more about other
things. I've only written
two so far, so we'll
Tell me about Glasgow's Art College. I
hear its beautiful.
Really, I don't like it at
all. I've never been a
fan of Rennie Mackintosh stuff. Actually, the
best thing about the Art
School is it's got a nice,
wee pub and it used to
have an excellent disco
on Saturday nights.
Do they put shows
on there?
I I  i _£ B
They do sometimes. The
sound's quite bad. I think
Tortoise played there. But
it's not a venue I'd recommend to bands.
You seem to be
kindred spirits with the
band Mogwai. What's
the history between
them and Arab Strap?
I think the first time we met
was when Malcolm and I
went to see them a few
years ago. Mogwai was
doing the door. We couldn't
really sneak in, so we paid
and after that we got to
know each other. We used
to play with them live on
occasion and I've done
some vocals for them. I feel
quite bad about playing
with them now. I'd walk on
stage and feel like I'm getting in the way a bit.
Although I recently played
drums for them at the Reading Festival. They had Stuart
[from Belle & Sebastian]
with them too.
Your label, Chemikal
Underground, seems to
be one of the premiere
UK lo-fi' labels. On
this side of the Atlantic,
you don't really hear a
lot about British indie
stuff, it's more so a
rehashing of the NME
and Brit-pop. Did the
'lo-fi' scene really have
much of an impact in
the UK?
Um, bands like us and Mogwai probably brought it into
the light. Mogwai played a
big part in bring that music
to the forefront. They have
quite catchy tunes and
they're really catching on.
There's also a band called
Ganger, who work quite
well; their album is really
quite good. People were
really looking forward to it,
although recently the NME
has given them some bad
reviews.
How is the fallout in
the UK after the recent
World Cup football
hooliganism?
Well, ah. You couldn't really
get rid of everything to do
with the World Cup for a
couple of months after it.
There were still a lot of clips
from it on the TV. Britain
was very embarrassed. I
mean, I've never been a big
football fan. There was a bit
of a Scotland versus England rivalry, but I didn't really get too involved. I was on
holiday in Greece at the
So I guess you're not
amongst the crowd
that must report to the
police before every
match?
Oh no, nothing like that!
Discorder's Young Person's
Guide To The Scottish Dialect:
Declared European City of Culture in 1990,
Glasgow has rejuvenated itself with a distinct
move away from a past of steel industries and
shipbuilding. No longer is this jewel of the
Clyde Valley recognized for its iron-side battleships and industry grim, for now Glaswegians promote culture as its capital, exporting
thoroughly modern novels, films and music.
Spearheaded by the likes of Irvine Welsh,
gritty film makers such as Shallow Grave
director Danny Boyle, as well as the second
wave of bands that music critic Simon Firth
termed "The Sound of Young Scotland," Glasgow is, as they say, the three big Cs: Cultural, Cosmopolitan and Cool. So if you're
telling your friends you're planning a trip to
wee Scotland to take in some Mackintosh Tea
Houses or the famous Burrell Collection under
the real guise of donning your K-Way anorak
and checking out the acclaimed Thirteenth
Note Club, where the band's such as Belle &
Sebastian, Arab Strap, Mogwai, Boards of
Canada and more all hang out — then we
suggest one brush up on the brogue and
head on your way. Here's the first lesson to
start you in the right direction. Brow and
Cheers!
Scottish English
Examples
Aboot     About
What aboot Arab Strap's lyrics?
A/n      Own
Play your ain songs!!
Braw     Great
Belle & Sebastian are really braw.
Cannae     Can't
I cannae think straight.
Daft     Stupid
Do be daft, your looking braw.
Doon      Down
I'm doon with Mogwai.
Dinnae      Don't
Fleein'      Flying
I was fleein' at the club.
Greetin'      Crying
Dinnae start greetin'.
Havering      Lying
Are you havering to me?
'Oors      Hours
I hope they play for 'oors.
Seek     Sick
He was seek in the car.
Winnae     Won't
I winnae leave here.
Wis      Was
What wis he talking aboot?
Wisnae      Wasn't
The ale wisnae any good. jets ti imi
by Chris Corday
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DiSCORDER: First off, what is an Orange
Rhyming Dictionary [the name of their
new album]?
Blake: I think it's pretty self-explanatory.
Could you perhaps enlighten us a bit?
Well, nothing rhymes with orange and a rhyming
dictionary is the common tool of a hack poet.
So it seems to me that your new album
has a really straightforward rock feel to
it, more than anything else I've heard in
indie rock in a long time. Have you consciously gone in this direction as opposed
to your respective past projects, or did it
just turn out that way when you started
playing together?
It wasn't a conscious effort. We were just 'possessed by rock'. It seemed like it was a good time
to play rock music because I personally felt there
was a lack of rock in my own life.
[Here the photographer who was present, Lori,
interjected that 'everyone was going rock these
days,' and a discussion of the Murder City Devils
It's really fun to play. But they're really passionate
songs, too. They are not totally diabolical.
The Jade Tree website is hyping that your
band has a 'new wave charm' to it and I
guess I can kind of hear it on the record
with all the effects on it and with the keyboard. What are all the effects that you
are using and was that just for the record
or do you use them live, too?
No, there is really nothing different on the record
from when we play live. There's not that much
'effected' on the recording. I mean the voices aren't
changed and there's the synthesizer, so that's probably the most 'tech' device on there.
The reason I ask is because early criticisms
I've seen of your record stem from your
use of effects, especially on the first track
with the wah-wah pedal ...
Oh, so you're talking about that thing in The
Rocket? [He is referring to the review of Jets to
Brazil's new album in The Rocket. In it, the reviewer wrote that the publicist for JTB asked him specifically not to listen to the first track on the album
because she feared it would be taken as being 'too
rock' and would alienate the reviewer or give him
a bad first impression of the band before he had a
chance to listen to the entire album.] Well, fuck that
guy! That guy is fucking totally useless.
Well, he didn't really give you a really
bad review. He said he liked the album.
But it wasn't a review, that's the thing. I don't know.
I have no time for people like that. The guy is just
an asshole. He just wants to hear excitement!
Excitement rock! I mean, this record is supposed to
take a while. You are supposed to spend a year
with it and not ten minutes. It's not like, 'Wow man,
let's drink beer and get off with this record.'
[At this point Lori again interjects and asks if they
get a lot of questions about Jawbreaker, etc.]
We get a lot of questions and expectations about
what our band is supposed to be. Usually, they're
pretty nice. But it's like, why can't you do something different in another band? I wouldn't want to
see some band I liked doing the same thing over
and over again.
OK then. It seems to me that lyrically, Jets to
Brazil are often way out of left field, so to speak.
Do your works actually have a chronological
meaning to them, or is it more of an aesthetic
thing where you're using the words to convey
sharp sounds or something?
ml
"l
I
I
I
I
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No, they all mean a lot to me, actually. I work on
them really hard.
Do you mean them to be poetic?
That depends on the listener. Let's just say there is a
narrative to them.
What are your day jobs?
I don't have a day job right now. I'm on tour with
my band for six weeks, so obviously I can't   have
one. My last real day job was a librarian and I
was a DJ one night of the week for a while.
How did you end up in New York?
I just wanted to go back. I had gone to school there
and loved it, so eventually it got to the point where
I wanted to go back and live there again.
Rumour has it that you went back there
to further your writing career. Could you
tell us about that?
I just wanted to live there more than anything. I
wanted to write for a magazine. And then I didn't
want to write for a magazine, I wanted to play
music. I was writing more music than anything else,
so I figured I should play in a band again.
All of you have been in the punk scene for
a long time and I think you probably have
a lot more perspective on what's gone on
within it than a lot of other bands could
possibly have. Do you think it has
changed for better or for worse in the last
10 years?
I don't know about the punk scene. But the music
scene, I think, is really good right now. I see bands
and play with bands every night that just blow my
mind. They're doing incredible things with sounds
and guitars that take lots of creativity and constantly
changes the dimensions of rock music. As for the
punk scene, I don't know about it at all, OK? At
all. I
>lved.
Do you think the ethics of being involved
in something like Berkeley's scene has
changed or is the $5 all-ages thing that
Fugazi always pushed still intact?
I don't know. Why are you asking me? I didn't
hang out in Berkeley. I lived alone in an apartment
in San Francisco, so I was very alone there.
I guess I'll end it then by asking what we
can expect from your band in the future?
Probably bad drug habits. I don't know. Normal
rock band stuff.
So we can't expect Blake to pull a Bob
Mould and tour the country playing solo
acoustic sets of requests for Jets to Brazil
and Jawbreaker songs?
18    NpvEMfiE/-* .1998 7
inch
f^r/'-r:W^: v
BY THE INVISIBLE CLAIRE
((Zen Master Claire says: Happy fifth
^birthday Tabnet (we're everywhere).
Nice Christian boys
PEDRO THE LION
have released a quietly touching single on the
new Made in Mexico label. I
would go so far as to brand
them troubadours, of a sort.
Each of these three songs,
"Big Trucks," "Diamond
Ring," and "Invention," is
beautifully arranged and
sung, without a speck of
cheese. Highly recommended! (Made In Mexico,
101 1 Boren Avenue #906
Seattle, WA, 98104)
Oh ho ho, those crazy
cultural engineers at Slap-A-
Ham just never stop with the
amusing fragments of quasi-
musical debris. FUCK ON
THE BEACH, one of the lat
est   Japanese   "fastcore"
speed-scream bands, look like
a pretty jovial, unserious,
fun bunch of kids. The
14 songs on this 7"
are worth very little,   but   thei
again, I have
the   feeling
that     their
overall   intention    is
laughter.
(Slap-A-
Ham,     PO
Box
420843,
San Francisco,
CA,     94142
0843)
I'm not so sure
about SHOOT THE
HOSTAGES. Although
certain song titles, such as
"Hippies, Drugs and Promiscuity" and "Dead Cop,
No Donut," hint at a sense
of humour, the band has
put too much effort into maintaining a semi-traditional rock
structure
f o  r
me to dismiss them as one of
those fun-loving, power violence outfits. They might be
serious. If guns, death, crime,
destruction, apathy, and nihilism interest you, look no further than Shoot First Live Free.
(Rodent Popsicle, Allston Stn
PO Box 753, Boston, MA,
02134)
The name NEIL HAMBURGER rings a rather distant bell, but I'll be darned if
I can locate it. His Li
Edition Black In Mourning
Vinyl release, Neil Hamburger pays tribute to
Diana,   Princess of
Wales, is another example of effortless
impossibility.    On
"Zipper Shtick 97,"
he tells bad Lady Di
jokes to an unresponsive Australian audience for what seems
like ages. The B-side
features "A Moment of
Silence" for the departed
Peoples'  Princess.  Yum,
wasted vinyl, (address un-
known)
All The News That's Fit To
Surfh four wonderful songs from
THE MULCHMEN who have
their surf heads screwed on
perfectly. The playing deserves praise; so, too, does
the production. (Luna Music,
1521    W.    86th    Street,
Indianapolis, IN, 46260)
THE BETTER AUTOMATIC make pissed-off rock
with fingernail-scrape guitar
and sly basslines. They manage to do some reasonably
interesting, mathematical
things with rhythm on most of
the five songs on their new
single.
"Little" and "Buckminster
Fuller" for controlled rage; the
three songs on the B-side are
of a cheerier, almost playful,
nature. (Resin, PO Box 5601,
Washington, DC, 20016-
1201)
If ever the line between
hardcore lite and ethereal
rock has been blurrier than on
this BALD RAPUNZEL 7",
all of us here at Claire, Inc.
would like to know. At first listen, some of the guitar riffs
sound hard — one might say
metallish — but after a few
turns they dissipate into celestial fairy dust. Bonnie
Schlegel, Bald Rapunzel's vocalist, has a fairly good
range and shows a lot of
promise. Easily
distractible music
fans are advised to
take their medication before spin-
this
ad-
Hs equate, but not-
mm too-innovative,
mm disc. (Resin, see
§§f above)
W Ml NOVIA s song
jf "This Day Is Gold"
lelongs in the back-
ound of a fantastical. Spasms of
guitar bounce off
n section while a
i yelps poetry. "Ornamental Light Socket" is no
less intense for its gentler
pace and feminine singer.
This is a record for rainy and
delusional days. (Mi Novia,
Box 292- 3495 Cambie
Street, Vancouver, BC, V5Z
4R3)»
young n
Staplegun
Showdown
ZINES • BY MiMiC <mmmcross@hoti
It's time for another selection of Xeroxed gems for your pe-rusal and
potential indulgence! This month's zines highlight the importance of
"coverage." Every zine writer tries to cover something, be it music, be
it their scene, be it their own lives. It's a hard talent to master and a
difficult balance lo strike, but it's crucial to the success or failure of a
good many zines out there.
SPECK
#4, $2, half-legal size, 44
pages
Despite that deceivingly low issue number, Bleek is no newcomer to zining. The "Messiah
of Merritt" made his start back
in 1995 with Omen and has
been going ever since. The content and style of his zines
haven't changed too dramatically over the years — you'll
still find the standard medley
rants and clip-art.
It's the quality of his work
that is constantly upping his
credibility as a top-notch
zinester. Bleek is still self-deprecating and whines lots, but it
hasn't inhibited his output or
the tight and engaging stuff
found within. Stronger than
ever, this issue is one of his
most well-balanced efforts.
You'll find assorted short reprints, comics, diverse reviews,
and excellent coverage of the
indie scene. The latter is certainly his forte; Bleek stretches
himself across the four main
corners of the musical underground, touching on rave music (DJ Irene), sophistopop
(The Monochrome Set),
punk (Unsane) and good ol'
indie rawk (Yo La Tengo). My
one true mentor, Bleek has yet
to burn out or become boring.
Power to him. (c/o Bleek, Box
556, Merritt, BC, VI K 1B8)
APOLLOSENSES — the alternative zine of the vis/lit
scene
Vol.1, issues 2 & 3, letter
size, 16 pages
Wheel Here's the first zine submitted straight to Staplegun
Showdown. This  rag  is un
doubtedly a labour of love. You
can see it in the meticulous coverage of all things artsy in Vancouver's underground; you can
see it in the painstaking all-
typewriter layout (many letters
are hand-darkened with pen
where they faded on the copy);
and you can see it in the partially hand-colored cover.
While it's somewhat scene-specific, the photos, articles and
and the presentation is friendly
— two elements that I didn't expect to find. How much does
heart and hard work mean? A
lot in this case. Two dollars
buys you a great seat overlooking the art and literature scene
of the Lower Mainland and,
more importantly, the people
behind it all. (c/o ADA, 1952
Comox Box #104, Vancouver
BC, V6G 1R5. Also available
@ Scratch, Black Sheep and
Lucky's.)
SKYWAY
#5,   $3,  letter size,  56
pages
Simply enough,   Skyway is
indie pop comin' atcha in a big
fat way. That's cool in itself. But
Skyway redeems itself in more
ways than one. It's an excellent resource, leaning more towards established indie pop
lovers or those getting re-interested in the scene. They do
what they do very well, be it
reviews, interviews or non-music features — this ish has a
great set of essays discussing
the ups and downs of running
an indie record label. Skyway
equals consistent professionalism without sacrificing the accessible quality of zines. (c/o
Doug Wallen, 1554 Paoli Pike,
#260, WestChester, PA, 19383,
USA, <dw271023@wcupa.edu>)
GEN X SUICIDE LIFE — the
diary of another pathetic
slob
$2, half-letter size, 48
pages
At first glance, cartoonist Yul
Tolbert's new publication got me
excited. It's plump with diary entries, interspersed with relevant
facts, lists and drawings. Typically, this is my favorite type of
zine. But it's not long before several problems with GXSL begin
to crop up, problems I was able
to ignore at first, but that soon
make for an onerous read.
Given, GXSL is diary-like. And
pletely engrossing, some are
laden with raw emotion, and
then there are the majority docu
menting the mundane moments
of life, never following up on
anything, never going anywhere.
Unfortunately, Yul leans towards the last type. In some
places, he tries to compensate
with accompanying graphics or
sidebars, but the effect is usually just an annoying re-iteration
of what's already been said in
the entries. Emotions have been
tossed out in favor of opinions
and these are overimposed on
the reader in
the Consummate Loser" and
"15 Reasons Why I Should
Commit Suicide." Hearing what
Yul did today, what he got in
the mail, and what he watched
is fine for a while, but it fast
becomes old and aggravating.
Is it Yul's intention to cultivate
our impatience and kill off our
sympathy for him? Maybe so,
but it's not worth 48 pages to
me. (c/o Yul Tolbert,
Timeliketoons, POBox 02222,
Detroit Ml, 48202-9998,
USA)
So winter's coming, your toes are getting cold, and the last
thing you want to do is walk out to the mailbox to send out your
zine orders. Wouldn't it be nice to snuggle up with the warm
glow of a computer screen? Well, that's jusl what we'll do next
month as I take you for a jaunt into electronic zine culture! E-
zines and webzines ain't just for tech-nerds; we'll hone in on the
zinesters who ride the fence between paper and pixel. So, if a
cyberversion really excites you, you con draw up an order for its
printed counterpart! Plug in the keyboard block heater, zine
compadres, and get ready for a winter-net wonderland!*
/r I wfflUL NOW AGAIN BEG >
AND PUAD FOR YOU TO SEND ZH-4ES MY WAY FOR
REVIEW. YOU CAN DIRECT THEM ETCHER TO DlSCORD&r's
ADDRESS OR TO MY HQ*
920 Pine Street, Kamloops, BC,
V2C 3A2.
Remembb?, if I don't get zines, you don't get
reviews, and if there are no reviews, no one gets
slagged! What would a zine be without lots of
bad reviews backing it up?
S_ Tlli'NEXTTIME, MO<X ON. j
19"E?^g£SlSa__ Annual
Nov
Half Price Specials
Academic
Titles
Gift Ideas Galore
Buyer's Update
Cookbooks
Fiction
Kid's Books Specials
This space
could be
I   yours!
Call 822-3017, ext. 3
advertise in DiSCORDER
reasonable rates, friendly service
Closed on No
Ibour frees,
CiTR
101.9 fM
EooKf In©.l
notJUSTanother
MUSICSHOP
AYOllE
CUSTOM DRUMS
Norman
FRIENDLY COMPETITION • JOKES-FOR-BEER • AMAZING-PRIZES
ROUND 3
NOVEMBER10th
Splitting Adam
Retreads
Marianne Turbo
SEMI-FINALS #1
NOVEMBER 1^h#
42       *&
Clover Honey
Bounty Hunta
& the Mutineers
SEMI-FINALS #2
NOVEMBER 24th
Pepper Sands
Feisty
Jet Set
SEMI-FINALS #3
DECEMBER 1st
TBA
SHiNDiG FINALS
DECEMBER 11th
> THE STARFISH ROOM Under
Review
ARNOLD
Hillside
(Creation)
Creation Records' long-standing
decision to forego signing new
bands came to an end in 1997
when Arnold was added to a
roster that includes heavy-hitting,
commercially successful bands
like Oasis and Primal
Scream. With Hillside, Arnold
has finally set down studio versions of many of the tunes on their
demo, The Barn Tapes, as well
as adding a raft of new tunes.
The three-piece band (consisting of two guitars and a bass)
has created an impressive set of
haunting folk-pop songs. Vocal
melodies layered on top of simplistic acoustic guitars make for
a refreshingly soothing tone, disturbed only by the electric rock
of "Ira Jones Goes to The Country" and the ambient, nonsensical rantings of "Rabbit." The production work is rough enough to
give the album a human feel; it is
not polished and overproduced.
Standout tunes include "Windsor
Park," "Catherine Day," and the
album-opening "Fleas Don't Fly."
Principal songwriter Mark Saxby
has penned a beautiful album
that could easily be one of the
best albums released this year.
Patrick Gross
ATOMIC BABIES
Breuklen Heightz
(Cold Front)
Although I approached this CD
with less than open arms, bits of
it show something, although I am
not quite sure what. Most of the
tracks sound like they came out
of 1992 with their ravey feel and
simple handclaps over simple
beats or breaks with even simpler
samples. There's little innovation,
originality, or challenging material on this CD. I guess one could
liken it to the Chemical Brothers on downers, but neither
comes close to the more original
material produced by Meat
Beat Manifesto close to (hmm
...) eight years ago now.
Some bits, as I mentioned, have
something to them. The second
track, "R2 Unit," has some emotive property I can't quite put my
finger on, as does "Martian Chronicles," and "Coyote" seems like
some sad reminder of the epic
warehouse-anthems of yore. I do
have to give the Atomic Babies
some credit for producing what I
consider a depressing CD. Perhaps
the Babies themselves have realized just how bad electronic music has become and are just as depressed about it as I am.
BEATNIK FILMSTARS
Boss Disque
(Merge)
Good? I thought so, but have
changed my mind after repeated
ALBUMS • ZINES • RECORDED MEDIA
merit, but that's probably just me.
For the most part, the stuff he did
with the Pixies easily eclipses
anything he's ever done alone.
Black's new baby is by far the
safest route he has taken with his
unique brand of pop-rock, it has
a style that brings back memories of Trompe le Monde, which
makes the overall package sound
disappointingly conventional and
rehashed. I should point out, however, that the new disc compensates for this with a much tighter
collection of consistently enjoyable songs. This is no sprawling,
monster-mash of filler tunes a la
Teenager of the Year: today's
Frank Black is short, sweet and
to the point.
So, was it better for Black to
be less daring? Can we really
hold it against him for growing
older and losing his "edge?" Like
day-old bread, Black's sound
ain't so fresh, but it still tastes
good, and with a smattering of
butter, oh boy, things can get
yummy! Umm, well, what I'm trying to say is, if you're a dyed-in-
the-wool fan like myself, you'll definitely find your money's worth here.
But even if you've decided his
music is crap based on his recent
efforts, his gig with the Catholics
might just have enough catchy
tunes to turn you into a believer.
Clinton Ma
BLONDE REDHEAD
In an Expression of the Inexpressible
(Touch And Go)
Evident, careful, formal deliberation is what really draws me to
Blonde Redhead Precision,
dynamics and an economy of
means typically underwrite this
new album. Now only three people, they do a lot with what they
have left: drums, voice, guitar,
baritone guitar and occasionally
keyboards. Of course, they are
more than their means, their expressive character brings everything to life. Arguably, the quality and intensity of their
expressivity are what captivates
about Blonde Redhead, and yes,
generates real uniqueness. And
uniqueness has long been a contentious issue for Blonde Redhead: Sonic Youth is forever on
their horizon. Yet, while a superficial look may find only guided
pretension, or at worst single-
minded homage, Blonde Redhead seem more to be impulsive
and honestly inventive. Besides,
they are hardly disingenuous
about their influences: from film,
Futurism to No-wave, they always
put everything on the table. It is
interesting, though, that some
musical "representations" have a
greater capacity or degree of
invisibility than others. Nevertheless, hard working, energetic
bands are able to transcend typicality, their goodness becoming
listening. There's not a lot of originality on this release and some
of the songs are just too rock-star
for my tastes. It's very rare that I
wish a CD was shorter, but this
album could've done with some
fine-tuning before its release, as
it lacks any real flow or consistency and ends up being a bit of
a pain to listen to. I know CD
players come with program buttons, but when planning what I'd
program, I couldn't really come
up with any tunes I'd want to hear
Julie Colero
BEEKEEPER
Ostrich
(Southern)
Harmonic discordance makes me
smile. Beekeeper is brilliant at
keeping me grinning all day long.
As soon as I read the liner notes
and noticed that this band
thanked Ida and The Wooden
Stars, I knew I was in for a treat.
The music Beekeeper makes is the
kind your ears don't always know
what to make of, but your insides
know is good for you. The music
of this three-piece is dynamic and
the vocals, both male and female
apart, and especially in unison,
are powerfully stirring. There's a
force behind this band that is inexhaustible, a force which
renders each and every song instantly admirable. I can't guarantee you'll like this as much as I
do — it's been known to cause a
headache or two among my
friends — but, if you're adventurous, give it a try. It might make
you smile, too.
Julie Colero
BELLE & SEBASTIAN
The Boy with the Arab
Strap
(Matador)
At first listen, I thought this much-
raved-about album fell into the ho-
hum wimp rock category that I
rarely enjoy. On the second
drive, though, it just sounded like
really nice music, even a little
poetic. I hear they're huge in Japan. If you're looking for a more
critical, in-depth interview try
October's Exclaim! — they declare that "musically the band has
progressed, but their songwriting
has declined."
Lady Deathstrike
FRANK BLACK AND THE
CATHOLICS
Frank Black and The
Catholics
(Sonic Unyon)
I'll admit it: Frank Black's post-
Pixies career has been anything
but enviable. Sure, he pumped
out a brilliant debut solo album
in 1993, but his next two releases
were whupped beyond belief by
music critics the world over. Personally, I've found each of Black's
albums to have its own special
truth-like, not just opinion-based.
Just maybe there is some
ahistorical libidinal something-or-
another that gives off an aura of
distinction or a vibe of Tightness
— something that can be related
to, even if one doesn't "get it."
Without sounding too hokey,
could this aspect be the inexpressible Blonde Redhead are trying
to express? This is a question for
everyone, or no one. All I know
is, groovy, tactical, sometimes
atonal, intelligent, engaging and
powerful songs are offered here.
In other words, it's a very good
album, well complimenting last
year's Fake Can Be Just As Good.
Brady Cran
JUNIOR BROWN
Long Walk Back
(Curb)
It was a showdown at the OK
Corral, but everything wasn't
okay. The oldest-school country
outlaw this side of San Antoine
had just released a new album,
Long Walk Back. The sun was
climbing in the sky faster than
Jesse James on the quick draw
and I was afraid — really afraid.
This dude had a reputation in
these parts. The cowboys said he
was special, a Billy the Kid of
sorts. They said he had "True
Grit." I didn't buy it. I clicked my
spurs as I stared the country boy
down. Like buzzards, the
townsfolk lined the streets anticipating the outcome of our duel.
The clock struck high noon, and
after a blaze of down-home ditties only one of us was left standing. Junior Brown had put me
David Evans
RICHARD BUCKNER
Since
(Universal)
I don't know about you, but when
someone who seems sincere
pours their aching and bleeding
heart out onto a record, I can't
help but be enamoured with it.
Richard Buckner, with his
warm, country drawl and his sad,
folksy guitar melodies, is very
good at what he does. He plays
his guitar licks like a tired cowboy cooking some beans around
the campfire after a long day on
his horse roaming the Wyoming
countryside. He moans his gentle lyrics like a drunk man who's
uncertain whether to be happy
or sad about his simple, rural life.
He makes me sleepy, but in a very
good way.
On the album, Buckner has
some accompaniment from a few
well-known indie-rock friends of
his, which I'd assume is one of
the big selling-points for people
who haven't heard much of
Buckner before (myself included!). John McEntire (Tortoise, etc.) and David Grubbs
(Gastr Del Sol) are two musicians of note who add their subtle, minimalist percussion, piano,
and pedal steel parts to the
songs. The end result is a rich and
full sounding hi-fi record with one
major problem; the songs all
seem to blend into each other. I
don't know whether that's a good
thing or a bad thing in this particular instance, but that's the way
actly a folk m
If you loathe all country/folk
music and can't stand a little
'cheesy' slide guitar or if you think
you'd hate the sound of a cowboy with the blues singing softly
about his dreams and his life, you
probably aren't going to like this
fine album.
Chris Corday
CATATONIA
International Velvet
{Warner)
I hate this album. I legitimately
hate it, not because it isn't my
kind of music, but because it is
deathly boring. My hatred began
with the disaster that is the "hit"
single, "Mulder and Scully." Although the TV show has become
frighteningly popular in England,
the band's frontwoman, Cerys,
admits she has never seen The X-
Files, which in my opinion, is
good enough reason to detest her
right there. With a song like that,
she could have written lyrics
which were mildly more inventive
than: "Things are getting strange,
I'm starting to worry/ This could
be a case for Mulder and Scully,"
particularly considering that there
is nothing even vaguely strange
in the song.
Actually, there is nothing
strange in any of the songs.
While I'm slagging the lyrics,
perhaps I'll tell you that I don't
think I have ever heard so many
cliches packed into one album:
"find out how to make a garden
grow/ Where the sun no longer
shines"? Ick! Or how about,
"when faced with my demons/ I
clothe them and feed them"? And
those are the creative ones.
Now let's discuss her exceptionally irritating, scratchy and
inaccurate Donald Duck voice.
No, wait, let's not.
alia
CAT POWER
Moon Pix
(Matador)
Wow. This album took a bit of
getting used to, but now I can't
see'm to get through a day without listening to at least a few
songs. How can it be that someone's personal emotions and experiences can be accessible to
and understood by so many different people? There is so much
potency in Chan Marshall's lyrics and her voice will jar even
the most jaded person into a new
state of emotional being. This
record is only for the brave, those
who are willing to ride the
rollercoaster which is Chan
Marshall's life, and those who
chance it will be immensely rewarded. When I hear "Cross
Bones Style," I shiver. She's won
me over and it wasn't an easy
thing to do. Let down your resistance a bit and see what happens.
Cat Power has the power to
change a little something in all
of us, I think for the better.
Julie Colero
CONSUMED
Breakfast at Poppa's
(Fat)
Consumed is just another British band on Fat Wreck Chords.
Is that a little harsh? Could be.
More aggressive than Goober
Patrol and not as goofy as
Snuff, Consumed don't offer up
much on their Fat debut, a six-
song CD which doesn't leave
much of an impression. As mid-
paced, shouted punk goes, this
ain't bad, but it ain't much.
Trevor Fielding
DANKO JONES
self-titled EP
(Sonic Unyon)
Foxes of America, eat your heart
out — Danko Jones has arrived! Even though the disc runs
less than 15 minutes long, songs
like "Sugar Chocolate" and
"Fucked Up" totally get their point
across — this Toronto three-piece
has come to kick the nation's collective ass! I don't know if this is
rock with attitude, or attitude with
rock, but R-O-C-K it certainly
does. Each song is loaded with
thundering drums, killer guitar
riffs, and fully funked-up bass
lines. Most importantly, these
songs totally capture the feel of
their live show — just solid energy with a generous heaping of
bravado. Hey, any disc that
forces me to listen to it ten times
the first day I get it has got an
awful lot going for it. Rock gods,
thy name is Danko Jones!
Sam the Record Man
DIUJNGER FOUR
Midwestern Songs of the
Americas
(Hopeless)
Hmm. I don't really like very much
stuff on Hopeless. Some of it's
alright. Some of it sounds good
at first and then sucks. Some sucks
right away and keeps on sucking (I hate to name names, but
Digger is the shiftiest band in the
world.) But this, this is good shit.
I think. I never can tell. I don't
know what to compare it to. It's
fairly complex, compared to most
Hopeless stuff. Lots of rhythm
changes and little sound samples
thrown about. It's kinda typical
fast-paced pop-punk, but it's
deeper than that. Anyway, I've
listened to this a lot over the last
few weeks. I like it now. I'm not
sure if this will stand the test of
time, but for the time being, it's
holding my interest.
Dave Tolnai
DJ SPOOKY
Riddim Warfare
(Asphodel)
Although scratched up turntable
workings have become my temporary genre of choice, I was
prepared to lay into the latest
from DJ Spooky. Spooky's performance at the Chameleon last
year was very weak and unoriginal, using some of the most cli-
ched samples one can think of
(i.e. Star Wars sound bites that
ing machines or ending off with
a smattering of "TTThha Tthhhat's
All folks!"). However, Riddim
offers up a variety of sounds that
defeat his past Merrie Melodies.
The album maintains an original
sound and my only complaint
with That Subliminal Kid and his
followers is the pretentious preoccupation with pseudo-intellec-
21 ®[£S__
-<m1K
J tualism. I don't think the X-
ecutioners are any less brilliant
jusf because they don't have any
tracks called "Synchronic
Disjects."
Lady Deathstrike
DUB NARCOTIC SOUND
SYSTEM
Out of Your Mind
(K)
Finally, another full-length album
from the Dub Narcotic research
laboratories. From the opening
track, "Wicked Bad," to the last
note, Calvin Johnson and the
boys (with the help of Miranda
July on vocals for "Out of Your
Mind") shake, shimmy, growl and
wallow in that stripped-down,
ripped-up Dub Narcotic style we've
grown to love. So what if Calvin
can't really sing — his low, flat
voice is a signature of the band.
Besides, he seems to have been
hanging around Jon Spencer
lately (contributing to the Blues Explosion's latest album) and a little
of Jon's crooning style seems to
have rubbed off on Calvin.
There are a few tunes that
actually are dub-ish: the melodion
in "Dub Narcotic's Delight" is a
tuneful offset to the precision
rhythm section, while "Pappa's
Got A Brand New Burnbag" is
more chaotic. "Belly Warmer"
and "Oslo Calling" will get the
tensest toe tapping, but you may
want to skip through "Rebel
Makes Rhymes" and go directly
to the title track. The rest are
mostly funk-laced and trashy—
music to bump, grind and grope
by at a rec room party.
Anna Friz
88 FINGERS LOUIE
Back on the Street
(Hopeless)
Okay, so if you didn't obsessively
count down to the release date
of this CD then maybe you won't
like it AS much as I do. But then,
maybe you don't have as good
taste as I do. If you know and
like old 88 Fingers Louie but
were worried that the break-up
may have leached some of the
talent from these guys, let me allay your fears. Back on the Street
is still hard, still fast, still screaming emotion and, yes, it will still
make you want to beat your head
into a wall.
"Worst Man Won" and " 100
Proof" have an energy that will
drag you along with them, willing or not. These songs build in
power and you will scream out
with them. Other tracks like "Another Love Song" and "Joy Broy"
show a bit of a sweeter side to
this band that we haven't seen in
previous albums. Before you say,
"That's not punk!" let me tell you,
it is when 88 Fingers Louie does
it. I can't say enough about this
album except thank God they got
back together and made it. Absolutely sublime punk.
AE
FUCK
Conduct
(Matador)
With Conduct it is easy to let
Fuck slide off as a bunch of
wankers with an 8-track, some
square g!c;ses, and a record
22    November 1998
deal with Matador. Why? 'Cause
maybe that's just what they are.
Conduct is full of short, lazy songs
and, other than a couple of lo-fi
blasts, the tracks are generally
slow and surly. The band tends
to stumble along in a rather uninterested fashion, all the while
throwing in some cynical commentary on the states of their
indie slack lives, resulting in
mildly catchy songs. Sound familiar? This isn't to say that Conduct
doesn't contain anything of value:
"Alice, All I want is Alice" is as
good a twenty-five second song
as any, and "Monkey Doll" manages to incorporate an organ as
well as a reference to Double-
Bubble, so it must be good.
Paul B
FUN'DA'MENTAL
Erotic Terrorism
(Beggar's Banquet)
"Repression is of the Devil." From
the avant-garde banks of the River
Thames comes another explosion
of cybernetic sonic angst, politics
through music and the challenge
of the medium itself. The mentioned influences of Prodigy
and Talvin Singh, Chemical
Brothers and the undeniable
Asian Dub Foundation,
Apache Indian and The
Asian Middle, have been ingeniously used by
Fun'da'mental to discover a
unique sound capable of handling the enormous political bag-
Distorted, thrashed beats and
leachful guitars suck anger out of
the agnostic band. But
Fun'da'mental is part of the growing movement of Asian Dub
which blends "western sounds"
with East Indian traditional music and creates a sound that gives
voice to a long suppressed political voice. They challenge the
idea of the "divisive force of
multiculturalism" and that of the
impossibility of "loyalty to two
nations anymore than a man can
have two masters." The political
message brought by the second-
generation Asian-Brits is one that
redefines belonging through a
modern musical medium, today's
beats culture, the old and the new
intertwined. And the re-printing
of the UN's bill of rights in their
CD sleeve speaks for itself.
Watch out for the evil that
lurks between the amazing beats
and the sounds of instruments
now part of our world. Sound is
better than silence.
Ciprian Gligor
HOLE
Celebrity Skin
(Geffen)
What happened to Hole? Are
they trying to reshape their whole
image? Celebrity Skin sounds like
it was written and performed by
another group, except that
Courtney Love's semi-scratchy
voice is still there. Those who built
up respect for Hole on the basis of
their first release probably won't
be amused by this current effort.
Those who love mainstream music
will adore it, though.
The first track and single of the
CD, "Celebrity Skin," is radio-
friendly and not traditional Hole
— the first time I heard this song,
I thought "sell-out." As for the
other tracks, "Malibu" is so mellow and catchy that I wouldn't be
surprised if it made it on Z95.3-
- Courtney actually makes an honest attempt at singing well. In fact,
I don't hear any trace of the old
Hole until the fifth track, "Reasons
to be Beautiful," with its uncommon
guitar chord progressions and lyrics like "Love hangs herself with the
bedsheets in her cell."
Should you buy this CD? Well,
if you don't care about how Hole
sounded before and you're interested in hearing another Billy
Corgan-influenced project, go out
and get it. But take caution: this
CD may turn you into a radio-
friendly freak.
Jerome Yang
JESSAMINE
don't stay too long
(Kranky)
Jessamine creates drum and
bass driven music that is layered
with retro-synth and distorted
guitar. The music is backed by
the haunting voice of bassist
Dawn Smithson that could send
a chill through your spine. If Jessamine were to be placed into a
category, it would be the post-
rock/experimental genre, inhabited by the likes of Tortoise and
Stereolab. This album is quite
capable of producing a mood:
something reminiscent of a sleazy
jazz club in the late hours of a
Monday night.
JayD
LAGWAGON
Double Plaidnum
(Fat Wreck Chords)
This album is not what I was expecting. I popped the disk into
the player and braced myself for
the barrage of driving drum beats
and unbelievable guitar riffs that
Lagwagon is known for. You
could have knocked me over with
a guitar pick when the first track,
"Alien," started out so melodi-
cally. After I got over my initial
shock, I realized that, although
Lagwagon has softened their
style, they are still a great band.
This release is full of poignant
lyrics and Joey's classic vocals.
BARBARA MANNING
In New Zealand
(Communion)
What's this? The new Barbara
Manning album? I think I liked
the last one, so I might as well
give this one a go ... Wait a second! This isn't Barbara Manning!
This is Calexico! What's up?
Oh. Barbara's in cahoots with
John Convertino and Joey Burns.
Should've known. Made on tour
down under with many famous
folks? Interesting. The voice is
good, the songs are beautifully
crafted, this last song,
"Aramoana," is as close to an
you're going to find ... hmm. Verdict? Aces.
Julie Colero
JOHN MARTYN
The Church With One Bell
(Thirsty Ear)
The lead-off track, "He's got all
the whiskey," is a good place to
begin describing John
Martyn's latest work. Much of
the album sounds like it was recorded in a smoky bar after
hours. The rhythm section keeps
each song together as a simple,
atmospheric keyboard and
sparse slide guitar fill in the rest
of the musical backdrop.
Martyn's husky voice rarely rises
above a dull murmur, not much
more melodic than Leonard
Cohen, but definitely as
traveled. Martyn covers Ben
Harper's "Excuse Me Mister,"
but doesn't exude the same emotion as the original. When should
you throw this album on? Never
before the sun goes down, but
from track to track Martyn does
create a laid back mood and, if
you can get into it, you'll stay until
the last note.
Cody Beales
MK NAOMI
Archives
Don't go looking for this one in
stores, for as far as I know this
is only a promo of some of MK
Naomi's older, less trance-orientated projects. However, along
with other MK Naomi material,
it will soon be available
by mail-order at http://
www.mknaomi.com. The CD itself
is drippingly fantastic, with well-
worked Orb-ish ambient dub
pieces remnant of Orbvs Terrervm.
Those familiar with the ambient
dub sound may question this
similarity. Remember, though, that
these tracks were produced from
1995-1997, the same time period
as Orbvs Terrervm. Floating
through my mind are the drums of
the first track, "Extropia I," which
showcases Naomi's harder, more
tribal roots, and the slow subtle
beginning harmonics of Mancini.
Cascading sound that pierces
through definition as the rain falls
down, down here in Vancouver...
and probably also in Toronto,
where ex-Vancouverite MK Naomi
now resides. Check out http://
www.interlog.com/~mknaomi/
the_story.html for more information.
Tobias
HARUKI MURAKAMI
The Wind-Up Bird Chronicle
BOOK
(Vintage)
The reviewer for the Globe and
Mail described this as a rather long
book, yet considering the drivel that
is printed these days, within a few
hundred pages this comment is a
fine compliment. Yes, it is a
smidgen oyer 600 pages, but no
single line is wasted. This is essentially the tale of a man, Toru
Okada, who recently released himself from a position as a paralegal,
who through peculiar circumstances, dreams, and perseverance begins to grasp the underlying truths of the world.
The story begins with the disappearance of the family cat,
Noboru Wataya. Kumiko, Toru's
wife, begs him to find her brother's namesake. Being unemployed,
Toru has ample time to scout the
neighbourhood while his wife is
working. Unsuccessful, Kumiko employs a mystic, Malta Kano, to help
with the search. Events begin to wipe
away the mirages of his married life
and existence in general.
With consummate skill,
Murakami can create evocative
images, characters, and sentiment
with a few chosen words. The interconnections between characters
and events, which under a lesser
author's hand would become hopelessly convoluted, are so exquisitely
revealed that one at once is educated, astonished, and exalted.
Murakami deftly switches from the
commonplace to the mysterious.
Though it may at first appear hefty,
The Wind-Up Bird Chronicle — unlike this review — is an entirely
engrossing novel that will be rapidly finished by all whom should
wisely chance it.
Greg Elliott
PHOTEK
Form & Function
(Virgin)
Despite Photek's big-label daddy
this d'n'b is still uncompromisingly
stark, futurist, dark, and perhaps
the essence of what is defined as
tech-step. Neatly ordered samples
with intent, all well placed, with
samples repeated, a maximum of
repetition: tech-step is to drum 'n'
bass what minimal is to techno. This
is music for the future, a modernist
revival of Form & Function that fits
in quite snugly to fhe short life of a
Replicate in Blade Runner. Special
note to Vancouverites and other
rain-bound cities: check out "Rings
around Saturn" for whispers of falling cloud, and "Knifevision" is for
anyone who has wandered down
a wet back alley past 2am. Wth
all of this formalism, one has to
wonder whether Photek has taken
the next step to structuralism: is
there any meaning in this assemblage of crisp snares and kicks?
One would think that we could
deconstruct something, if not a feeling of mysterio-awe from these precision d'n'b tools.
Tobias
POSSUM DIXON
New Sheets
(Interscope)
Like a great movie, New Sheets
grabs you at the beginning and
doesn't look back. "Holding," with
its intense guitar and flowing lyrics, hooked me from fhe start and
held me until the endearing last
song, "End's Beginning." A great
movie needs talented writers and
New Sheets has contributions from
the best. Along with the band, this
record features a star-studded cast
of co-writers: the B-52s' Fred
Schneider, Dave Stewart of
Eurythmics, and the Go-Gos'
Jane Weidlin.
Possum Dixon's unadorned
and pleasantly melodic style of rock
is a welcome oasis from all the gimmicks that cling like parasites to
today's music. The lyrics are heartfelt and sincere. Possum Dixon puts
a flare and honesty into their music like no other band in their genre
and it shines through on this album.
Truly worthy of an Oscar, I give
this two enthusiastic thumbs up.
David Evans
SATAN'S PILGRIMS
Creature Feature
(Estrus)
"Hideous," "ghastly," "horror-
monious," hail the critics. I just call
it damn good. Portland, Oregon's
fivesome serve up yet another
sizzlin' slabof surf to get your mojo
workin', and for those of you who
can't, helpful tips are provided wifh
each song (for example,
"ghoulash" will incite you to do
either fhe slowjerk or the pony, you
choose.) Along with terrifying new
tunes like "Creature Feature,"
"Grave-Up" and "Boneshaker,"
you also get reworked versions of
"Vampiro," (originally released on
the cocktail companion 7" box set
on Estrus), and "Ichaboob Crane"
(from their very first cassette release). Shake the cobwebs off your
sorry corpses, 'cuz surf's not dead,
as long as we have Satan's Pilgrims around to shake, rattle and
roll you next dance party.
Bryce Dunn
SEAM
The Pace Is Glacial
(Touch and Go)
I think the best thing about Seam
is their simplicity. They have the
ability to rock out and pull hard on
your heart strings without becoming big "wankers" and showing off
their instrumental skill with two-
minute rock solos or whatever. They
play solid indie rock, plain and simple, with Sooyoung Park's very
unique, alternating raspy and soft
vocals providing the base for some
fine rock songs.
On this album, Seam seems to
have gone for fhe more straightforward approach to songwriting.
They still use the same structure of
picking guitars quietly, then building up to a big rock out, but the
entire CD is laced with more of a
pc - sensibility than their previous
efforts. It doesn't seem quite as intense their previous two. There are
far more rock hooks on here than
on all their other EPs combined.
Also, the vocals seem a lot more
catchy and up-front than on other
Seam albums. Still, I can't think of
a single "filler" song on here, which
makes it a very smooth listen.
When one song ends, the next
song literally sounds like a natural
progression in the album's numerous tempo and mood changes.
If you haven't checked out
Seam yet and you're a fan of guitar-heavy indie-rock, this is probably fheir most accessible album
to date. If you're a long-time Seam
fan, I think you'll like the somewhat
different sounding album they've
put out.
Chris Corday
SIX. BY SEVEN
self-titled IP
(Beggars Banquet)
Sounds of apocalyptic insecurity
and rhythmic lapping of dark guitar waves hold you "down where
you belong." Six. by Seven blur
the distinctions between slow-wave
punk and alternative sonic distortion, and bring along a social and
psychological message.
This three-track EP release resonates with influences of
Radiohead and other Liverpudlian bands, but the electronically-
faded, milky heroin voice of the
anonymous lead singer adds definite character. The first two tracks
are mind-distorting, with guitars
swaggering through the sonic tide, whilst on the third, the Lou Reedlike vocalist lives in a classic Brit-
punk reflection of self and fhe environment.
This minimalist album is an
original exploration into some classic sounds. Nevertheless, Six. By
Seven are unique in creating the
sound of lazy introspection and
repressed psychological dysfunction, in a European context.
Ciprian Gligor
THE SMUGGLERS
Growing up Smuggler: A
Tenth Year Anniversary Live
Album
(Mint/Lookout!...)
Jeez...ten years; really? They don't
look that old.
Now, there's no substitute for a
real live honest-to-goodness
Smugglers show, I mean, these
boys entertain wifh a capital "E"
... but if for some crazy reason you
can't attend a gig in person (say,
locked in a ward for the criminally
inane), then this fine recording is
the next best thing.
This album was simultaneously
released in Asia, Europe, and
North America on multiple labels.
Recorded in Madrid, Spain, to an
enthusiastic crowd who obviously
don't hold any lurbot war grudges,
you can almost see the sweat flying as Mr. Grant Laurence leads
the throng into the musical promised land, a pied piper in rubber
boots and snazzy suit.
Ya gotta love the track "Allan
Thicke," which I would put on the
same table as the Madness song,
"Michael Caine." I also appreciate their homage to fhe legendary
Vancouver band The Pointed
Sticks with their cover of "What
Do You Want Me To Do?" Also
included is fheir MuchMusic almost-
hit, "Especially You."
Cobalt
SNOWPONY
The Slow Motion World of
Snowpony
(Radioactive)
By now, you'll undoubtedly know
Snowpony have got ex-My
Bloody Valentine and
Stereolab members in the group.
But that's all I'll say about them —
to say fhey sound much like the
aforementioned bands would be
untrue and unfair.
Initially, I admired the overall
sound of the album. There's so
much to listen to: weird, swirling
effects, white noise and feedback,
flutes, horns, organs, sitars, pedal
steel, drum loops, samples, percussion, sleepy female vocals, and oh
yeah, did I mention they use electric guitars too? But as I listened to
the album more, fhe songs themselves began to emerge from the
soundscape. They're catchy, but
not in the pop hook way; the melodies are more subtle and are
blended in there somewhere within
the dense instrumentation.
Futhermore, The Slow Motion
World of Snowpony, brilliantly recorded and mixed in Chicago by
the ubiquitous John McEntire, contains what most albums these days
are sorely lacking: diversity. Who
wants to hear fhe same song 12
times? I'd rather hear an assortment
of very different tunes. Snowpony
create fairly moody, atmospheric
stuff but fhey approach it from so
many different angles and with
very imaginative arrangements.
It's definitely one of the most
sonically interesting and mind-expanding albums I've heard and
enjoyed in a long while.
Fred derF
SONIC SUBJUNKIES
live af the Suicide Club EP
(DHR Limited)
The Sonic Subjunkies EP opens
with the query, "Are you ready for
the energy?" and then delivers a
rather lacklustre performance. "You
are about fo witness fhe sound of
the Berlin Underground," a female
voice informs us, but this is the underground circa 1995 and as
we're rocketing towards fhe Year
2000 apocalypse, armed wifh futuristic sounds/scapes, morphing
faster than the speed of light, some
guy grunting into a mic just doesn't
cut it anymore. Holgar Phrack
sounds like a monster! His verbal
punctuations are, to say fhe least,
less than inspiring and he just may
give some of fhe younger listeners
nightmares. This live recording suffers from a lack of energy; from
the vantage point of fhe "now," the
EP documents a dislocated time
and place. The relevance of this
particular point in time and place,
its impact and importance are left
untouched. It leads me to wonder
what the Sonic Subjunkies are doing today, music-wise. However,
the EP does also contain two rare
EPs in addition to the live set so it
may be worth picking up for that
Twin Star
THE SPITFIRES
The Spitfires
(Sonic Swirl)
Good, local punk. Honestly, you
wouldn't think that this was put out
on a dinky little label. It sounds really good. It's a little bit slower than
the modern day drum and guitar
assault, but it isn't lacking in energy at all. Really quite good.
Dave Tolnai
T.V. KILLERS
Fuckin' Frenchies
(Total Heaven)
Seems our French amis have got
this punk rock thing signed, sealed
and delivered on their latest LP.
'Course, that darned language
barrier still causes some problems,
so they sing a few songs in their
native tongue, but no matter, the
music is what matters. And what
we have there is some tightly executed, '77 style Brit punk mixed
with some North American
rock'n'roll a la Heartbreakers,
Dead Boys et. al. Slashing guitar. Rocksteady bass and machine-
gun drum blasts together with crisp,
but not over-the-top, production
make this a winner for all you fans
of the style and a fine companion
along side any Rip Off Records
bands.
Bryce Dunn
UNITED SCHACH CORPORATION
A Tan and Sandy Silence EP
(Pacifico)
On this EP, U.S.C. explores the
Northwest Rainforest Electronic
Lullabies concept with subdued
woodsy tones of soft though de
fined guitar sounds. Here, the
power of distorted lazyrock is used
for the purpose of good. Slow
down fhe pace of your life and
spend some time realizing that
"these pants are way too tight for
[you]." This Seattle trio sounds like
Yo La Tengo on a double dose
of Tylenol 3, though they make a
break for it with "T.Warren."
The "sandy silence" in the title is
representative of fhe soft, simple
sounds in the album, but is also a
sure reference to fhe shy, velvety-caressing vocals of Cameron Martin.
This release is bound to subdue
any foaming-at-the-mouth psychopath even when the sound gets
slightly heavier. And it leaves us
with the question: "Do these guys
ever get angry?"
Ciprian Gligor
ZOOBOMBS
Welcome Back, Zoobombs
(Emperor Norton)
My lost-in-transition nutshell analysis: "Zoobombs vigorously dismember your most unorthodox
expectation wifh oblique retrospective certitude." Some songs:
1. "Highway a-gogo:" snare drum
rich thrash/honky-tonk. Driving
trainlike rhythms alternating wilh
exposed, organ hooks, absurd but
subtle contrast between fretless
bass and wiggly guitar feedback
a la rockabilly Hendrix.
3. "JUMBO:" bluesy, southern-fried
acid rap, with flashes of metal and
japlish.
4. "Flat-top:" disco-Kraftwerk
deteriorates into WeeivFloyd.
7. "Parkin' Rock:" quick, simple,
relentless dancegroove, ends with
an incomprehensible but stimulating vocal breakdown.
1 1. "C'mon & get down:" fragment of Mojo Man as heard
through a tin can on a string.
12. "Mojo Man:" what Estel or
C'mon would sound like if they'd
done everything right; kinda like
Cornershop with a ritalin defi-
Q: If you like the description, would
I suggest you run out and buy it?
A: Yes, but you might want to hear
some of it first. The sound of the
band is not particularly innovative
in terms of form or content, and
will not alienate normal listeners.
But, considering my personal distaste for the derivative, it is significant that Zoobombs has sufficient
variances of texture to maintain my
Joshua Broyles
VARIOUS ARTISTS
Deep Thoughts
(Nitro)
A big, fat 22-song cheap comp,
Deep Thoughts features a wide
cross-section of Nitro's snotty punk
rock roster: A.F.Z., Jughead's
Revenge, The Vandals and
One Hit Wonder offer nothing
new, but Guttermouth, Sloppy
Seconds, and The Offspring
show off brand-new tuneage of
their own. I've already heard just
about everything worth hearing on
this CD and was disappointed in
particular with the new Sloppy
Seconds songs. To the Nitro newcomer, however, this is an invaluable introduction to a fairly impressive bunch of bands.
Trevor Fielding
Notes from
the VIFF
3 without the smirkingly
confident Christian Slater, this
movie kept its goals simple and
it delivered.
LIFE IS BEAUTIFUL Okay,
obscur
_L
I lEven armed with a
^^^ complimentary media
pass to each and every film
screened at this year's Vancouver International Film Festival, I
didn't manage to see all 250
. films. In fact, I didn't even get to
see all 55 movies I had mapped
out for myself. I topped out, or
bottomed out according to your
perspective, at forty films.
I heard much grumbling at the
festival that the quality of films
wasn't quite up to the high standards the VIFF usually achieves.
Thankfully, most of the grumblers
don't have their own column. This
year's festival may not have had
the BIG pictures that everyone
gets excited about, but itwas rife
with small, thoughtful, funny and
highly entertaining films, like:
BEAST COPS : This Hong
Kong offering delivered all its
midnight time-slot promised, and
much more. A great, final battle
involving many machetes and
one unstoppable cop was preceded by the usual story of corruption on the HK police force.
What made this film special was
the genuinely good acting and
writing and very believable characters. Eschewing the usual ten-
miles-over-the-top style of most
Hong Kong action flicks, Beast
Cops plays it smart, funny and
unpredictable. Anthony Wong,
as the most beastly of cops, plays
dissolute cool so well, I considered signing up for the force just
so I could go bad.
OF FREAKS AND MEN By
the same director as last year's
paranoiac Russian thriller Brother,
this film was different. Shot entirely in sepia tones and set in
furn-of-the-century St. Petersburg,
the story centres on two wealthy
families, the pornography industry, a pair of musical Siamese
twins, and a whole lot of perversion. Sounds juicy, da? Actually,
it was a bit slow. Director Alexei
Balabanov has some interesting
things to say about the nature of
evil and unchecked capitalism,
but I wish he'd said them with a
little more emphasis on pacing.
Stunning to look at and often titillating to watch, Of Freaks and
Men is either a mild success or
a noble failure, depending on
your patience.
LET'S GET LOST Seen any
good Danish comedies recently?
I have. According to the film fest
guide, this one started with a
mere three lines of dialogue —
the actors improvised most of
what ended up on the screen.
Normally, that would have me
bemoaning the navel-gazing narcissism of it all, but let me assure you: Let's Get Lost gazes at
no navels! It's an hilarious look
at the lives of four just-past-young
Copenhagenians who are in
various stages of getting their
lives together (or not). Shot entirely in black and white and
underplayed for great realism,
this is one of those seemingly effortless movies that American independent filmmakers want desperately to make but are never
quite able to.
BLOSSI/810551 An Ice-
landic kids-on-the-run comedy
with a little violence thrown in for
good measure, Blossi wasn't the
best made or most thoughtful film
at the festival, but it sure looked
good. And really, that's all that
counts in this genre, isn't it? A true
ready has a distribution deal and
it should play in Vancouver sometime this month. And you should
go see it. A Most-Popular-Film
winner that actually deserves its
prize, Life Is Beautiful is the best
Holocaust comedy I've ever seen.
It stars and is directed by the
unmitigatedly silly Roberto
Begnini, known in his native Italy
as a national treasure, and this
film is proof of his worth. If you
haven't read about the plot, I'm
not going to spoil a joyous opportunity like this for you. It's
funny. And serious. And really
funny. And sad. Go see it.
As always, I'd like to thank
the festival organizers for the useful passes and kind invitations
they awarded Discorder for this
year's festival. (Hint hint for '99.)
Tanya Bolskaya
THE ACID HOUSE Directed by
Paul McGuigan, this is a series
of three short films adapted from
Irvine Welsh's compilation of
short stories. These stories are tied
together because they all depict
the dark but numerous side of
Scottish life, at times mocking all
social levels. They also all focus
on predicaments caused by the
characters personality flaws.
In the first film, The Granton
Star Cause, Boab Coyle's procrastinating and overly laid back
attitude perterbs God (whom he
meets in a bar) enough, to wreck
havok on his life. Finally, it is in
this state that Boab gets motivated
to seek revenge on those who
have done him wrong.
The second film, A Soft Touch,
is a sombre view of the breakdown of a marriage. Caught between Catriona's wild sex sprees
and Johnny's desire to reconcile
is their infant daughter.
.The final film, Acid House, focuses on the swap of personalities between young acid head
Coco Bryce and a newborn
baby. This comical short pokes
at both middle-class youth as well
as upper-class English yuppies.
These films are a must-see
for those into Welsh's humour.
Compared to Trainspotting, The
Acid House tries to create a
sense of senselessness through
the use of abstract filming techniques and twists in plot. At
times, however, this can be distracting and take away from the
The film is entertaining and
offers a variety of views on "average" life and is worth spending money and time just to know
that your life (hopefully) isn't as
bad as theirs.
Sarah Koo
MODULATIONS This is a chro-
nology of electronic music and a
documentary on the methods,
musicians and mediations behind
the different flavours of
electronica! Starting back at the
begining of John Cage and the
Moog Synthesizers, this film more
than touches on most of the current divisions of electronic music
including house, hip-hop,
drum'n'bass, ambient (the list
goes on).
Interviews with forefront musicians are revealing and in-
knowledgeble electronic musician could pick up a new bit of
trivia to add to their repetoire.
Modulations also foreshadows
the posibilities of the direction
of the new music scene, which
at times is frightening. It is well
edited, tighter and more entertaining than other films of similar subjects.
Sarah Koo
A SUMMER BY THE RIVER
Forced to leave the city in search
of employment, a father, along
with his only son, treks out to the
remote Eastern woodlands to find
summer work as a logger. Recently left without a wife and a
mother, the two try to put the past
behind them, while the other loggers make them feel even more
alone by refusing to accept the
new city folk.
However, far from being a
depressing hour and a half, director Markku Polonen
humourously brings to life these
entertaining characters and adds
a sweet love story. This is a successful combination of human
despair, affection and humour all
beautifully shot in the remote Finnish woodlands.
Marko Anderson
23 tm&smm Real Live
Action
THE AUDIENCE
RADIO BERLIN
Monday, September 28
Sugar Refinery
In that nice, little room they call
the Sugar Refinery, a very enjoyable indie rock show took
place on this particular evening.
It's such a shame it wasn't taken
in by more people, because
these two bands deserve some
notoriety.
First up was Vancouver's own
Radio Berlin, featuring members of some other notable local
bands, Ex-dead Teenager
and The Measure. Their crazy,
rhythmic and new-wave-esque
drum beats got the crowd a-
movin' and a shakin', and their
bass grooves layered with some
nice retro U2-sfyle guitar took
everyone back fo the sweet
sounds of the '80s. A nice, new
addition to the local scene, indeed.
The second and final band of
this evening was San Francisco's
The Audience. This band, in my
opinion, is one of the most overlooked and underrated bands in
indie rock these days. Their blend
of fucked-up blues guitar, rock
and roll energy, new-wave keyboards, and hardcore screaming/singing is completely unique
and refreshingly unpretentious.
Wearing eye-shadow, ugly
little white vinyl shoes and some
really tight-ass clothes, the singers/guitarists flailed their bodies
and instruments all over the place
in that tiny venue, jumping on the
couches, gyrating their hips and
bellowing out their manic lyrics
without becoming shtick. Screw
the Delta 72 and forget all
about the Make-Up ... this was
The Audience, man It was a sight
not soon to be forgotten. It was a
display of rock V roll attitude
and talent that I wish more people could have seen and heard.
Wowee!
Chris Corday
ROYAL TRUX
ZEN GUERILLA
Saturday, October 3
Starfish Room
Zen Guerilla puts their music
through effects boxes to produce
what I can only assume is their
bar-room-bluesy sound. The band
was gingerly sifting on stage, incidentally playing great, brooding, mood music and waiting for
the crowd to take note of anything beyond the singer's afro.
They managed to make a Brian
Wilson song unrecognizable, so
you can imagine they were worth
at least the attention of the crowd.
But how could anyone think
of appreciating the opening act's
genre- skewing when looming
behind the stage (actually, beside
it) were the members of Royal
24    November 1998
Trux? It took a few minutes for
my ears to realize their first song
had started, but when Paul
Oldham began playing the
familiar and structured bassline
of "Run, Shaker Life" from the
new 3-song EP, I remembered
exactly what band was on stage.
That song started as loosely as it
ended, with guitarist Neil
Haggerty bookending it with
long and illogical guitar solos.
Throughout the show, vocalist
and all-around showgirl Jennifer
Heremma would grunt for a few
between the spontaneous riffs
and guitar solos. That's right,
solos played on a funny looking
guitar through a tiny little practice
amp to achieve the trademark
dirge and all round raunchy
sound associated with the Trux.
That was the pattern for the entire
night. The only one who has any
time, and the band packed it up.
The crowd looked a bit confused,
like they were trying to decide
whether the show was just that
bad or just so good. It takes a
while to comprehend what exactly we all absorbed that night.
In the end I leave it to the Trux,
who describe themselves most
adequately as "Seventh Generation Rock and Roll." It's as much
a question of 'are you ready for
it?' as it is of 'are you tired of it?'
SNOWPONY
GRANDADDY
Monday, October 5
Starfish Room
Monday night shows are often
faced with a demographic problem. Neither students nor working people are willing to start off
their week by forfeiting a good
night's sleep, even for s
"Is that a question?" Jennifer Herrema
of the Royal Trux grunts at the crowd
tabs on what was transpiring
was Haggerty. The Trux played
songs primarily off their last two
albums, many of them were
really played out in the live
format, such as "Ray-O-Vac,"
which they managed to stretch
into a 20-minute mutation,
complete with five minute drum
After about an hour, Neil
must have decided he had
screwed around for his allotted
live music. This leaves only a few
choice friends of the band, diehard fans and concert reviewers
to carry out audience duties.
Monday, October 5 appeared to be no different when
the doors opened and only a few
patrons could be seen spread
amongst the barstools and tables
around the room. By the time
Grandaddy, an American
band making their first foray into
Canada, took the stage, however,
the venue had filled up considerably; the floor space in front of
the stage was no longer devoid
of people. Grandaddy started off
slowly, pouring out melancholy,
Pavement-esque vocal lines
backed by subtle pop hooks that
are reminiscent of both Acetone
and Codeine.
Snowpony was a stark contrast to Grandaddy. Rather than
lazy, winding melodies and laid-
back pop, Snowpony plowed
through their set with a rhythm
section that could easily rival The
Sea And Cake or Curve in
terms of tightness and their ability to overpower the rest of the
music. The heavy drumming and
rumbling basslines were a perfect
juxtaposition for the whispery
vocals and poppy, programmed
melody lines. While the set was
tight and the crowd seemed to
be thoroughly enjoying themselves, the three-piece band
seemed stunted by the lack of live
guitars and keyboards, all of
which had been pre-programmed
and sequenced. Snowpony's set
was otherwise flawless and captivating — no wonder all the students and working people decided they could spare a Monday night's sleep.
Patrick Gross
JULIANA HATFIELD
SARA AND TEGAN
Tuesday, October 6
Starfish Room
Sara and Tegan have
changed my disinterest in opening bands. These twins from
Calgary took the stage quietly,
but made a huge impact during
their set. I don't think I've ever
been so in awe of a couple of
girls with acoustic guitars, but
these two have incredible talent.
With voices that range from ethereal to hard rockin', they played
a great set. Some songs had
sweet, hummable melodies, some
verged on spoken word, and it
was all backed by some nice
work on guitars. My only complaint is that they only played for
half an hour, and they easily
could have kept me captivated all
night.
Since I've been listening to
Juliana Hatfield for a long
time, I was excited to go (especially after missing her last year),
but not sure what to expect. What
I got was a rocking show and the
biggest, loudest set I've heard in
a long time. Her sound reminded
me of someone who had been
used and abused and won't take
shit anymore, and it was cool.
Juliana is still the indie-pop goddess she has been since The
Blake Babies split, but she also
seems much stronger, playing
with an air of confidence that her
older songs never had. I was impressed by the fact that she threw
in some old songs, not just trying
to push the latest. She, and all of
the band, seemed to have a good
time on stage, playing with a ton
of energy. Juliana spoke to the
audience between songs, and
was even willing to play a request
during the encore. Her new stuff?
Sounds great.
Her old stuff? Sounded better
than ever, it packed an extra
punch. The show? A kick-ass
good time.
briana
IT'S ALL ABOUT POP!
Friday, October 9
Anza Club
The Salteens, the home band
who had arranged the show, took
the stage fairly early and gloriously ripped through a tight set
of catchy pop ditties to start off
the night. Bossanova played
only three songs, two of which
were Beatles' songs in honour
of John Lennon's birthday,
which set a trend of covering the
Beatles that almost all the bands
would follow. Speedbuggy
played next, handing in a very
mellow performance.
Forging the pop-frontier of
Vancouver was Saturnhead,
who played a mega-pop set. At
times, I thought they were playing Sloan songs, but their charm
and talent quickly won us over.
Saturnhead was followed by
Peppersands and Fiesty, both
fairly alternative-girl-pop bands.
Two more bands finished off
the night: Team Strike Force,
formed from remnants of past
bands, were amazing, with well
crafted songs, and are certainly
one to watch for in the near future; and, at a tough, late-night,
last band slot, Clover Honey
managed to pull through with an
energetic, amusing set.
A wonderful time was had
by all, or at least by this reviewer. Many congratulations to
all the bands and especially to
Scott Walker from the Salteens,
who was heard commenting: "I
didn't do it for the glory, I did it
for the pop."
Chocolate baby
PROMISE RING
JETS TO BRAZIL
PEDRO THE LION
Sunday, October 11
Starfish Room
I think I was one of the oldest kids
at this ultra-packed show, a show
which really should have been all-
ages anyway.
I loved Pedro the Lion.
Love. The fact that these boys
from Seattle have the guts to sing
their sweet Christian indie rock
to kids who oftentimes just don't
care totally impresses me. They
played a great set, even though
the crowd wasn't paying them all
that much attention.
The 10 people watching
Pedro became what seemed like
10,000 when Jets To Brazil
took the stage. Boy, are they a
buzz band. OK, kids, here's my
tip — just because they're a new
band made of guys from cool
older bands, it doesn't mean that
they're any good. My friend
said of their performance, and
I quote, "Either you write this
band off because they should
be on Z95.3, or you rethink
your view of Z." Not a good
sign. Everybody else loved
them, so go figure.
I have no complaints about
Promise Ring, however. A
band whose records have never
really done all that much for me,
live, they rock the house. They're
friendly, fun, and full of energy -
- exactly what we need more of.
I was glad that I finally got to
enjoy the Promise Ring experience, which I had heard so many
friends rant and rave about in
the past. I'll go see the Promise
Ring and Pedro the Lion next
time they're in town playing
small all-ages shows, but I'll skip
the next Jets To Brazil one,
which will probably be when
they play with some crappy rock
band like Third Eye Blind or
Pearl Jam ...
Julie Colero
CAT POWER
TREN BROTHERS
KIMMIE
Thursday, October 15
Starfish Room
After coming off of a stellar math
test that afternoon (answering one
of six questions is always good
news), I really needed something
to make me feel better. I think that
Cat Power and The Tren
Brothers did that by allowing
me to wallow in beautiful music.
When I first arrived at the Starfish Room, I thought they were
playing Nerdy Girl on the
speakers — instead, it was
Kimmie, poutin' her stuff
onstage to the accompaniment of
two guitarists.  Kinda sweet.
When it was time for the Tren
Brothers (2/3 of Australia's Dirty
Three), everyone took a seat on
the floor and watched the lo-fi
video of sky, tops of buildings,
and fuzzy lights that accompanied the Tren Brothers' set. I snuck
to the side to watch the musicians
at work, and was once again
blown away by their skill. Instrumental music always gives birth
to thought, and I sat with clouded
head and tapping toe, realizing
that this evening was heaven-sent.
Cat Power's performance
proved this realization to be fact;
I think I'm in love. I think everyone in the whole dam Starfish
Room was in love. Shy and nervous onstage, Chan Marshall did
her best to communicate her feelings to an enraptured audience.
Although not feeling well at all,
Marshall played amazingly well,
making my heart ache (it sounds
silly, but if you were there, you'd
understand). I left the show feeling awfully light-headed and I'm
still processing what exactly happened on this wonderful night.
Chan mumbled something about
coming back in three months —
you can bet I'll be there, with my
heart on my sleeve, gazing up at
the woman of my (well, every-
one's) dreams.
Julie Colero
CLUTCH
SEVENDUST
ULTRASPANK
Sunday, October 18
Palladium
Sunday night is a bad night for a
concert. I know this because I had
a hard time finding someone to
come with me to the show. Anyway, there was no way I was going to miss this tour of metal
bands from down south.
Sevendust's indie debut album and incomprehensible rhyming intros
from drummer
Andrew Scott. In true
Sloan fashion, of
course, they played
chair:
vith
Chris Murphy (in
rock band Sloan
has almost gone gold in the US
and was headlining this tour, except on the Vancouver show,
where they had never before
played.
Ultraspank played first.
From Southern California, they
sounded like a typical, modern
heavy rock band. Despite having a
fine drummer, fhey failed to have
much of a reaction from the crowd.
Sevendust's barely contained
explosive energy s<
the foreground) from the
pops out at the triple-C.
their instruments and
rocked out in somewhat unfamiliar territory. As always,
Andrew never looked
up from his microphone, Jay grinned
and nodded an insane amount at the
girls in the audience,
Patrick stood there
like a bump on a log,
and Chris stole the
show with his ridiculous antics. None of
this took away from
their unblemished
playing, however,
and the band thrilled
their enthusiastic audience with a tight,
comprehensive set list
which included songs
from their first EP release, Peppermint,
through to tunes from
their latest album,
Navy Blues. Even better, they were all easily accessible for post-
and they wandered
through the audience
basking in their well-
deserved glory.
Sloan looked like
they had a hell of a
good time, and so
did I. Silly, juicy fun.
Alia
cited c
violent
moshpit. Their balai
ferocity and imaginative
songwriting is the secret of their
success. This is truly one of the
most promising metal acts I have
heard in quite a while.
Clutch finished the night off
with a strong set of funky, '70s-
style hard rock that could only be
described as the bastard son of
Black Sabbath and Lynyrd
Skynyrd. I have never seen so
many women dancing to music
this heavy. Their funky groove
was very infectious and I could
understand why their last gig here
was so successful.
Don Bourassa
SLOAN
RUFUS WAINWRIGHT
Monday, October 19
Croatian Cultural Centre
I had never listened to Rufus
Wainwright before this tour
and had heard good things
about him, but I was worried
when my friend said she had
been teased for listening to
someone who sounds so much
like Billy Joel. Well, sure,
okay, there might be a vague
similarity in vocal quality, but
thiswouldbeaBillyJoelwitha
hell of an edge. Rufus strutted
onto the stage in his frightening
trousers, exuding the arrogance
of a pop star he wishes he was,
scrunched up his face in musical ecstasy while he manipulated the keyboard that he
wishes was a grand piano, and
yammered on with stories of his
family, particularly his sister,
whom he wishes was as talented as he is. Rufus was wonderful, playing flawlessly and
captivatingly, and carrying on
about flowers and such between
his songs. When he finished his
set, new fans flooded to the side
of the stage to congratulate him.
But enough about Rufus. He was
very good, but not like Sloan.
Yeehaw. Their show was everything a Sloan concert should
be, complete with plenty of signature high kicks from bassist
Chris Murphy, arse-wiggling from
the "cute shoe "-wearing guitarist
Jay Ferguson, lyrical mishaps
from guitarist Patrick Pentland,
GOOD RIDDANCE
88 FINGERS
LOUIE
NO MOTIV
THE RETREADS
Tuesday, October 20
Bridgeview Hall
The show started out with North
Van's The Retreads. Personally, I was blown away by these
guys who played their guts out
for a less-than-deserving crowd.
The masses remained stoically
bored-looking throughout taunts
from the band, including the always inflaming, "Is punk rock
dead?" Frustrated, one band
member sat down on stage declaring, "Why not? No one else
is fucking moving." The Retreads
deserved better.
Next up was No Motiv,
who came all the way from California to soothe the not-so-savage beast that is a Vancouver
punk rock audience. They were
more successful than their predecessors. The between-acts
smoke pit buzzed with words of
approval for No Motiv. At the
same time, word was spreading
that 88 Fingers Louie was on
While the majority of the audience was there for Good
Riddance, a good chunk of the
crowd was there exclusively for
88 Fingers Louie. These people
were devoted. The moshpit
erupted with the first song and
the frenzy continued as the audience screamed along with
frontman Denis throughout the
set. Breaks between the songs
were punctuated with demands
for specific tracks, most notably,
"Worst Man Won." 88 Fingers
Louie complied with this demand
and stole the show in the process. Like a half-crazed square
dance caller, Denis screamed
"Circle Pit!" at the beginning of
"Worst Man Won." After one
more song, fans and band members alike collapsed with exhaustion, making room for the head-
The mosh for Good Riddance
was large, dense, and constant
enough to invite some serious
stage diving. This was, in fact,
the favourite pastime for a crowd
that finally found some energy
on a grand scale. Top prize for
stage diving and crowd surfing
combined goes to the girl who
had her eyebrow ring torn out
earlier in the evening. No pain
held her back when Good Rid-
steamy gym in Surrey, 400 impassioned punks chanted, "to a
person we all fall down, unless
we rise as one and resist the
Right, Right, Right, Right!"
Angela Kruse
THE JON SPENCER BLUES
EXPLOSION
ADD N TO X
Tuesday, October 27
The Rage
The openers for this fine evening
of rock were Add N to X. No
band could get any more electronic than this band. As electronic as they were, they did,
however have a real drummer.
Somehow, they pulled off their
sci-fi spacey sounds with ease,
or maybe itwas all recorded and
I never noticed the difference.
They had more bass than a
boom box in a Mustang® from
the 'burbs. Whatever it was that
Add N to X did, it was good,
but one could also get the same
effect staying at home and listening to them on a good stereo.
The Blues Explosion
started up with a rousing version
of "2 Kindsa Love." They never
slowed down and performed a
blistering set lasting just under an
hour. Jon Spencer's lovesick
moans and groans brought the
people to their knees. He flailed
around the stage in his silver
pants and glitter shirt, smashing
mic stands and at times screaming at the top of his lungs without the mic.
I often cringe at the thought
of going to a show at the Rage
and tonight I was reminded why,
as several goons tried to dodge
out of Jon's way to dive off the
stage. For once, I would like to
attend a show here where everyone shakes their ass instead of
their machismo. Didn't stage-diving and crowd surfing die when
Garth Brooks started doing it?
Buffoonery aside, The Blues Explosion came back to deliver one
of the best encores I have ever
seen. Showmanship at it's best.
Ken Paul
what iue listened to-
101
blonde redhead
henry roWns
arafr strap
the spitfires
pedro the lion
gmncVicVty
the sorts
silver jetus
dj spooky
soundtrack Jackie brown
verona
)a peste
stoan
Mick Turner plays a fantasmic
melodica for his alter-outfit, the
Tren Brothers, at the Starfish Room UNIVERSAL
CONCERT.-ii.KNbs
NOVEMBER 2F1
ZOMBIF
ALL AGES WELCOME!
DUNCAN SHEIK
HOOVERPHONIC
DishwallaM
with Sonichrome_~
54-_:0
KeeiSFfisH
aNTLUTOWMTAHLCUH1cKS
HAYBEN
THE VOGUE THEATRE
with special guests
<V
RICHARD'S ON RICHARDS
I FRIDAY DECEMBER 4
H
_* r        W \
Depeche Mode
TRICKY
THE   REAL   FAMILY  TOUR
WHALE
****** taxi
PAOR^OUSEyMJ
TICKETS AT ALL TICKETMASTER OUTLETS OR CHARGE BY PHONE 280*4444 OR ON LINE AT WWW.TICKETMASTER.CA CiTR
charts
WHAT'S BEING PLAYED ON 101.9 FM
november 98 long vinyl
november 98 short
vinyl
1        murder city devils
empty bottles broken hearts      sub pop
1        disgusteens                nothing personal
longshot
2       stompin' torn
souvenirs                                             emi
2       longstocking             will you stay?
k
3      the real mckenzies
clash of the tartans          sudden death
3       fireballs of freedom viva el gato
empty
4      belle & Sebastian
the boy with the arab strap    matador
4       burning airlines         carnival/scissoring
de soto
5       blonde redhead
in an expression of...        touch & go
5       tight bros                   take you higher
ten-in-one
6       the smugglers
growing up smuggler               lookout!
6       the drags                   i killed rock + roll
empty
7       julie ruin
julie ruin                             kill rock stars
7      make-up/lung leg     split
southern
8       cadallaca
introducing cadallaca                         k
8       small stars                  moths
up
9       mr zero
voodoo's eros                            get hip
9      bangs                        maggie the cat
ten-in-one
10    lidahusik
faith in space                                  alias
10    the stupes                   dead mars revenge
famous fuzz
11     pigment vehicle
murder's only foreplay ...   sudden death
11     rizzo                         shymaster
cher doll
12    alec empire
the destroyer                                     dhr
12    curse of horseflesh    the fuck you say!
ship rec'd
13    snowpony
the slow-motion world of...        universal
13    pedro the lion           big trucks                    n
ade in mexico
14    mark
mark                                    independent
14    kiss offs                     bottle blonde
peek-a-boo
15    lucinda Williams
car wheels on a gravel road       mercury
15    tren brothers              gone away                sec
retly Canadian
16    dillinger four
midwestern songs of ...           hopeless
16    capt. qitn                  i do
caulfield
17    bob mould
the last dog and pony show          ryko
17    eric the red               life after tuesday
caulfield
18    pedro the lion
it's hard to find ...       made in mexico
18    kg                             show me
k
19    suckdog
onward suckdog ...     tray full of lab mice
19    juliedoiron/snailhouse do you remember...
stereo-type
20    liquified
1 3 methods of ...               independent
20    v/a                           teenscene vol.3
misty lane
the nightlines session                    drog
in new Zealand                   communion
22    barbara manning
24 burger/ink
25 icu
holiday on hustings                      intime
colonel Sander's hideout
chofto matte a moment!                        k
best Canadian albums we could come up with off the top of our heads
tuesdays    1:00    pm    -2:00pm
26    beekeeper
beekeeper                                 southern
1    rush                                                                         n
novinq pictures
27    elliott smith
xo                                         dream works
2   bob & dave mckenzie                                        great white north
28    vogler
culture faith                         independent
29    medeski martin & wood combustication                          bluenote
4   color me psycho                                        pretend
i'm your father
30    mcface
not the green torn show       ceiling fan
5   neko case
the Virginian
31     snfu
let's get it right the first time           rake
6   mc face                                                     not the qreen torn show
32     morrissey
my early burglary years             reprise
7   anne murray
greatest hits
33    electric frankensteir
spare parts                                  get hip
8   nomeansno
34    the smokers
package deal                          skipnoize
9   neil younq
live rust
35    retsin
sweet luck of amaryllis          carrot top
10 bum                                                           wanna smash sensation
HOW THE CHARTS WORK .
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "November" charts reflect
airplay in October). Weekly charts can be received via e-mail. Send mail to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"#
nov 98 indie
home jobs
1       clover honey
three four
2       team strikes force
lager + lime
3       full sketch
sketchersize
4      capt. cook
i'm glad for you
5       hounds of buskerville
blowin' off some steam
6       samsara sevin
tug 0 war
7       mizmo
sprite
8       daddy's hands
statistic wigs
9       london paris
unmatched sock
10    dreamy angel
laundromafte queen
11     retreads
everybody wants something
12    closed caption radio
people wants something
13    the kirby grips
mod boy
14    all purpose
not fuckin' fair
15    celestial magenta
in return
16    run chico run
pusha girl
17    stationA
sporty and bigg
18    destroyer
karen is in rome
19    royal grand prix
damned cover band
20    the leechees
donkey kong
third time
s
the charm top ten
tuesdays
9
: 3 0
am    -11:30am
1    gluecifer
lard ass hagen 7"
2    mr. zero
voodoo's eros
3   thundercrack
own shit home
4   arch villains
we hate your ugly face 7"
5    the blacks
let it all hang out 7"
6   satan's pilgrims
creature feature
7   hellacopters
disappointment blues 10"
8    fireballs of freedom
viva el gato 7"
9   the blowtops
voodoo alley 7"
10 the drags
i killed rock 'n' roll 7"
Jason "Da sibvci On The Dia
SUNDAYS
ARE YOU SERIOUS? MUSIC 8:30-
12:00PM All of time is measured by
its art. This show presents the most
recent new music from around the
world. Ears open.
THE ROCKERS SHOW 12:0O-3:0OPM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE alt. 3:00-
5:00PM Real-cowshit-caught-in-yer-
WIRELESS alt. 3.-OO-5:O0PM
QUEER FM 6*O0-8:00PM Dedicated
to the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened to by
everyone. Lots of human interest
features, background on current
issues and great music from musicians
of all sexual preferences and gender
identities.
HELLO INDIA 8:00-9:00PM
GEETANJALI      9:00-10:00PM
Geetanjali features a wide range of
music from India, including classical
music, both Hindustani and Carnatic,
popular music from Indian movies
from the 1930's to the 1990's, semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, folk
songs, etc.
THESHOW lO-OOPM-lKJOAMStrictly
Hip Hop — Strictly Underground —
Strictly Vinyl With your hosts '
Checkmate, Flip Out & J Swing on
the 1 & 2's.
THE CHILL-OUT ROOM 00:00-
4KJ0AM DJCIutch spinship-hop...DJ
Decter spins techno. Could there be
a better show? We think NOT! So
chill out wilh us. Have a nice day.
MONDAYS
BREAKFAST WITH THE BROWNS
8:15-11:00AM Your favourite brown-
sters, James and Peter, offer a savoury
blend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy each weekly brown plate special.
Instrumental, trance, lounge and
BLUE MONDAY alt.  11:00AM-
1:00PM
ECHOES FROM THE SUGAR CUBE
FACTORY   alt.    11:00AM-
1:00PM
SOUPE DU JOUR 1:00-3:00PM
Feeling a little french impaired?
Francophone music from around the
globe, sans Celine Dion.
THE MEAT-EATING VEGAN   3:00-
4:00PM I endeavour to feature dead
air, verbal flatulence (only when I
speak), a work of music by a twentieth-
century composer — can you say
minimalist? — and whatever else
appeals to me. Fog and dyke positive.
Mail in your requests, because I am not
a humarvanswering machine.
EVIL VS. GOOD 4KX)-5:00PM Who
will triumph? Hardcore/punk from
beyond the grave.
BBC WORLDNEWS SERVICE 5:00-
5:30PM
BIRDWATCHERS 5:30-6:00PM Join
the Sports department for their eye
on the T-birds.
POLYFILLER alt. 6:00-7:00PM
MUSIC FOR ROBOTS alt 6:00-
7:00pm Viva la Robotica
Revolution. Estrogen-charged robots
on Planet Noiz.
HIP HOP HAVOC 7:OO-9K)0PM
THE JAZZ SHOW 940PM-12:00AM
Vancouver's longest running prime time
jazz program. Hosted by the ever-
suave Gavin Walker. Features at 11.
Nov 2: This month the Jazz Show will
feature five obscure but great artists
beginning with alto saxophonist
Sonny Red.
Nov 9: Outstanding trumpeter Dupree
Bolton and soulful saxophonist Curtis
Amy.
Nov 16: "New advanced jazz" pianist/
composer Valdo Williams' only
recording.
Nov 23: John Erskine 'Rocky' Boyd: a
powerful tenor saxophonist wilh trumpet
great Kenny Dorham.
Nov 30: "Outta sight" alto saxophonist
Earl Anderza on his only recording.
VENGEANCE IS MINE    12:00-
4:00AM Hosted by Trevor. It's punk
rock, baby! Gone from ihe charts but not
from our hearts — thank fucking Christ.
TUESDAYS
THE CLASSICAL SHOW 6:30-
8:30AM Listen carefully as Johnny
B. brings you the classical music
show featuring Canadian composers,
amateur hour and more. Radio con
fuoco for the masses.
BOMBSHELL 8:30-9:30 AM
THIRD TIME'S THE CHARM 9:30-
11:30AM   Torrid trash-rock, sleazy
surfand pulsatin' punkprovidethe perfect
scissor kick to your head every Tuesday
morn. There's no second chance when
Kung-Fu is used for evil with drunken fist
Bryce. Kilfyaalll!
TRAGIC ANIMAL STORIES alt
11:30AM-1:00PM Tales of puppy
love gone awry, and of baby ducks
crossing the street, all backed up by a
sad soundtrack of various indie-rock
bands for your own enjoyment and
education. Cry in your beer, please.
COLONEL SANDERS HIDEOUT
lK)0-2:30PMCanadiana trash rock
that you can pilot your Camaro to.
Chris and Jeff supply the rock, you
bring the Camaro.
ETHER TABLE 2:30-3:30PM
BBC WORLDNEWS SERVICE 5:00-
6:00PM
RADIO ACTIVE 5:30-6:C0PM
Activism, issues and fucking up the
corporate powers that be.
FLEX YOUR HEAD 6:00-8:00PM
Hardcore and punk rock since 1989.
hltp://flexyourhead.
vancouverhardcore.com/
SAREGAMA 8:00-9:00PM
Featuring traditional (classical, light
and folk] and contemporary South-
Indian music.
LA BOMB A 9:00-10:00PM La
Bomba (the bomb) explodes with the
best salsa and merengue, with your papi DJ Papilicious.
WITCHDOCTOR HIGHBALL alt.
10:00PM- 12:00AM Noise,
ambient, electronic, hip hop, free
jazz, Christian better living LP's, the
occasional amateur radio play,
whatever.
VENUS FLYTRAP'S LOVE DEN alt.
10:00PM-12:00AM Join Greg in
the love den lor a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here ... and
AURAL TENTACLES 12:00AM-VERY
LATE Warning: This show is moody
and unpredictable. It encourages
insomnia and may prove to be hazardous to your health. Listener discretion is advised. Ambient, ethnic,
funk, pop, dance, punk, electronic,
synth, blues, and unusual rock.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-9:00AM
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
SPIKE'S MUSICAL PINS AND
NEEDLES 9:00AM-10:00AM
Spike spins Canadian tunes
accompanied by spotlights on local
artists. Weekly "Vintage Vancouver"
segment takes a look back at this
city's musical past.
BOTH SIDES 10:00AM-12:00PM
Jose Luis discusses free trade and
other issues in the Americas.
LOVE SUCKS 12:00-2KK)PM Music
at work. (Cut up mixed genres —
eclectic, electric included but not
mandatory).
AUDIO SPROCKET 2:00-3:00PM
MOTORDADDY 3KX)-5:00PM "eat,
sleep, ride, listen to Motordaddy,
repeat."
BBC WORLDSERVICE 5:00-5:1 OPM
RACHEL'S SONG 5:10-6:00PM Info
on health and the environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainability in the urban context.
SOLID STATE 6:00-7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
AND SOMETIMES WHY alt. 7:30-
9:00PM barbara manning, the
make-up, cat power, sushi ... these
are a few of our fave-oh-writ things, la
la la!
MARY TYLER MOORE SHOW alt.
7:30-9:OOPM Girl music of all
shapes and sizes.
FOLKOASIS 9:00-10:30PM Featuring
the latest local and international
releases in folk/roots/world music,
phone interviews, in-studio guests and
more. Requests always welcomed!
STRAIGHT OUTTA JALLUNDHAR
10:30PM-12*00AMLetDJsJindwa
and Bindwa immerse you in radioactive Bhungra! "Chokkh de phutay."
Listen to all our favourite Punjabi tunes
— remixes and originals.
HANSKLOSS'MISERYHOUR 12:00-
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
THURSDAYS
RADIO ELLINIKATHIKO 6:30-8:30
AM Wake up to the sounds of Greece
with Elena and Niko.
REEL   MUSIC    8:30-10:00AM
Soundtracks and classical.
FIUBUSTER 10:00-11:30AM
Part accordion-tinged musical
meanderings, part experiemental
weirdness, with a little bad hill blood
thrown in for good measure. This
show is a genre-free zone.
CANADIAN LUNCH 11:30AM-
1KWPM From Tofino to Gander, Baffin
Island to Portage La Prairie. The all-
Canadian soundtrack for your midday
snack!
S1EVE&MIKE 1-00-2.-00PM Crashing Ihe
boys' club in the pit. Hard and fast, heavy
and slow. Listen to it, baby, (hardcore).
ONOMATOPOEIA 2:00-3:00PM
Comix.
NEEDLEPOINT alt 3:00-5:OOPM
COUNCIL CRAP 5:00-5:30PM
SHAPE UP alt 5:30-6:00PM
ENTERTAINMENT DESK alt. 5:30-
6:00PM Movie reviews and criticism.
OUT FOR KICKS 6K»-7:30PM No
Birkenstocks, nothing politically correct. We don't get paid so you're
damn rightwe have fun with it. Hosted
by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
LIVE FROM THUNDERBIRD RADIO
HELL 9:00-11:00PM Local muzak
from 9. Live bandz from 10-11.
SLIPPERY SLOT alt. 11:00PM-
1:00AM One step beyond logic.
PLUTONIAN NIGHTS 1:00-
4:00AM Late nightvinyl. Occasional
skips. Cheers.
FRIDAYS
CAUGHT IN THE RED 6:30-8:30AM
Garage rock and other things.
ONE LOVE 8:30-10:OOAM Anything
and everything from the wonderful
world of music, as long as harmonies
can be sung, and the melodies be
heard.
SKA-TS SCENE-IK DRIVE! 10:00AM-
12.-00PM Listen in to win a dote with
one of the co-hosts! (We're not telling
which one!)
THESE ARE THE BREAKS 12:00-
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats.
Versatile at any style.
LITTLE TWIN STARS 2:00-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM
NOIZ 4:00-5KX)PM self titled
BBC WORLDSERVICE 5:00-5:30PM
FAR EAST SIDE SOUNDS alt. 6*00-
9:00PM Sounds of the transpacific
underground, from west Java ta east
Detroit. Sound system operator, Don
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS 9:00PM-12:00AM
Hosted by DJ Noah, the main focus of
the show is techno, but also includes
some trance, acid, tribal, etc. Guest
DJ's, interviews, retrospectives,
giveaways, and more.
UMP SINK alt. 12:00-6:00AM
Tobias' Paradigm Shift (Rani, phone-
in and kiss your mother with the
guests).
DEAD AIR alt. 12:00AM-LATE
Exceptionally interesting girl talk.
SATURDAYS
THE SATURDAY EDGE 8:00AM-
12:00PM Music you won't hear
anywhere else, studio guests, new
releases, British comedy sketches, folk
music calendar, and ticket giveaways.
8-9AM: African/World roots. 9AM
12PM: Celtic music ond performances.
ON THE CORNER 12:00-1:00PM
Julz spins an hour of classic
experimental jazz with forays into
the lands of funk, acid jazz and trip
hop.
POWERCHORD 1:00-3:OOPM
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
LUCKY SCRATCH 3:00-5:00PM
From backwoods delta low-down
slide to urban harp honks, crooners
and tunesters in the blue degree.
Blues and blues roots with your hosts
Anna and AJ.
RADIO FREE AMERICA 6:00-
8:00PM Join host Dave Emory and
colleague Nip Tuck for some extraordinary political research guaranteed to
make you think. Originally broadcast
on KFJC (Los Altos, Cal.).
LIVE! AT THE HI-HATI! alt.
10:00PM-1:00AM "Live!-shows
and bands — admission $6.00 —
Performers are subject to change."
Maximum Soul.
PIPEDREAMs alt. 10:00-1:00AM
SOUL TREE alt. 1:00AM-DAWN
EARWAXalt. 1:00AM- DAWN Noiz
terrorism cut thru raw rhythms/as
punk rock dissects Detroit
minimalism/my Motor City madness
runs tragic/my Jungle-ism spawns
breakbeat sporadics/while the
hardcore be open to these lyrics I
flash/Da truth will be found bound in
sounds/locked in my ears like
Earwax. Word. -Guy Smiley
LOUD   AND QUEER
na  822-1242 Datebook
WHAT'S HAPPENING IN NOVEMBER
FRI NOV 6 CiTR PRESENTS: Hard&Fast, Heavy&Slow
Show@Anza; Tchkung, JP5, Brundlefly@Starfish; Bocephus King@Pic
Pub; Art Bergmann@Gate; Alpha Yaya Diallo@Vancouver Rowing
Club; Malchicks, Speedbore, Shattered@Brickyard; Kokoro Dance
presents Embryotrophic Cavatina@Firehall Arts Centre
SAT 7 Diamanda Galas (early show), Son Volt (late show)@Starfish;
New Pornographers, Sonarium I.S.S,Citroen@Pic Pub; Kokoro Dance
presents Embryotrophic Cavatina@Firehall Arts Centre; UBC Opera
Emsemble@Chan Centre
SUN 8 Standing Wave: Rhythmic Voices@Cultch; Bruce Labruce's
Hustler Wnite@Blinding Light; A Man Escaped, Diary of a Country
Pr/es/@Pacific Cinematheque
MON 9 DJ Krush, Luke Viebart (Wagonchrist)@Sonar; Deiter Mobius
& Mickael Rother (founders of Kraftwerk)@Gate
TUE 10  CiTR PRESENTS SHINDIG: SPLITTING ADAM, RETREADS, MARIANNE TURBO@Railway; Velvet@Sonar; Golden
Eternify@Holy Trinity Anglican Church
WED 11 Speedbore, Like Hell, Feedbag@Starfish; Saddlesores,
Transvestimentals@Pic Pub; Bruce Labruce's Hustler Wh/'e@Blinding
Light
THUR 12 Zubot & Dawson@Starfish; Bruce Labruce's Hustler
Wh/te@Blinding Light; Pick Pocket, Trial of Joan Arc@Pacific
Cinematheque; 4x4, fili@UBC School of Music Recital Hall
FRI 13 Uzume Taiko Ensemble, Takeo Yamashiro, Alevin
Ramos@Studio Theatre, Shadbolt Centre for the Arts; Smokin'
Frogs@Starfish; Shite Nite 3: Excremeditation@The@Gallery
SAT 14 Uzume Taiko Ensemble, Takeo Yamashiro, Alevin
Ramos@Studio Theatre, Shadbolt Centre for the Arts; West Coast
Connections@Performance Works; Midge, Facepuller, Carbon 6@Co-
lumbia; Ten Days Late@Pic Pub; Fever with Nick Holder@Sonar;
Jimmie Dale Gilmore, Dale Watson@Starfish; Mudhoney@Showbox,
Seattle
SUN 15 Frank Black and the Catholics@Rage;Cornelius@Starfish;
Greyboy Allstars@Sonar; Spirit Sings@Firehall Arts Centre
MON  16    Big Sugar@Rage; Superstar: the Karen Carpenter
Story@Blinding Light
TUE  17    CiTR PRESENTS SHINDIG: 42, Clover Honey,
Bounty  Hunta  &  the  Mutineers@Railway Club;  Big
Sugar@Rage; Mad Professor@Sonai
WED 1 8 Dan Bern (early show), Ian Moore (late show)@Starfish;
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th  (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston  (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
Blinding Light     36 Powell St. 878 3366
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal  317 E. Broadway (Mount Pleasant)     873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities  1022 Davie  (at Burrard) 689 3180
Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 VV. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Denman Place Cinema   1030 Denman  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie  (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings  (downtown) 822 9364
Gastown Theatre 36 Powell  (Gastown) 684 MASK
The Gate   1176 Granville (downtown) 688 8701
The Good Jacket 225 E. Broadway (at Main) 872.5665
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
30    November 1998
SUBMISSIONS TO DATEBOOK ARE FREE!
TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO
822 9364, ATTENTION "DATEBOOK." DEADLINE
FOR THE WINTER ISSUE IS DECEMBER 2ND!
SUN 6 Oscar Lopez Trio@Cultch
MON 7 Star Wars Spinoff Show@Blinding Light
TUE 8 Tab Benoit@Yale; Rough & Ruined Film Festival 1998@Blind-
ing Light
WED 9 Buffalo 66, I Went Down@Ridge; Rough & Ruined Film
Festival@Blinding Light
THUR 10 BY08 + Burning Man Footage@Blinding Light
FRI   11   Molestics@Railway Club; Jon  Moritsugu's  Fame
Whore@Blinding Light
Superstar: the Karen Carpenter Story@Blinding Light; Gadjo Dilo,
Latcho Drom@Ridge
THUR 19 Coal, Lily Starr, Thermos@Starfish; JenoOSonar; Gadjo
Dilo, Latcho Drom@Ridge; 1 st Annual Vancouver Underground Film
Festival@Blinding Light; Taking Wing: improvised music series@Sugar
FRI 20 Closed Caption Radio, The Beans, Celestial Magenta,
Klauskinskis@Starfish; Unwound@Breakroom, Seattle; Taking Wing:
improvised music series@Sugar Refinery
SAT 21 Galactic, Green Room@Vogue Theatre; Taking Wing: improvised music series@Sugar Refinery; Sound Travels@Westem Front
SUN 22 Reel Big Fish, Pluto@Starfish; Chieftains, Ashley
Maclsaac@Orpheum Theatre; 1 st Annual Vancouver Underground
Film Festival@Blinding Light
MON 23 Best of the 3rd Annual Banff Festival of Mountain Films@Ridge
TUE 24   CiTR PRESENTS SHINDIG: Pepper Sands, Feisty,
Jet Set@Railway Club; Duotang, Evaporators, Disgusteens, 4-Star
Movie@Video In Studios; Facing The fasrs/c/e@Blinding Light
WED 25 Facing The Eosrs/de@Blinding Light
THUR   26   Legendary   Pink   Dots,   Twilight   Circus   Dub
Sysytem@Starfish; Geezer Generat/on@Blinding Light
FRI  27 Ngoma@Statfish;  Bif Naked,  Rusty,  Miller Stain
Limit@Palladium;      54»40@Vogue     Theatre;      Malchiks,
Shaftered@Railway Club; Pixel Peep Show^Blinding Light
SAT 28 Earth Crisis, Hatebreed@Starfish; Bocephus K'
Hill Candy Shop; Buffalo Tom@Moore Theatre, Seattle
SUN   29   Meat   Beat  Manifesto@Palladium;   Pixel   Peep
Show@Blinding Light
MON 30 Kurt and Courtney@Ridge
TUE DEC 1 CiTR PRESENTS SHINDIG: The Disgusteens,
TBA@Railway Club; Nancy Drew, Straight From The
Suburfc>s@Blinding Light
WED 2 Tricky@Rage; Nancy Drew, Straight From The
Suburbs@Blinding Light
THUR 3 Georg Graewe Quartet@Western Front; The Organization Man@Blinding Light
FRI 4 Depeche Mode@Coliseum; Star Wars Spinoff Show@Blinding
Light
SAT 5 Susan Tedeschi@Starfish;Star Wars Spinoff Show@Blinding
Light
SPECIAL EVENTS
CiTr Radio's sex-fM
Tune in all day Nov. 13 for the best in
queer programming. see this month1 s demo
Taking
Improvised music series
finery, Nov. 19-21
Wing
at the Sugar Re-
Van.   Underground  Film  Fest
Seventh annual film fest of underground
movies at the blinding light, nov. 19-22
Buy     Nothing     Day
Pretty self-explanatory. Nov. 29
Rough & Ruined Film Fest
as the bunding light themselves say, be
rough, be ruined, be there! dec. 8-9
1 9 9 8    Shindig    Finals
'ec. 1 1 . as always, at the fabulous starfish room. who'll it be? you'll just have
VENUES • BARS • THEATERS • RESTAURANTS • RECORD STORES
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main  (Mt. Pleasant)
It's A Secret 1221 Granville St. (downtown)
Jericho Arts Centre  1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards      1216 (near Demon St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott (Gastown)
Lucky's 3972 Main
Luv-A-Fair  1275 Seymour (downtown)
Mars  1320 Richards (downtown)
Maximum Blues Pub  1176 Granville  (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion     7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (gastown)
Naam Restaurant 2724 W 4th Ave (kitsilano)
Old American Pub 928 Main  (downtown)
Orpheum Theatre Smithe & Seymour (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium (formerly Graceland) 1250 Richards (downtown)
Paradise 27 Church (New West)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Picadilly Pub 630 W. Pender (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre 881 Granville  (Granville Mall)
Purple Onion  15 Water St. (gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge  1221 Granville (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards  (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
738 3211
873 4131
688 7755
224 8007
251 6626
685 7777
875 9858
685 3288
230 MARS
688 8701
608.0913
738 7151
682 3291
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
602 9442
665 3050
473 1593
685 5585
681 1625
687 6794
738 6311
Russian Hall 600 Campbell (Chinatown) 874 6200
Scratch Records  109 W.Cordova (Gastown) 687 6355
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)      291 6864
Singles Going Steady 3296 Main (at 17th) 876 9233
Sonar 66 Water (Gastown) 683 6695
Southhill Candy Shop 4198 Main (at 26th) 876 7463
Squish'd Knish 4470 Main (at 29th) 879 9017
The Space 316 Hastings (downtown)
Starfish Room  1055 Homer (downtown) 682 4171
Starlight Cinema 935 Denman  (West End) 689 0096
Station Street Arts Centre 930 Station  (off Main) 688 3312
St. Regis Hotel 602 Dunsmiur (downtown)
Stone Temple Cabaret  1082 Granville St. (downtown) 488 1333
Sugar Refinery  1115 Granville (downtown) 683 2004
Theatre E  254 E. Hastings (Chinatown) 6818915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Vancouver E. Cultural Centre   1895 Venables (at Victoria)   254 9578
Vancouver Little Theatre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville  (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th  (Point Grey) 222 2235
Vert/Washout  1020 Granville (dowtown) 872 2999
Video In Studios  1965 Main  (Mt. Pleasant) 872 8337
Virgin Mega Store 788 Burrard (at Robson) 669 2289
Vogue Theatre 918 Granville  (Granville Mall) 3317909
Waterfront Theatre  1405 Anderson  (Granville Is.) 685 6217
Western Front (303 E. 8th Ave) 876 9343
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall  1882 Adanac (the Drive) 254 5858
Women In Print 3566 W. 4th (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downtown) 6819253
Zulu Records 1869 W. 4th (Kitsilano) 738 3232 0
nov  |                          Mfrfiafl
■ifl
w/LUKE VIEDERT aka WAGONCHRIST
NOV^l
Wnfm
•
VELVET w/OJ Wax
Victoria urban dance collective & DMC champ
$8 @ Ticketmaster
Pharsyde & Taxi present
FEVER - fine house music
Special guest NICK HOLDER (K7, DNH, Tor]
t
$8 doors @ 8pm
EEnH__
IS
Feat. KARL DENSON sax
HOV^t
STEREO - Grant! Opening
every Monday from 9pm
EEQBL
is
OEEJAY OR. SHOLK
$7 door
EEZ3
^stereo
Progressive houst
Speakeasy [Rm.2
™SI.GHAHDE
R&B, Reggae, Hip 1
^LAUNCH                        -^Ch^bs
|    Progressive electronic                      Beats'n'Breaks
%  W/Pascal                         _____
|  pvesha                           r&j&*
1   Drum n'Bass wl Andy B                     House wl T.Bone
top           5   Kilo Cee in Room 2                           Luke & Dana 0
66 WATER ST. Club: 6
Sound system by:   '
fflf.M Wm WITH VailD S
/SUBJECT TO CAPACITY t SPCCIA
Memberships available non
13.6695 Office: 683.6527 Fax: 688.2552
Turbosound      Visual styling by: URBAN
WDlNT ID ON THURS, FRI & SAT
Tix available in advance -TfcWe* *****>*****
u-^ e«t*nt*i*t»^
JETS TO
BRAZIL
Orange
Dictionary
CD/LP
Three cheers! Now fronting this late-punk super
group, Jawbreaker's erstwhile Blake Schwarzenbach
has returned to active service with energy renewed and
skills intact. Packing plenty of hooks, earnest lyrics and
much punch — all harnessed by the big handed production work of Jawbox's J. Robbins — this is a welcome
passport to an emo-tinged pop rock excursion. And is
that an odd new wave vibe in there too? Featuring more
quality Jade Tree graphic design, for the punk Epicurean.
$16.98 CD $14.98 LP
CHICAGO
UNDERGROUND
DUO
12 Degrees of
Freedom cd/ip
Comprised of Isotope 217
bandmates Chad Taylor and Rob Mazurek — with occasional help from Tortoise/Isotope 217 guitarist Jeff Parker -
this thoughtful recording shifts easily between cool new
music, out jazz and any hybrid between. Equally loose and
refined, Taylor and Mazurek have a remarkable, studied and
expressive range within chosen limited instrumentation. The
result: hip musicology for the Thrill Jockey fan, or anyone so
inclined, really
$16.98 CD $14.98 LP
O.S.T.
THEDELGADOS
Pelotron CO
JAD FAIR AND
YOLATENGO
Strange But
True cd/lp
Having previously collaborated on an extremely
animated version of
Speeding Motorcycle, JAD FAIR AND YO IA TEHGO again
join forces for this perfect autumn pop pace-setter! Yes,
its time to don your turtle necks and corduroy slacks, and
read a deep book, while this chummy and ultra earnest of
records offers amusing detours into the resplendent glory
that accompanies the simple side of life. Fine music from
fine people.
$16.98 CD $12.98 LP
BOXHEAD
ENSEMBLE
The Last Place
To Go CD/IP
Recorded live at various
locations, the shrouded,
low-key, sometimes skeletal
work here is document to the Dutch Harbor European film
screening tour. The accompanying veritable super-band
involved perfectly renders a subdued ambience that is
effective without any images: dreamy, tranquil and haunt-
ingly spare, the BOXHEAD ENSEMBLES impressionistic
music slips into the shadows, lulls, enchants, then slowly
drifts out to a stormy sea. This is a recording meant
played over and over. Sleep inducing, in a good way.
$16.98 CD or LP
TALVIN SINGH
O.K. CD
Friday night and I feel like
a pint and a bit of the
dance floor — my mates
meet me as I'm gearing up
to go. "You heard of
Anokha: The sounds of the
Asian Underground." "Na," I cheekily respond as 1 lace up
my trainers, "I'm still onta Daft Punk 'n' Air." "Yeah, well
this lad TALVIN SINGH knows their score, all that Roni Size
and more!! — No lightweight Goldie is he." Little did I
know that soon enough his debut solo O.K. would be top of
the London DJ playlists — for us right headed nackers
knew the Rockaleller Skank, but that was nothing compared to the hangover Mr. SINGH delivers, big beats and all.
$16.98 CD
THE AFGHAN
WHIGS
1965 CD
"The war in Vietnam
I raged, the Soviets
"walked" the first man in   tas_,_____ii_-i___--_i
space, the exodus of
DO MAY SAY
THINK
Do May Say
•f         * II'
Think CD
mm
r\own tempo Toronto
Ustyte? On the increas
inglycool Canadian indie-
label Constellation, this 6 piece unit help set the mood
for your more relaxed moments. Although not as dark
as compatriots God Speed You Black Emperor, DO
MAY SAY THINK decidedly share a purchase for long,
soothing, evocative instrumental songs, slipping occasionally into dub-like territory. This stuff is neat, we like
it, and we think you wilt too A fine panacea for troubled times, or a yyelcome addition to happy days.
$16.98 CD
Cuban refugees to the US began, the Boston Celtics
claimed the professional basketball title for the seventh
consecutive year, Roman Polanski's Repulsion was on
the marquee, TS Eliot died, Malcolm X was assassinated and the Watts riots in LA resulted in 34 dead and
1032 injured. THE AFGHAN WHIGS put you on that front
stoop, with the hydrant open and the radio on, the news
proclaiming it all, dominated by Motown's galvanized
rule of the airwaves.
$16.98 CD
NEOTROPIC
Mr. Brubaker's Strawberry
Alaimclock CD
On Ninja Tune affiliate N-Tone, Riz Maslen's
appropriately named electronic vehicle
continues to seek out new sites for exploration
and play. As with Ninja Tune's Irresistible
Force (Mixmaster Morris), Maslen's work has
a post-Orb, somewhat psychedelic sound:
beats are bridged by loose ambient passages,
and ideas are worked through in unique, often
unexpected ways. Anything and everything is
fair material for this process. Our advice: sit
waaaay back and enjoy.
$16.98 CD
SPIRITUALIZED
Live at the Royal Albert
Hall 2CD
symphonic space-rock bliss, mixed with
L;;;
brilliant run Jason Pierce's SPIRITUALIZED
have had with their Ladies and Gentlemen,
We are Floating in Space release. Joined by
strings and gospel voices, these already
renown frequency tweakers squeeze even mo
heavenly sounds into their dynamic mix, as w
all propel down with each new oscillating orbit,
waiting to re-enter the atmosphere
celestial trip.
Atral pop from Scotland! THE
DELGADOS. whose day job is running
Chemical Underground Records and
releasing the likes ot Arab Strap and
Mogwai, are nice folks with a penchant tor pleasing tunes full of hooks
and full melodic chording. Pelotron
— French for the leading pack — a
suiting title we think. Allez Allez!
$16.98 CD
Modulations CD
The acclaimed soundtrack to documentary filmmaker Giorgio
Moroder's in-depth historical review
of Electronica circa mid 1970s to
present. Those who saw this feature
at the Vancouver Film Fest. will know
its poignant reading of this rapidly '
evolving musical culture. Get
schooled with great music Irom electro disco era Donna Summer to
junglizcd Goldie, Coldcut. and more."
$16.98 CD
HIGH HAMAS
Lollo Rosso (remix) CD
i' j love the LLAMAS — they're brilliant
I — Qa Vinci you knpw."Marvelous,
I'm thinking, jusfwhat I need some
drunken kid next to me on the bus with
his Bassman at ten, "Pure Leonardo," he
blurts out, and just as I'm about to write
him off,*— suddenly I too am seduced by
the drifnken lolly that is new music!
imagine glorious Beach, Boys chords set
to the new Mozarts — kids with names*-*
such as Cornelius. Mouse On Man*1""*
Stock, Hausen & Walkman and more
remixing these mighty LLAMAS. Rne
stuff. I'm sold. End ol story.
$16.98 CD
7#**e
$24.98 2CD
PLASTICMAN ARTIFACTS (BC) CD
KRUDER AND DORFMEISTER K+D SESSIONS CD, 2LP
SQUAREPUSHER MUSIC IS ROTTED ONE CD/LP
AMPSTENORETTE CD, LP
JAWBOX MY SCRAPBOOK OF FATAL ACCIDENTS CD
JOHN FAHEY GEORGIA STOMPS, ATLANTA STRUTS CD
MXPX LET IT HAPPEN CD
MASSACRE FUNNY VALENTINE CD
DIK^mNTTIE COMPLETE BOOK OF DUOTRON
ILLUSTRATED CD
BEASTIE BOYS BODY M0VUr CD-EPs, 12"
_f •
JW.'J
THROUGHOUT NOVEMBER, PURCHASE ANY HOPELESS RECORDS CD TITLE FROM THE LIKES OF MUSTARD PLUG 88
FINGERS LOUIE, NOBODYS, ETC*... AND RECEIVE A FREE HOPELESSLY DEVOTED TO YOU LABEL CD SAMPLER-
* STOP BY ZULU FOR A COMPLETE LIST OF HOPELESS LABEL RELEASES

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